DOCSLIB.ORG

July 8-14, 2018 Artistic Director : Prof

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
July 8-14, 2018 Artistic Director : Prof D E N G L A T O E G . I N L T A E V I R T N S A E T F I O L N A R A L C H O July 8-14, 2018 Artistic Director : Prof. Leon Shiu-wai Tong World-Class Choir Festivals in Hong Kong since 1998 JOIN US IN 2019 ! JULY 13-18 2019 th World Youth & Children’s 7EDITION Choir Festival Hong Kong AA StageStage ConnectingConnecting thethe World’sWorld’s ChoralChoral LoversLovers andand ProfessionalsProfessionals RESIDENT ARTISTS The King’s Singers Hamilton Children’s Choir Conductor : Zimfira Poloz Utopia & Reality Chamber Choir Conductors : Ragnar Rasmussen & Urša Lah Competitions | Concerts | Exchange | Cultural Excursions | Masterclasses | Massed Choir Performance 10 Competition Categories Special Awards and Cash Prizes more than HKD 100,000! MEMORABLE The places that matter are the ones we remember. �������� J O H N M A L I C K & A S S O C I A T E S www.jmalick.com TABLE OF CONTENTS DON FOGG Welcome Letters ..................................................... 6 Wednesday, July 11 Schedule ............................... 25 Golden Gate Festival Committee, Thursday, July 12 Schedule ................................... 28 Staff and Volunteers .............................................. 10 Friday, July 13 Schedule ........................................ 29 Adjudicators and Officials ..................................... 12 Saturday, July 14 Schedule .................................... 30 Program Notes ...................................................... 16 Festival Choirs ....................................................... 31 Rules of Competition ............................................ 18 Host Choirs ............................................................ 38 Concert Schedule .................................................. 19 Acknowledgements ............................................... 42 Festival Schedule ................................................... 20 The Nick Hartono Memorial Fund ........................ 44 Monday, July 9 Schedule ...................................... 21 Festival Locations .................................................. 45 Tuesday, July 10 Schedule ..................................... 22 Choir Directory ...................................................... 46 Hosted by Piedmont East Bay Children’s Choir 5 “ART IS THE CAPITAL OF DIPLOMACY” Conway B. Jones, Jr. 6 WelcomeWELCOME LETTERS Dear fellow citizens of the world, As Artistic Director of the Golden Gate International Children’s and Youth Choral Festival and the Piedmont East Bay Children’s Choir, and on behalf of our many sponsors and donors, most notably The National Endowment for the Arts, Bell Investment Advisors, The Hartono Family and the Nick Hartono Memorial Fund, ACFEA, John and Sue Malick, The Winkler Real Estate Group; our board president David Baraff and the full Board of Directors, staff, and our families who are opening their homes to you this week, it is my privilege to welcome you to the great state of California. We Californians take pride in being a welcoming place for all people of good intention, and we are especially happy to welcome you, the singers, conductors, accompanists, and jurists to our 11th Festival. We look forward to listening to your performances, to singing with you, and to learning more about you and where you come from. Our greatest wish is that you have a wonderful experience visiting with us and performing, so please don’t hesitate to ask for help of any kind. With heartfelt best wishes, Robert Geary Artistic Director I welcome each of you to what will be an unforgettable week of concerts, competitions, special events, and cultural exchange. The Golden Gate Festival is sponsored every three years by the Piedmont East Bay Children’s Choir in the San Francisco Bay Area. It remains the only opportunity for children’s and youth choirs to meet and compete on an international field in the United States. Since its founding in 1991, the event has brought more than 3,000 young musicians from 19 countries together in friendship and