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Programação De Novembro
PROGRAMAÇÃO DE NOVEMBRO Concerto de Câmara: 9 de novembro, às 18h Concerto Verdi: 15 de novembro, às 21h Concerto 40.º Aniversário OSJ: 16 de novembro, às 21h Exposição Noites em São Carlos : a partir de 21 de novembro Durante o mês de novembro e para além da ópera La fille du Régiment (Donizetti), que estreou ontem, dia 4 (restantes récitas nos dias 6, 8 e 10 de novembro), o Teatro Nacional de São Carlos apresenta nos dias 9 e 15 um concerto de câmara e um concerto coral-sinfónico, com direção musical de Pedro Neves e Rui Pinheiro, respetivamente. No dia 16 de novembro , realiza-se o concerto comemorativo do 40.º aniversário da Orquestra Sinfónica Juvenil que, sob direção de Christopher Bochmann, interpreta obras de Ferdinand Hérold, Christopher Bochmann, Hector Berlioz e Felix Mendelssohn. No dia 21 de novembro , inaugura a exposição Noites em São Carlos , que convida à descoberta do edifício (palco, bastidores, camarins) do TNSC e, simultaneamente, à visita de cenários, figurinos, programas de sala, fotografias e outros elementos documentais relacionados com a vida e obra de Giuseppe Verdi, Richard Wagner, Almada Negreiros e Maurício Bensaúde. A exposição pode ser visitada até 23 de dezembro, todos os dias excepto à quarta- feira, entre as 11h e as 18h. Concerto de Câmara No próximo dia 9, às 18h, o Teatro Nacional de São Carlos encerra o Ciclo de Concertos de Câmara no Salão Nobre, com um programa de obras de Mozart, João de Sousa Carvalho e Lopes-Graça. À semelhança dos concertos realizados nos dias 28 de setembro, 12 e 19 de outubro – sempre com lotação esgotada –, o concerto de dia 9 de novembro assentará na seguinte estrutura: um concerto para sopros, uma ária de concerto de Mozart, uma ária de ópera de um compositor português do mesmo período e uma peça para orquestra de características neoclássicas. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
A Survey of the Soprano Vocal Literature by Henry Mollicone
A SURVEY OF THE SOPRANO VOCAL LITERATURE BY HENRY MOLLICONE BY DIANE THUESON REICH Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2003 Accepted by the faculty of the School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Vincent Liotta, Research Director Patricia Wise, Chairperson ii To My husband Steve, and children Andrew and Emily, who have (at times literally) been with me all the way. Without their support this would not only have been impossible, but pointless. My parents, Dr. Neil and Allien Thueson, their standard of excellence and achievement, as well as their encouragement, have been a driving force in my life. The Reich family – Steve and Julie, Dan and Jacqui – their practical support has been invaluable, and what has enabled the completion of this degree. iii Patricia Wise, who has not only served as committee chair and teacher, but also as mentor and dearest friend. iv CONTENTS Introduction 1 Part One: Biography 2 Part Two: Operas 12 The Face On the Barroom Floor 13 Starbird 17 Emperor Norton 21 The Mask of Evil 26 Hotel Eden 30 Coyote Tales 36 Part Three: Songs 41 Seven Songs 42 Five Love Songs 48 Images and Reflections 52 Three Simple Songs 57 Conclusion 59 Appendix — Musical Compositions by Henry Mollicone 60 Sources Consulted 68 v ACKNOWLEDGMENTS Countless thanks to Henry and Kathy Mollicone for their enthusiasm to be involved, willingness to supply materials, and, of course, for the wonderful music which has been my pleasure to explore! Much appreciation to my friends and colleagues who participated in interviews, and offered valuable insights. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A. -
Music Man Meredith Willson
The Music Man Meredith Willson THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, Director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 at 2 P.M
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 AT 2 P.M. LEIGHTON CONCERT HALL DeBartolo Performing Arts Center University of Notre Dame Notre Dame, Indiana AUSTERITY MEASURES Concert Program Mark Applebaum (b. 1967) Wristwatch: Geology (2005) (5’) Marc Mellits (b. 1966) Gravity (2012) (11’) Thierry De Mey (b. 1956) Musique de Tables (1987) (8’) Steve Reich (b. 1936) Proverb (1995) (14’) INTERMISSION Timo Andres (b. 1985) Austerity Measures (2014) (25’) Austerity Measures was commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and Sidney K. Robinson. This commission made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts. This engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, which is generously supported by the National Endowment for the Arts with additional contributions from the Indiana Arts Commission. PERFORMINGARTS.ND.EDU Find us on PROGRAM NOTES: Mark Applebaum is a composer, performer, improviser, electro-acoustic instrument builder, jazz pianist, and Associate Professor of Composition and Theory at Stanford University. In his TED Talk, “Mark Applebaum, the Mad Scientist of Music,” he describes how his boredom with every familiar aspect of music has driven him to evolve as an artist, re-imagining the act of performing one element at a time, and disregarding the question, “is it music?” in favor of “is it interesting?” Wristwatch: Geology is scored for any number of people striking rocks together. The “musical score” that tells the performs what to play is a watch face with triangles, squares, circles and squiggles. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS