Juilliard Pre-College Symphony Photo by Michael Divito
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From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
Delightful Listening Experiences in Quasi-Chamber Music. the D
delightful listening experiences in and 1925. He was an exacting artist quasi-chamber music. The D Major who set such high standards for Concerto for harpsichord, originally himself that instead of serving as a scored for two violins, viola, bass, challenge to him, they became an two oboes and two horns, was writ inhibitive force which prevented ten around 1784. The last move his creative impulse from being ful ment, in a gypsy style rondo, is filled. jovial Haydn at his merriest. Although most of Falla's music presents the sonic picture of Spain Concerto for Harpsichord, Flute, we have come to expect from Span Oboe, Clarinet, Violin and Cello ish music, with its typical rhythms Manuel de Falla (1876-1946) and melodic flourishes, the present During most of the eighteenth and Concerto is somewhat exceptional nineteenth centuries, when com in this respect. Here the Spanish posers of note were emerging from idiom is refined and stylized, which most of the major countries of Eu lifts the piece above the level of be rope, ilittle of musical importance ing outwardly and picturesquely was heard from Spain. Not until the Spanish. The solo harpsichord part, turn of the century did Spanish mu although totally interwoven with the sic reassert itself on the world scene, other instruments, clearly evokes primarily through the music of Man the keyboard style of Domenico uel de Falla, who became the lead Scarlatti, the Italian composer who ing figure of the modern Spanish spent the major part of his career school of composition. in Spain some two hundred years before. -
Tianjin Juilliard Faculty Concert
The Tianjin Juilliard School presents Tianjin Juilliard Faculty Concert Monday, February 25, 2019, 7:00pm Cosmos Hall SAINT-SAËNS Fantaisie for Violin and Harp, Op. 124 GLINKA Romance for Violin, Cello, and Harp MOZART Oboe Quartet in F Major, K. 370/368b Intermission BRAHMS Piano Quintet, Op. 34 I. Allegro non troppo II. Andante, un poco Adagio III. Scherzo. Allegro IV. Finale. Poco sostenuto-Allegro non troppo Program order and selections are subject to change. Changes will be announced from the stage. Learn more about The Tianjin Juilliard School by visiting our website: tianjin.juilliard.edu About the Artists Scott Bell Oboist Scott Bell has performed recitals as part of the Music in a Great Space series in Pittsburgh and Reykjavik, Iceland. He has also appeared with the Santa Fe Opera, Glimmerglass Opera, Atlanta Symphony, National Symphony, Minnesota Orchestra, and Milwaukee Symphony. He is a member of the critically acclaimed Pittsburgh Reed Trio. As well as having been a member of the two-time Grammy Award winning Pittsburgh Symphony since 1993, Bell also holds the Mr. and Mrs. William Rinehart endowed oboe chair. Bell has been on the faculties of Northern Illinois University, Tulane University, Trinity College, Wesleyan University, Carnegie Mellon University, and Duquesne University. He attended the Cleveland Institute of Music as a student of legendary oboist and pedagogue John Mack. In 1982, Bell became the first oboist to win First Prize at the prestigious Fernand Gillet Competition. Sheila Browne Recently named William Primrose Memorial Recitalist Sheila Browne has performed across six continents. She premiered a concerto written for her by Kenneth Jacobs at the international viola congresses in Australia and South Africa and recorded it with the Kiev Philharmonic. -
Smith College Alumnae Chorus to Honor Composer Alice Parker, Class of 1947, in Special Concert
