DOCSLIB.ORG

I Squared, Saturday, March Th 12 , 2016, at 7:00 Pm in the Parish Center at Saint Joseph’S Church, 95 Plum Brook Road, Somers, New York 10589

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Squared, Saturday, March Th 12 , 2016, at 7:00 Pm in the Parish Center at Saint Joseph’S Church, 95 Plum Brook Road, Somers, New York 10589 Saint Joseph’s Music Ministries Presents I Squared Celebrating the diversified music of Italy and Ireland! Saturday, March 12 th , 2016 7:00 pm In the Parish Center of Saint Joseph’s Church 95 Plum Brook Road Somers, New York 10589 www.stjosephsomers.org. Tickets: $15.00 A café-style performance, filled with great music, Italian fare, Irish fare, fellowship & fun. For information contact the Music Office at 914-318-3268. is a concert event that combines the music of Italy with the music of Ireland. Conceived in 2000, this is a delightful program that has been thrilling audiences by coupling the world’s best loved arias and Neapolitan songs with music from the Emerald Isle. The program is presented by Matthew Surapine and Jim Russell, world class tenors, who, for the last ten years, have performed extensively with the world’s leading opera companies and orchestras, on television, at music festivals and in recital. Mr. Surapine and Mr. Russell combine their magnificent tenor voices with traditional Irish instruments to create a performance unlike any other. In addition to the classic Irish ballads, Mr. Surapine and Mr. Russell add a classical flair to music usually reserved for the Pubs and Irish Festivals. Coupled with these beautiful Irish melodies is the traditional music of Italy. They combine the soaring operatic lines of Rossini, Donizetti, & Verdi, with the sunny music of Naples, to create the quintessential experience for the lover of Italian Music. This unique synthesis of music from two cultures well known for their great tenors, provides an experience no music lover will want to miss. St. Joseph’s Church Stjosephsomers.org Music Ministries 914-318-3268 E-mail: [email protected] Press Release The Music Ministries of Saint Joseph’s Church will present a concert by I Squared, Saturday, March th 12 , 2016, at 7:00 pm in the Parish Center at Saint Joseph’s Church, 95 Plum Brook Road, Somers, New York 10589. Tenors Jim Russell and Matt Surapine will perform a program of Irish and Italian classical and folk music. This will be a café-style performance, featuring light appetizers and beverages with an Irish and Italian flair, while you enjoy the show. Offering: $15.00. For more information, contact the Music Office at 914-318- 3268 or email us at [email protected]. A Program of Irish and Italian Song I² is a concert event that combines the music of Italy with the music of Ireland. Conceived in 2000, this is a delightful program that has been thrilling audiences by coupling the world’s best loved arias and Neapolitan songs with music from the Emerald Isle. The program is presented by Matthew Surapine and Jim Russell, world class tenors, who, for the last 10 years, have performed extensively with the world’s leading opera companies and orchestras, on television, at music festivals and in recital. Mr. Surapine and Mr. Russell combine their magnificent tenor voices with traditional Irish instruments to create a performance unlike any other. In addition to the classic Irish ballads, Mr. Surapine and Mr. Russell add a classical flair to music usually reserved for the Pubs and Irish Festivals. Coupled with these beautiful Irish melodies is the traditional music of Italy. They combine the soaring operatic lines of Rossini, Donizetti, & Verdi, with the sunny music of Naples, to create the quintessential experience for the lover of Italian Music. This unique synthesis of music from two cultures well known for their great tenors, provides an experience no music lover will want to miss. American tenor Jim Russell is well known as an opera performer recitalist and concert singer. He has appeared as a soloist in many of North America’s major concert halls. In New York he has appeared hundreds of times at Lincoln Center and Carnegie Hall: with the New York City Opera, National Chorale, and The Opera Orchestra of New York. Other notables include his solo work on PGM Recording’s The Buxtehude Project Volume I – Sacred Cantatas : which received “ Four Stars for sound and performance ” from the BBC and was called “ A Must Have ” by Gramophone Magazine. He can also be heard on the PGM Recording Heavens Resounding – A Baroque Christmas and on the Delos label singing the