harmony, performing for more than 50,000 audience members from throughout Northern California. This event is one of America’s most celebrated assemblies of young singers from all over the world gathering to perform, compete, and build international friendship. In a world filled with borders, the Golden Gate Festival offers the participants a rare opportunity to build bridges. This week, they will interact with their peers from distinctly different cultures. They will connect as real people to real people. In this setting, they will sidestep social condi- tioning and create bridges of understanding that make it difficult to harbor ill will. We are happy that you are joining us in this celebration. With warmest greetings, Conway B. Jones, Jr. Honorary Festival Chair 7 WELCOME LETTERS DON FOGG 8 GOLDEN GATE FESTIVAL COMMITTEE, STAFF AND VOLUNTEERS GOLDEN GATE FESTIVAL Christine Fernandez: Concert Choir Natalie Henrich: Farewell Party Chair STEERING COMMITTEE: Accompanist, Piedmont East Bay Margaret Hiller: Housing & Transpor- Suzie Rahl: Founder; Hospitality Room Children’s Choir tation Co-Chair Chair Heather Saulnier: Nick Hartono Catherine Johnston: Choir Liaison Welcome Picnic Co-Chair; Marketing Robert Geary: Founding Artistic Direc- Kelly Kirkpatrick: Housing & Trans- tor; Ensemble & Ancora Conductor, Judy Greene-Janse: Marketing and portation Co-Chair Piedmont East Bay Children’s Choir Graphic Design Sonja Klein: Choir Liaison Molly Lloyd: Executive Director, Yoshiko Ogino: Festival Program Piedmont East Bay Children’s Choir Book; Graphic Design Stephanie Hartono O’Leary: Box Office Chair, Info Desk Alice Del Simone: Golden Gate Don Fogg: Photography Chair Festival Manager Sylvia Oberti: Conductors’ Banquet Ana Hurley: Videography Chair Katrina Turman: Golden Gate Festival Spencer Iascone: Production Lu Pearson: Choir Liaison Production Manager Assistant; Photographer Caroline Santander: Choir Liaison STAFF: Jeff Hiller: Farewell Party DJ Michael Surowiec: Opening Sue Bohlin: Principal Festival Accom- COMMITTEE CHAIRS: Reception Chair panist; Concerts and Competitions Cynthia Adams: Bay Cruise Co-Chair; Andrea & Paul Swenson: Opening Eric Tuan: Festival Accompanist; Choir Liaison Reception Ecco Conductor, Piedmont East Bay Children’s Choir Donald Golden: Medical Chair Yen Trac: Choir Liaison Tim Silva: Concert Choir Festival Carmen Hartono: Nick Hartono Yushuang Zhou: Choir Liaison Conductor, Piedmont East Bay Welcome Picnic Co-Chair Children’s Choir John Hartono: Bay Cruise Co-Chair BAY CRUISE: CONCERTS AND COMPETITIONS: Lindsay Saffouri, Melanie Willson David Baraff, Tate Bissinger, Chloe Jasa Alexander-Mends, Dana Combes, Gavan Dagnese, Grace Anderson, Maria Atkinson, Tate MEDICAL: Foster, Tess Freidenburg, John Bissinger, Annette Clear, Chloe Greg Kurio, Breanne Grady, Mary Hartono, John Lynch, Myla Manese, Combes, Clélia Donovan, Maya Nutting, Juan Manuel Garcia, Natalia Kate Moynihan, John Pearson, Lu Florsheim, Tess Freidenburg, Susan Donicirn, Ginny Lorencz, Rose Eng, Pearson, Nate Pearson, Marisa Rahl, Friedland, Marjorie Goux, Sonja Megan Richardson Abigail Sanchez, Kay Sibal, Delphina Klein, Annie Kubitschek, John Lynch, Wedell, Olivia Williams Myla Manese, Rosanne Piccinini, Delphina Wedell, Ondine Young OFFICE SUPPORT: BOX OFFICE & INFO DESK: William Adams, Gavan Dagnese Alexandra Brennan, Caitlin Dolan, FAREWELL PARTY: Carmen Hartono, Sonja Klein, Ron Ariel Bacon, Annette Clear, Shauna OPENING RECEPTION: Landskroner, Roberto Martinez, Fithian, Ed Henrich, Catherine John- Camden Louie, Lucy Swenson Marisa Rahl ston, Kristan Mayer, Lori Mouratoff, Mariam Murray, Lindsay Saffouri, And all the unsung volunteers that CHOIR LIAISON: Caroline Santander contributed so much to making this Fred Bierhaus, Cassindy Chao, festival possible. Thank you! Feitong Li, Su Li, Dan Reardon, HOSPITALITY: Jie (Liv) Wang Dana Anderson, Jan D’Annunzio, Barbara Beck, Margaret Hiller, Leslie Jones, Kelly Kirkpatrick, Camden Louie, Linda McClain, Lucy Meyer, Daniel Palmerlee, Janet Saalfeld, 10 PEBCC ARTISTIC ADVISORY BOARD Ragnar Bohlin, Conductor of the San Vance George, former Conductor of Kirke Mechem, Composer and