Published on GazetteNet (http://www.gazettenet.com) Print this Page A lifetime of music; Smith College Alumnae Chorus to honor composer Alice Parker, class of 1947, in special concert By STEVE PFARRER Staff Writer Wednesday, September 17, 2014 (Published in print: Thursday, September 18, 2014) Who says your time singing in college has to end with graduation? For members of the Smith College Alumnae Chorus, launched four years ago, choral music remains a means for forging connections among graduates of different classes and keeping their voices raised in song. For Alice Parker, Smith class of 1947, choral music has been a lifelong calling — as a composer, a conductor and teacher. Parker, 88, has composed for decades, earning particular notice for her arrangements of folk songs and hymns for vocal ensembles. She collaborated for years on such material with the late Robert Shaw, known as “the Dean of American Choral Conductors.” On Sunday, Sept. 21, Parker and the Alumnae Chorus (SCAC) will join forces at Smith to celebrate Parker’s lifetime achievements in a 2 p.m. show at Sweeney Concert Hall. Part of the performance, which will be conducted by Parker, has a special connection to the Valley as well: Parker will lead the chorus in a rendition of her song cycle “Three Seas,” a suite based on the poetry of Emily Dickinson. Members of the SCAS, most of whom performed with one of more vocals groups at Smith when they were students, say the opportunity to work with Parker is an exciting one. “It’s really an honor,” Sarah Muffly, class of 2008 and the chorus’ secretary, said in a recent phone call from her home in the New York area. -
Music for Viola and Piano, September 30, 2018 Lawrence University
Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 9-30-2018 12:00 AM Music for Viola and Piano, September 30, 2018 Lawrence University Follow this and additional works at: https://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Music for Viola and Piano, September 30, 2018" (2018). Conservatory of Music Concert Programs. Program 311. https://lux.lawrence.edu/concertprograms/311 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. Guest Recital Music for Viola and Piano Sheila Browne, viola Julie Nishimura, piano Sunday, September 30, 2018 6:00 p.m. Harper Hall Sonatensatz from the F-A-E Sonata, WoO posth. 2 Johannes Brahms (1833-1897) Sonata for Viola and Piano (1979) George Rochberg Allegro moderato (1918-2005) Adagio lamentoso Fantasia: Epilogue INTERMISSION Convergence (2009) Andrea Clearfield (b. 1960) Sonata for Viola and Piano (1919) Rebecca Clarke Impetuoso (1886-1979) Vivace Adagio PERFORMER BIOS Hailed by the New York Times as a “stylish player” for a concerto performance in Carnegie Hall’s Stern Auditorium, violist Sheila Browne is an accomplished international soloist, chamber musician and professor. Honored to be named the William Primrose Memorial Recitalist of 2016, Ms. Browne has performed in major halls on six continents, including solo performances with the Juilliard Orchestra, Kiev Philharmonic, New World Symphony, in Carnegie Hall with the New York Women’s Ensemble, South African International Viola Congress Festival Orchestra, and the Viva Vivaldi!, Reina Sofia and German French chamber orchestras, and with the Highland Mountain Correctional Center Women’s String Orchestra in Alaska. -
Compact Disc C36 2018 5-20.Pdf (386.2Kb)
~'N\t>~' ~Q... "Jf\71 SCHOOL OF MUSIC C3G \iJ\J UNIVERSITY of WASHINGTON oz6\8 5-cXD CAMPUS PHILHARMONIA ORCHESTRAS side-by-side with BELLEVUE YOUTH SYMPHONY ORCHESTRA conducted by Gabriela Garza Canales " Lorenzo Guggenheim Mario Alejandro Torres and Teresa Metzger Howe th Sunday, May 20 , 2018 3:00pm, Meany Theater UW MUSIC '3 2017-18 SEASON CPO & BYSO CONDUCTORS student at the University of Washington under the mentorship of Dr. David Rahbee and Ludovic Morlot. Gabriela Garza Canales (born July 1 st, 1989, Lorenzo is a Teaching Assistant in UW where he is co Monterrey, Nuevo Leon) is a Mexican conductor and conductor of the Campus Phil harmonia Orchestras percussionist. She is currently in her first year of and Assistant conductor of UWSO. He graduated doctoral studies at the University of Washington with Honors in Orchestral Conducting from the under the mentorship of David Alexander Rahbee Catholic University of Argentina in 2014. He also and Ludovic Morlot. She is also co-conductor of the studied Contemporary Music Ensemble Conducting Campus Philharmonia Orchestras and assistant in the music conservatory "Manuel de Falla" in conductor of the UW Symphony Orchestra. Buenos Aires. Gabriela holds a Master of Music in Orchestral He has been an active part of the musical Conducting from the University of New Mexico, scene of the Universisty of Washington presenting under the mentorship of Dr. Jorge Perez-Gomez. concerts with CPO and UW Chamber Orchestra with She also holds a Bachelor Degree in Music Luke Fitzpatrick as soloist. He also collaborated with Performance, with emphasis in percussion from the the Modern Music Ensamble making the US Premiere University of New Mexico, under the direct instruction of Delgado's Cotores Congetados and presenting's of Professor Scott Ney. -