role of the Concessionaire in William Schuman’s The Mighty Casey . Jim lives in Pearl River, NY with his wife Jeanette two sons Aidan and Owen and daughter Grace. He serves as Music Director of St. Paul’s Church in Congers, NY. Matthew Surapine , Tenor, has won acclaim across North America for the beauty and incisiveness of his singing and for his spirited stage portrayals. Mr. Surapine has sung with many of the country’s leading opera companies and orchestras. Career highlights include performances with: The New York City Opera, St. Louis Opera Theatre, Kansas City Lyric Opera, El Paso Opera, Opera Grand Rapids, Jacksonville Symphony, Little Orchestra Society as well as 3 seasons as a principal singer with the Metropolitan Opera. As a strong supporter of introducing arts to children, Mr. Surapine has appeared in many children’s operas and music programs with The Crystal Opera (where he serves as a board member) and was guest artist at the Inauguration of The Franklin Performing Arts Center in Franklin, MA. Mr. Surapine resides in Norwalk, CT with his wife Elizabeth, and three daughters, Isabel, Gisela, and Irene and serves as Director of Music for The Roman Catholic Church of St. Mary in Norwalk, CT Pianist/Arranger Sol Bloch is highly regarded as one of the brightest most versatile musicians working today. He is an assistant choral director at CUNY’s Herbert Lehman College, music director of several summer theatre programs for children, and most recently was named Director of Choral Music at Fieldstone Intermediate School. He is in great demand as an accompanist, clinician and arranger. Sol has studied with some of the country’s foremost musicians including Academy Award and Pulitzer Prize winning composer John Corigliano. In addition to his classical and theatre endeavors Sol has been recognized with a MAC Award nomination for his work as a performer and arranger with the popular vocal group High Five. .
Load more

Recommended publications
  • ©Studentsavvy Music Around the World Unit I Thank You For
    ©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore
    [Show full text]
  • Piano Music in Italy During the Fascist Era
    PIANO MUSIC IN ITALY DURING THE FASCIST ERA by KARIN MARIA DI BELLA .Mus., The University of Western Ontario, 1994 Mus., Washington University in St. Louis, 1996 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming tp—^-fre-^required standard THE UNIVERSITY OF BRITISH COLUMBIA January 2002 © Karin Maria Di Bella, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of Vancouver, Canada Date DE-6 (2/88) Abstract This thesis investigates Italian instrumental music (specifically piano music) during the two decades between the two World Wars, the period of Italian fascism under Mussolini's rule. After two centuries of opera domination in that country, instrumental music, especially an up-to- date brand of it, was sorely lacking. A number of composers recognized this need and began to effect changes in the instrumental music scene, some with more success than others. Most of these composers are not well known to the general music public today. The pressing question is, to what extent the fascist government and its culture had an effect on the development of music during this period.
    [Show full text]
  • The Role of Italy in Milton's Early Poetic Development
    Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition.
    [Show full text]
  • Eighteenth-Century Reception of Italian Opera in London
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2013 Eighteenth-century reception of Italian opera in London. Kaylyn Kinder University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Kinder, Kaylyn, "Eighteenth-century reception of Italian opera in London." (2013). Electronic Theses and Dissertations. Paper 753. https://doi.org/10.18297/etd/753 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Submitted to the Faculty of the Division of Music History of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Department of Music University of Louisville Louisville, Kentucky August 2013 EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Approved on July 18, 2013 by the following Thesis Committee: Jack Ashworth, Thesis Director Douglas Shadle Daniel Weeks ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Jack Ashworth, for his guidance and patience over the past two years. I would also like to thank the other members of my committee, Dr.
    [Show full text]
  • 2016-Program-Book-Corrected.Pdf
    A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.