Francisco Symphony Chorus the San Francisco Symphony Chorus Honorary Chair of the Golden Gate Robert Cole, former Executive Direc- and Honorary Chair of the Golden Festival (2012) tor of Cal Performances and Honorary Gate Festival (2015) Michael Morgan, Conductor of the Chair of the Golden Gate Festival Jacqueline Hairston, Composer and Oakland Symphony and Honorary (2009) Pianist Chair of the Golden Gate Festival Dr. Reed Criddle, Director of Choral Conway B. Jones, Jr., Honorary Chair (2006) Activities, Utah Valley University, com- of the Golden Gate Festival (2018) Ben Simon, Artistic Director, San poser, and alumnus of Piedmont East Jonathan Khuner, Artistic Director, Francisco Chamber Orchestra Bay Children’s Choir West Edge Opera Mark Winges, Composer Stacy Garrop, Composer Dr. Morten Lauridsen, Composer BOARD OF DIRECTORS OF PIEDMONT EAST BAY CHILDREN’S CHOIR 2017-2018 SEASON David Baraff: President Marisa Rahl: Secretary Alix Howard Shirley Pao: Vice President, Treasurer Rowena Libang-Bobila Yen Trac: Vice President, MEMBERS AT LARGE: Camden Louie Development Poppea Dorsam Sue Malick Richard Raushenbush: Vice President, Natalie Henrich Carrie McAlister Planning Supports Piedmont East Bay Children’s Choir Village Square at Montclair (510) 482-0600 11 ADJUDICATORS AND OFFICIALS CHORAL COMPETITION ADJUDICATORS María Guinand (Venezuela) María Guinand is a choral
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Quodlibet by John Pendleton Kennedy
    Quodlibet by John Pendleton Kennedy CHAPTER I. ANTIQUITIES OF QUODLIBET—MICHAEL GRANT'S TANYARD DESTROYED BY THE CANAL—CONSEQUENCES OF THIS EVENT—TWO DISTINGUISHED INDIVIDUALS TAKE UP THEIR RESIDENCE IN THE BOROUGH—ESTABLISHMENT OF THE PATRIOTIC COPPERPLATE BANK— CIRCUMSTANCES WHICH LED TO AND FOLLOWED THAT MEASURE— MICHAEL GRANT'S OBJECTIONS TO IT. It was at the close of the year 1833, or rather, I should say, at the opening of the following spring, that our Borough of Quodlibet took that sudden leap to greatness which has, of late, caused it to be so much talked about. Our folks are accustomed to set this down to the Removal of the Deposits. Indeed, until that famous event, Quodlibet was, as one might say in common parlance, a place not worth talking about—it might hardly be remarked upon the maps. But since that date, verily, like Jeshurun, it has waxed fat. It has thus come to pass that "The Removal" is a great epoch in our annals—our Hegira—the A. U. C. of all Quodlibetarians. Michael Grant, a long time ago—that is to say, full twenty years—had a tanyard on Rumblebottom Creek, occupying the very ground which is now covered by the canal basin. Even as far back as that day he had laid up, out of the earnings of his trade, a snug sum of money, which sufficed to purchase the farm where he now lives at the foot of the Hogback. Quodlibet, or that which now is Quodlibet, was then as nothing. Michael's dwelling house and tanyard, Abel Brawn's blacksmith-shop, Christy M'Curdy's mill, and my school-house, made up the sum-total of the settlement.
    [Show full text]
  • Grateful Dead Records: Realia
    http://oac.cdlib.org/findaid/ark:/13030/c8k64ggf No online items Guide to the Grateful Dead Records: Realia Wyatt Young, Maureen Carey University of California, Santa Cruz 2012 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Note Finding aid updated in 2018, 2020, 2021 Guide to the Grateful Dead MS.332.Ser.10 1 Records: Realia Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Realia Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser.10 Physical Description: 178 Linear Feet128 boxes, 21 oversize items Date (inclusive): 1966-2012 Stored in Special Collections and Archives. Language of Material: English Access Restrictions Collection open for research. Advance notice is required for access. Use Restrictions Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. Preferred Citation Grateful Dead Records: Realia. MS 332 Ser. 10. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Grateful Dead Productions, 2008. Accurals The first accrual was received in 2008. Second accrual was received in June 2012. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD.