Falla Y Stravinsky: Una Amistad Hispano-Rusa
38 etc Domingo, 14 de enero de 2007 La Opinión de Granada CONCIERTOFALLA Falla y Stravinsky: una Vida Breve Radio El néctar y la pana amistad hispano-rusa en ‘Música de nadie’ b ‘Música de nadie’ es el sugeren- z YVAN NOMMICK. Granada te título de un espacio radiofónico Apuntes semanal que dirige Pierre Élie Ma- na estrecha amistad unió a Falla mou los domingos en Radio Clási- y Stravinsky desde que se co- ca (de 22.00 a 23.00 horas). Las Unocieron en París en 1910, año Tres retratos indefinibles propuestas del pro- en el que los Ballets Russes de Dia- La amistad, el afecto grama las ensarta su conductor con ghilev estrenaron ‘El pájaro de fue- y el respeto artístico breves e intensos parlamentos. El go’ en la Ópera de la capital francesa. que existieron entre próximo domingo 21 de enero es- En este breve texto examinaremos Falla y Stravinsky se cucharemos ‘Cuando el límite imi- algunos momentos significativos de evidencian en los ta el límite’, con lieder de Schu- las relaciones entre los dos músicos. tres retratos que se mann sobre los que se recitan poe- Falla fue testigo privilegiado de las intercambiaron, mas japoneses o el experimento primeras representaciones de ‘La con- cuyas dedicatorias, del pianista Kikuchi sobre la ‘Tos- sagración de la primavera’ en 1913, en redactadas en fran- ca’ de Puccini. el Théâtre des Champs-Élysées, y de cés, son muy llamati- su reposición en 1914. Dos años des- vas. Así, el 18 de pués, describió en La Tribuna de Ma- marzo de 1929, Falla drid cómo los músicos “de mala fe y mandó al compositor Publicación -
JUILLIARD ORCHESTRA New World Records 80396 Conducted by CHRISTOPHER KEENE, PAUL ZUKOFSKY and JAMES DEPREIST
JUILLIARD ORCHESTRA New World Records 80396 Conducted by CHRISTOPHER KEENE, PAUL ZUKOFSKY and JAMES DEPREIST DAVID DIAMOND Symphony No. 5 MILTON BABBITT Relata I VINCENT PERSICHETTI Night Dances James DePreist has been music director and conductor of the Oregon Symphony since 1980 and a distinguished guest conductor in America and abroad. Recent and future appearances include the New York Philharmonic, the Philadelphia Orchestra, the Chicago Symphony, the Bournemouth Symphony and the Lausanne Chamber Orchestra. In 1971, Antal Dorati chose DePreist to become his associate conductor with the National Symphony Orchestra. He later was named music director of the Quebec Symphony, from 1976 to 1983. In 1991, DePreist becomes principal conductor of the Malmo Symphony, one of Sweden's four largest orchestras. He is the nephew of the legendary contralto Marian Anderson. Paul Zukofsky is director of the Juilliard 20th Century Ensemble. In addition to his activities at Juilliard, he is artistic director of "Summergarden" at the Museum of Modern Art, program coordinator of the "American Composer" series at the Kennedy Center, and music director of the Youth Symphony of Iceland. Music director of the Colonial Symphony of Madison, New Jersey from 1978 to 1987, he has also been director of the Zukofsky seminar in orchestra repertoire at the Reykjavik College of Music. A leading performer of American violin music, Zukofsky has performed world premieres of concerti by Sessions, Wuorinen, and Glass, and solo works by Babbitt, Cage, Carter, and Crumb. Recognized as both a conductor and an arts administrator, Christopher Keene became general director of the New York City Opera in March 1989. -
Manuel De Falla' S Siete Canciones Populares Españolas: the Composer's Personal Library, Folksong Models and the Creative Process.'