    [Show full text]
  • Field Dissertation 4
    OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction
    [Show full text]
  • In Pursuit of Puccini with Sunday Baroque Host, Suzanne Bona May 5 - 16, 2019
    In Pursuit Of Puccini with Sunday Baroque Host, Suzanne Bona May 5 - 16, 2019 “You may have the universe if I may have Italy.” Giuseppe Verdi Italy owns an astonishing thirty percent of the world’s cultural heritage. Fine arts, architecture, food, wine and design are some of the best known treasures, but for many, it is the music of Italy’s great composers that they hold most dear. Join me, Suzanne Bona of Sunday Baroque, for a twelve-day classical music lovers journey to “Bella Italia” and celebrate the lives of Verdi , Rossini , Farinelli, Vivaldi , Monteverdi, Stradivarius , Donizetti , Toscanini , and Puccini . Walk in the footsteps of great Italian composers by visiting the very places the masters loved, lived and worked. Enjoy in-depth, private tours highlighting the origins of painting and sculpture in central Italy. Along the way, you’ll be introduced to the culinary arts and visit the producers of balsamic vinegar, delicious olive oils, and mouth-watering cheeses. This exclusive Sunday Baroque journey will also include an opera recital in Verdi’s hometown of Busseto, a concert featuring works by Vivaldi, and a tour of the Stradivarius museum in Cremona. Your journey concludes on the beautiful tranquil shores of Lake Como where Verdi relaxed and composed much of La Traviata . Don’t miss out! Space is limited. Earthbound Expeditions Inc. POB 11305, Bainbridge Island, WA 98110 USA T. 206 842 9775 / T. 800 723 8454 / F. 206 238 8480 www.EarthboundExpeditions.com JOURNEY AT A GLANCE 3 Nights Venice, home of Vivaldi 3 Nights Bologna,
    [Show full text]
  • 'Tradizione E Contaminazione': an Ethnography of The
    ‘TRADIZIONE E CONTAMINAZIONE’: AN ETHNOGRAPHY OF THE CONTEMPORARY SOUTHERN ITALIAN FOLK REVIVAL Stephen Francis William Bennetts BA (Hons), Australian National University, 1987 MA, Sydney University, 1993 Graduate Diploma (Communication), University of Technology, Sydney, 1999 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia, School of Social Sciences, Discipline of Anthropology and Sociology 2012 ‘Pizzicarello’, Tessa Joy, 2010. 1 2 I have acquired the taste For this astringent knowledge Distilled through the Stringent application of the scientific method, The dry martini of the Intellectual world, Shaken, not stirred. But does this mean I must eschew Other truths? From ‘The Bats of Wombat State Forest’ in Wild Familiars (2006) by Liana Christensen 3 4 ABSTRACT The revival since the early 1990s of Southern Italian folk traditions has seen the ‘rediscovery’ and active recuperation, especially by urban revivalist actors, of le tradizioni popolari, popular traditional practices originating in peasant society which are still practiced by some traditional local actors in remote rural areas of Southern Italy. This thesis draws on interviews, participant observation and historical research carried out mainly during fieldwork in Rome and Southern Italy in 2002-3 to present an ethnography of the urban revivalist subculture which has been the main driving force behind the contemporary Southern Italian folk revival. In the course of my enquiry into why the movement has emerged, I combine both synchronic and diachronic perspectives, as well as a phenomenological analysis of revivalist motivation and agency, to explore the question of why contemporary urban revivalists have begun to take an interest in the archaic and marginalised cultural practices of rural Southern Italy.