    [Show full text]
  • Music Has Always Been Important for Sara Bareilles. She Began Performing in School at an Early Age
    Music has always been important for Sara Bareilles. She began performing in school at an early age. Later, she joined a singing group while studying at the University of California, Los Angeles. “I got started my sophomore year at school, and I was just talking about it earlier. Actually, I felt like I just found my home because we were all equally geeky.” Bareilles had an easy time combining singing with songwriting. “They felt very, like, they went hand in hand to me ... writing the songs and singing them. Because I think they are all so personal and I tend to be a very autobiographical writer.” Her songs are often very personal. “I do write very much from my own perspective. I’m writing about things I’ve gone through … and, you know, a lot of relationship stuff and just sort of how I see the world.” She talks about her album “Kaleidoscope Heart.” “I feel like I took more risks this time around both from the songwriting perspective and from a production point, as well. We just kind of swung for the fences. And I wanted to have … I didn’t want to limit myself or self-edit too much this time around, so I 1 learningenglish.voanews.com | Voice of America | 10.3.12 really did what felt good. I had a blast recording the record.” Sara Bareilles is best known for her 2007 hit “Love Song.” You may be surprised to learn why she wrote it. “It was actually written for my record label. I had been turning in new music.
    [Show full text]
  • Myfanwy Mynyddog (Richard Davies), Joseph Parry
    CANTABILE – THE LONDON QUARTET THE GREAT BRITISH A CAPPELLA SONGBOOK EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 1 110/8/20120/8/2012 1:06:361:06:36 PPMM Cantabile − The London Quartet is managed by artist management A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin. Arranged by Cantabile − The London Quartet. © 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA. Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved. Pomp and Circumstance by Edward Elgar. Words © 2012 by Margarete and Julian Forsyth. Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet. © Copyright 2012 by Cantabile − The London Quartet. All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet. Peters Edition Limited 2−6 Baches Street London N1 6DN Tel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: [email protected] Internet: www.editionpeters.com CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 2 110/8/20120/8/2012 1:07:041:07:04 PPMM CONTENTS Foreword . 4 Vorwort . 5 About the Songs . 6 Über die Stücke . 8 Pastime with Good Company King Henry VIII of England . 11 Greensleeves Traditional English . 14 Oranges and Lemons Traditional English . 22 Myfanwy Mynyddog (Richard Davies), Joseph Parry . 30 Danny Boy, ‘I Would be True’ Traditional Irish (Londonderry Air) Frederic E. Weatherly, Howard Walter . 35 A Man’s a Man for A’ That Traditional Scottish / Robert Burns (‘Lady McIntosh’s Reel’) .
    [Show full text]
  • Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De
    Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17.
    [Show full text]
  • 1965 Bach Festival Program
    v; lJ:) ~ ~ ~ :::: en ....~ Co! 1:: - rl i4 .... Co! Q ~ tl)" ..1::< Q Q ~ a ,E ~ ~ N ..... Q tl\ Q a ~ t-...." ~ Ill - 1:: IJ:) ~ ~ ~ ~ - Co! ,.p 1:: :+.. ~ ~ ':!' ~ e ~ 1:: ~ tn ;:; tn :.... lJ:)" -;:; a a Q .s ...... @ ...e. 1:: i4 ....e" ~ (>! .... 1:: Q • (>! ......... ..... i4 ..... 1:: Ill ~ ...e. ~ ~ :::: $::; tl\ ~ .... (>! ~ :.... M " - (>! 1:: ~ (>! ..1::< ...e. ...e. $::; ~ ~ ...!:! tl\ ~~ E (>! $::; (>! O,f (>! ..... 1:: - ....e" .... tl\ ~ - ~ ] ~ :+.. ..1::< Q $::; 1:: tl\ 2rv ~ :.... i4 Q - ~ ..a 1:: ~ ~ ~ ~ at ~ THE BACH FESTIVAL COUNCIL PROGRAM NOTES Dr. Russell Hammar, Director Dr. \Veimer K. Hicks, Honorary Chairman Miss Barbara \Veller, Administrative Secretary by Lawrence R. Smith Dr. James Miller, Honorary Member Dr. Henry Overley, Director Emeritus First Concert Dr. Harold Harris, Executive Co-Chairman ( 1962-65) Mrs. R. Bowen Howard, Executive Co-Chairman ( 1963-66) The fifth of Bach's six Brandenburg Concertos displays as dramatically as any other work his intense mastery in fusing the traditions of the past, which he derived from the works of the ARTISTS COMMITTEE PATRON-SPONSOR COMMITTEE Venetian masters; the currents of his own time, in which his greatest single inRuence was from Mr. E. Lawrence Barr 1962-65 Mrs. Lester Start, Chairman Vivaldi; and his own forward-looking inventiveness. The colorful instrumentation of the work, Dr. J. M. Calloway Mrs. Russell Carlton 1963-66 using a string instrument, the violin; a woodwind, the flute; and a keyboard instrument, the Mrs. Maynard Conrad 1964-67 Mr. Neill Currie 1964-67 harpsichord, as the concertina group against the mass of the string ripieno, reflects the polychoral Mrs. Marion Dunsmore 1964-67 Mrs. John Correll 1964-67 productions of Gabrieli and his followers at Venice at the juncture of the Renaissance and Mrs.