Anuario Musical, vol. 55 (2000) MANUEL DE FALLA' S SIETE CANCIONES POPULARES ESPAÑOLAS: THE COMPOSER'S PERSONAL LIBRARY, FOLKSONG MODELS AND THE CREATIVE PROCESS.' Michael CHRISTOFORIDIS Abstract Manuel de Falla's personal library provides a unique resource for the study of the composer's assimilation of ideas, and his lifelong habit of annotating his reading material and scores heightens the library's usefulness to an understanding of his creative process. Falla's reliance on musical borrowings in his compositions means that a study of the printed scores in his library often gives insights into the sources employed and the development of his musical ideas. The limited extent of Falla's field work in the realm of folk music makes this source even more valuable to discussions of folk-inspired works such as the Siete canciones populares españolas. The provenance of the melodies employed by Falla in that work has been the subject of articles by Manuel Garcia Matos and Josep Crivillé i Bargalló. While indebted to their research, this study argues that in the Siete canciones populares españolas all of Falla's melodic lines and some of the accompaniments are based, to varying degrees, on the assimilation of materials taken from specific publications in his possession. Falla's exposure to and incorporation of folk music in his scores is also examined, and the Siete canciones populares españolas are situated within the creative context of Falla's Parisian milieu. Finally, similarities are drawn between Falla's use of folk sources and the process through which early music was incorporated into his neoclassical scores of the 1920s. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Elec Press Kit 10.09.Indd
��������������� ��������� About NDI “They say you can see the universe in a fl ower. In one hour, teaching a jig to a motley crew of students of all ages, Jacques d’Amboise lays bare the essence of all good education: discipline, eff ort, beauty, struggle, joy. In the process, he opens up a universe of possibilities for all who participate and reveals why an education in the arts must be the birthright of every human being.” – Howard Gardner, Director, Harvard University Graduate School of Education, Project Zero National Dance Institute (NDI) was founded in the belief that the arts have a unique power to engage children and motivate them toward excellence. Since it was founded in 1976 by New York City Ballet principal dancer Jacques d’Amboise, NDI has impacted the lives of over 2 million children. Under the artistic direction of Ellen Weinstein and a staff of professional dancer/choreographers and musician/composers, NDI strives to reach every child, transcending barriers of language, culture, and physical challenges. Not one child pays a penny for these programs. • Each year, NDI reaches over 35,000 New York City public elementary school students and their communities through classes, residencies and performances. • All NDI programs are off ered to children free of charge. • Through classes led by professional teaching artists, we provide a full-year program for 4,000 children in our 30 partner schools. • NDI works with mainstream, bilingual, and special education classes. • The majority of NDI dancers come from low-income communities. • Through our Advanced Scholarship Programs, exceptionally motivated children may extend their NDI experience up to the age of 15. -
PROGRAM NOTES Igor Stravinsky Pulcinella, Ballet in One Act with Song
PROGRAM NOTES by Phillip Huscher Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Pulcinella, Ballet in One Act with Song Stravinsky began the ballet Pulcinella in the late summer of 1919 and completed it on April 20, 1920. It was premiered on May 15 of that year by the Ballets Russes, at the Paris Opera. The complete score calls for soprano, tenor, and bass soloists, with an orchestra of two flutes, two oboes, two bassoons, two horns, trumpet, trombone, tenor and bass trombone, a quintet of solo strings, and orchestral strings. Performance time is approximately forty minutes. The Chicago Symphony Orchestra first performed the suite from Stravinsky's Pulcinella on subscription concerts at Orchestra Hall on July 17 and 18, 1935, with the composer conducting. Stravinsky also conducted the Orchestra's first performance of the complete ballet score on a special concert at Orchestra Hall on April 17, 1965, with Irene Jordan, Nicholas di Virgilio, and Donald Gramm as soloists. The first subscription concert performances of the complete ballet were given on March 8, 9, and 10, 1973, with Bethany Beardslee, Robert Johnson, and Leslie Gunn as soloists and Lukas Foss conducting. Our most recent subscription concert performances of the complete ballet were given on February 8, 9, and 10, 1979, with Maria Ewing, Ryland Davies, and Claudio Desderi as soloists and Claudio Abbado conducting. The suite was most recently performed on subscription concerts on November 28, 29, 30, and December 2, 1997, with Pinchas Zukerman conducting. The Orchestra first performed music from Pulcinella at the Ravinia Festival on July 12, 1970, with Michael Tilson Thomas conducting, and most recently on August 13, 1987, with Leon Fleisher conducting.