    [Show full text]
  • Alan Lomax Collection (AFC 2004/004): Radio Programs
    American Folklife Center, Library of Congress Alan Lomax Radio-Related Materials, 1939–1969: A Guide Todd Harvey (2016) Contents Introduction .................................................................................................................................................. 3 Source Collections ......................................................................................................................................... 4 CBS (1939-1945) ............................................................................................................................................ 6 Radio Research Project ............................................................................................................................... 25 BBC (1943-1944) ......................................................................................................................................... 28 Armed Forces Radio Service (1945?) .......................................................................................................... 29 Mutual (1947-1949) .................................................................................................................................... 30 BBC (1951-1957) ......................................................................................................................................... 34 NBC (undated) ............................................................................................................................................. 39 U.S. Department of Health
    [Show full text]
  • Download Free
    Music and Nation essays on the time of german and italian unifications Sergio Durante Department of Music Harvard University 2019 Copyright 2019 by the President and Fellows of Harvard College ISBN 978-0-964031-9-1 Designed and published by the Harvard University Department of Music Essays 2, 3, and 4 were first given as spoken papers for a general audience as De Bosis Lectures in the History of Italian Civilization at Harvard Uni- versity on Sept. 22, Oct. 20, and Nov. 10, 2011. A version of Essay 2 has been published in Dramma giocoso. Four contemporary perspectives on the Mozart-Da Ponte Operas (Leuven, Leuven University Press, 2012). COVER ART: Friedrich Overbeck, Italia und Germania (Italy and Germany), finished in 1828. Source: Wikimedia Commons, https://upload.wikimedia.org/ wikipedia/commons/9/99/Friedrich_Overbeck_008.jpg Table of Contents Preface vii Between Germany and Italy: Tropes of Nationality and Music 1 Don Giovanni vs. Don Juan and Back 23 Mazzini as a Music Critic 45 Visions and Revisions of Risorgimento Music 67 A Taste of Italy or, Wagner before Wagner 87 Acknowledgments 97 Author’s Biographical Note 99 General Index 100 v Preface ergio Durante (Ph. D. Harvard University 1993) is Professor of SMusicology at the Università degli Studi di Padova. In the fall of 2011 he served as Lauro De Bosis Visiting Professor at Harvard, and as part of his contribution to the intellectual life of the University he presented a series of Lauro De Bosis Lectures in the History of Italian Civilization. Professor Durante here presents a revised and expanded version of these lectures, the result of careful consideration over a long period.
    [Show full text]
  • 9 Art Music and Jewish Culture Before the Jewish Enlightenment
    Trim: 247mm 174mm Top: 10.368mm Gutter: 22.001mm × CUUK2958-09 CUUK2958/Walden ISBN: 978 1 107 02345 1 July 14, 2015 21:59 9ArtmusicandJewishculturebefore the Jewish Enlightenment Negotiating identities in Late Renaissance Italy joshua r. jacobson By the rivers of Babylon we sat down and wept when we remembered Zion. There by the willows we hung up our harps . How could we sing the Lord’s song on foreign soil? –psalm137:1–4 For centuries, the musical soundscape of the Ashkenazi synagogue remained essentially insular. The core of the service was the “reading” of the Bible utilizing a set of fixed traditional cantillation motifs, performed modally and monophonically by a soloist in free rhythm. The rest of the service, the chanting of prayers, allowed for slightly more improvisation, but, like biblical cantillation, was based on traditional modes, in free rhythm, with no harmony or instrumental accompaniment.1 The emphasis was on piety rather than on beauty. At the same time, music in Catholic churches was evolving in a strikingly different direction, with the addition of new compo- sitions by professional composers complementing the ancient chant, with harmony and counterpoint in performances by trained choirs, organists, and other instrumentalists. Christians visiting synagogues were often puzzled by a music that seemed primitive, alien, even ugly in comparison with what they were used to hearing in church. The Frenchman Franc¸oisTissardwroteofhisexperience visiting a synagogue in Ferrara, Italy, around 1502, “One might hear one man howling, another braying and another bellowing. Such a cacophony of discordant sounds do they make! Weighing this with the rest of their rites, Iwasalmostbroughttonausea.”2 The eighteenth- and nineteenth-century Enlightenment (Haskalah) would bring tremendous changes to the synagogue ritual and its music.
    [Show full text]
  • International Opera Composition Course Giacomo Puccini Summer
    Summer Seminar 2018 Lucca, Italy, July 2nd to 14th 2018 Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Associazione di compositori, Lucca and International Chamber Opera Festival - WEC With: Fondazione Giacomo Puccini Fondazione Banca del Monte di Lucca Teatro del Giglio Virtuoso e Belcanto Sconfinarte Edizioni Club Unesco - Lucca Present International Opera Composition Course “GIACOMO PUCCINI” Summer Seminar 2018 Lucca, July 2nd to 14th 2018 Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The International Opera Composition Course ‘Giacomo Puccini’ is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in Opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for Opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section of the full score for voice and piano (at least 20 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘Cluster season 2019’ in collaboration with Teatro del Giglio of Lucca - Remaining projects will be taken into consideration for
    [Show full text]