    [Show full text]
  • Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
    Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition.
    [Show full text]
  • General Rules of the Eisteddfod
    Rhestr Testunau – English Version GENERAL RULES OF THE EISTEDDFOD Please note, the Rules stated below are relevant to every Eisteddfod – Local, Regional and National. Where a clarification of the Rules is necessary, the Welsh language version of the Rules shall be used as the basis for the decision. 1. Language policy The Eisteddfod aims to promote Welsh culture and to protect the Welsh Language. Welsh is the official language of the Eisteddfod. All creative works and competitions must be in Welsh except where noted otherwise for a particular competition. i Where there is no call for knowledge of the Welsh language the competitions are open to any member of the Urdd born in Wales, or any person who has a parent that were born in Wales, or any person living in Wales immediately before the festival or any person who can speak or write in Welsh. Words used in any work must be in Welsh. ii Recitation / Action Song / Dramatic Presentation / Theatre An exception may be made to use another language when there is a need to put part of the work into context. However, over - use of another language will not be permitted. iii Disco/Hip Hop/Street Dancing / Creative Dancing Music with Welsh language vocals or instrumental music only, should be used as an accompaniment. 2. Only full members of Urdd Gobaith Cymru may compete in Local, County/Regional and National Eisteddfodau. No one shall be considered a full member unless the membership fee has been paid and a Membership Card and number have been received for the year 2014/15.
    [Show full text]
  • Berlioz Program Single Pages
    Program Richard Strauss Also Sprach Zarathustra 1864–1948 Fanfare/Introduction 1896 Eric Kujawsky, Redwood Symphony Also know as “Sunrise” as heard in the movie 2001, A Space Odyssey. It was hard to resist the temptation to show off our four brass bands with this rousing musical gem. Felix Mendelssohn Hebrides Overture 1809–1847 1830 Eric Townell, Rochester Oratorio Society Also known as the Fingal’s Cave Overture, the work was inspired by a cavern known as Fingal’s Cave on Staffa, an island in the Hebrides archipelago located off the west coast of Scotland. On a “Grand Tour” of Europe, the 21-year-old composer was struck by its beauty and immediately jotted down a sketch reflecting his musical impression of the place. Hector Berlioz Shepherd’s Farewell 1803–1869 from L’Enfance du Christ 1850 Robert Gurney, San Francisco Lyric Chorus The Childhood of Christ is an oratorio based on the flight of the Holy Family into Egypt. This selection is a farewell and wish for safe passage sung to the Christ Child by the shepherds as the Holy Family is about to depart. Arrigo Boito Mefistofele 1894–1918 Final Chorus 1868 Adrian G. Horn, Finger Lakes Choral Festival As the aging Faust approaches the end of his life, he dreams of a tranquil and fruitful world, free of evil. Mephistopheles becomes alarmed and urges Faust to come away with him, but his temptations are thwarted as trumpets herald the appearance of a heavenly choir. Faust, enraptured by the celestial vision, begs for deliverance from evil and is granted redemption as his dying wish.
    [Show full text]
  • REDWOOD SYMPHONY I /' /////B R Ie K.Ija«Sky
    REDWOOD SYMPHONY i /' /////B r ie K.ija«sky. Mumc DbvCtOT (OUPlMfJlH SfASON I99e-J999 Gustov Mahler Symphony No. 8 |l86o-19n| (1906! 'Symphony of o Ihomand' Pari I - Hymn: "Veni, crealor spinlus INTERMISSION Pari II - Closing Scene from "Fausl' Emily Breedlove Wendy Loder uspiano jopiono Mognu PeccolriK Malof Glorioio Una Poondenhum Heidi Waterman Sally Mouzon alio alio Multer Somanlano Mono Aogypdoca Marc Lowensfein Ryan Taylor Gearge Hernandez hmof banlona QOfi Ootloi Mononus Pole' EcUolicus Pale 1 Prolundus College of Noire Dome Compuv-Community Chorus John Buih. Difoclof Skyline College Choir Peninsula Canlare Duoclor Palnoa Honmngj, Janice Guodefson, Musk Direcloi Peninsula Girls Chorus Ragazzi, The Peninsula Boys Chorus Colhcnno Woidok, Di(ecloi Joyce Kcil. Arliviic Directoi Sunday, April 11, 1999 3:00 P.M. : San Mafeo Performing Arts Confer San Mafeo, California Ptoo*- lemembef la diwjfm oil walches , phonos, and bcepeis pnor lo the conceit Parenii muM asiumo icsponvbtlity foe rho quiel and oHentivr behovio' ol 'heir childfen. 8 Iho Music Dirvclor Eric Kujawiky i* iho Mojic OtfoclcH o* Rudwood Symphony, now In ii» louileenlh n al Cortoda College m Redwood C ity A nohvo uf lo» Angeles, ho began ha conducting yudtei r al cuje louiioon and made his dabul with a youth Ofcha f tlia ol mnoleen Ahor completing hu 6 A in muwc education and I M f A m conducting at UCLA, Kujawiky accepted o fellow- IS ship lo study conducting al Slonlofd Dr Kujawsky founded Ii Kodwood Symphony in 1985, immediololy after he received )i hn D M A Ho is now the Chairman ol the Pedomiing A r ts Dopartmonl al Jamos lick High School in San Jose, as well as an instructor al Ca r tada Colloga Dr Ku|awsLy has performed at iho Aspen Musk festival us his teachers include a member of the Conducting Master Class, Samuel Krachmalnick, Paul Vermel, and Andor loth He has il guest conducted the Rose City Chamber Orchestra, the Mesa Symphony in Arizona, the San Fionosco Gay Men's Chorus.
    [Show full text]
  • London, 1930 a Musical Evening at the Home of Miss Harriet Cohen -If
    London, 1930 A Musical Evening At The Home Of Miss Harriet Cohen Christi Amonson, Soprano as Dora Stevens John Milbauer, Pianist as Henry Cowell Robert Swensen, Tenor as John Coates Steven Moeckel, Violinist as Fritz Kreisler Paula Fan, Pianist as Harriet Cohen GUEST ARTIST CONCERT SERIES KATZIN CONCERT HALL MONDAY, MARCH 31, 2008 • 7:30 PM MUSIC -if-ferbergerCollege of the Arts ARIZONA STATE UNIVERSITY Soprano Christi Amonson (Dora Stevens Foss) has appeared in leading roles with Opera Program Delaware, Lyric Opera San Antonio, Chautauqua Opera, Lake George Opera, Taconic Opera, Opera Intimate at Lincoln Center and the Opera Company of Brooklyn. She also toured as Naughty Marietta with Rockwell Productions. In 2006 Ms. Amonson won 2'd A Welcome by Miss Cohen place in the International Classical Singer Competition. She is also a Liederkranz Competition Winner, a Regional Finalist in the Metropolitan Opera National Council The Tides of Manaunaun Henry Cowell Auditions and a recipient of the Arlene Auger Award. Her recent concert performances Mr. Cowell include the Ortiz Music Festival in Alamos, Mexico, Messiah with the Las Vegas Desert Chorale, the Brahms Requiem with the Concordia Orchestra, Mirth in Handel's LAllegro with the Bronx Arts Ensemble at the NY Botanical Gardens, and Lincoln Center's Three Songs William Walton Broadway Dozen. Ms. Amonson earned her MM at the Manhattan School of Music and her Daphne BM at the University of Idaho. She is currently a doctoral candidate at the University of Through Gilded Trellises Arizona, where she also serves as a Graduate Teaching Assistant. Old Sir Faulk Pianist John Milbauer (Henry Cowell) has performed frequently across the Americas, Miss Stevens and Miss Cohen Europe and Asia, and his concerts have been broadcast on radio and television stations on three continuents.
    [Show full text]