DOCSLIB.ORG

An American Classic, Dale Warland Singers, May 12, 2000, Benson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An American Classic, Dale Warland Singers, May 12, 2000, Benson N. Lincoln Hanks N. Lincoln Hanks currently resides in California and teaches at Pepperdine University in Malibu. Hanks is nearing the end of his doctoral studies in composition at the Indiana University School of Music, having recently passed his oral examinations. His teachers of composition include Don Freund, Frederick Fox, and Claude Baker; he has also studied with John Harbison at the Aspen Music Festival. Awards and recognitions include National Winner-Collegiate Level of the 1990 MTNA Composition Competition, and the Indiana University School of Music Dean's Prize in Composition. Hanks has been commissioned by Brigham Young University's Winter Chorale, and was selected as a participating composer in the 1997 Chorus America National Conference and in the 1998 Society of Composers, Inc. National Conference. Mr. Hanks maintains a keen interest in early music and is a founding member of The Concord Ensemble, a professional sextet of men's voices that specializes in early as well as contemporary vocal music. Hanks has also worked with Paul Hillier and Thomas Binkley. Upcoming Dale Warland Singers Events May 25-27 Ode to Joy: Beethoven's 9th Symphony and Selections from the Missa Solemnis with the Saint Paul Chamber Orchestra. Call the SPCO at 651/291-1144 for tickets and information! June 6 New Choral Music Reading Session 7:00 PM at Hamline University, Sundin Hall Admission free to the public! Call 612/339-9707 for details! The Dale Warland Singers N ow in its twenty-eighth season of concerts, tours, radio broadcasts, and critically acclaimed recordings, the Dale War land Singers is recognized as one of the world's foremost a capella choral ensembles. The 40 voice professional choir is based in Minneapolis/St.Paul. The Dale Warland Singers has earned a reputation for its commitment to commissioning and performing new choral music. The ensemble has kept the choral genre fresh and alive by commissioning works from Dominick Argento, Stephen Paulus, Libby Larsen, Carol Barnett, Brent Michael Davids, Mary Ellen Childs, Augusta Read Thomas, janika Vandervelde, George Shearing, Peter Schickele, and Bernard Rands, among others. The Dale Warland Singers' New Choral Music Program solicits works from emerging composers, and through this program, over $100,000 in commissions has been awarded to forty-eight talented musicians. In 1992, the Dale Warland Singers became the first-ever recipient of the Margaret Hillis Achievement Award for Choral Excellence. The organization shares this honor only with Chanticleer and the Vancouver Chamber Choir among professional choirs. The group's extraordinary efforts on behalf of composers and new music resulted in ASCAP Awards for Adventurous Programming in 1992,1993, 19p6, and 1999. In addition to a subscription season in the Twin Cities, the Dale Warland Singers tours throughout the United States and abroad. In 1990, the ensemble traveled to Stockholm and Helsinki to represent North \merica at the Second World Symposium on Choral Music. During the 1999-2000 concert season, the group toured the Southeastern United States. It has appeared on Garrison Keillor's original A Prairie Home Companion and is featured regularly on Public Radio International's Saint Paul Sunday. The annual Echoes of Christmas and Cathedral Classics broadcasts reach listeners nationwide. The First Art and Performance Today often feature the Dale Warland Singers. The Dale Warland Singers also performs in collaboration with other Twin Cities arts organizations such as the James Sewell Ballet, the Saint Paul Chamber Orchestra, and the Minnesota Orchestra. For many of these collaborations, the ensemble joins with volunteer singers from around the area to form the Warland . Symphonic Chorus. The Symphonic Chorus has worked under the batons of Edo de Waart, Leonard Slatkin, Hugh Wolff, the late Robert Shaw, Bobby McFerrin, Roger Norrington, and David Zinman. The Dale Warland Singers record primarily on the American Choral Catalog label, and the choir released a new recording on this label during the 1999-2000 season. Featuring Leonard Bernstein's Chichester Psalms and Benjamin Britten's Rejoice in the Lamb, it joins some 20 other Dale Warland Singers recordings including Blue Wheat, a collection of American folk music. The Seattle Times calls Blue Wheat, "the loveliest choral disc to emerge in a long time ... sung by what is probably America's lest chorus." Also among the Singers' lauded releases is December Stillness, which BBC Music Magazine -"gaveits highest rating for performance and sound, calling it, u ••• splendid, melting stuff." The South Jersey's Courier-Post called the 1994 release, Cathedral Classics, "an unmatched musical experience," and The Oregonian stated Simply, "peerless." Earlier recordings by the Singers include, Fancie, A Rose in Winter, Christmas Echoes, and, Carols for Christmas as well as Choral Currents and 12 others. 3 Dale Warland Singers Roster Dale Warland, Founder and Music Director Jerry Rubino, Associate Conductor Soprano Beth Althof Marie Spar Dymit* Lynette Johnson Tenor Korissa Kirkwold Cathy Larsen Jared Anderson Lori Lewis Joel Beyer . Deborah Loon Osgood Jerry Elsbernd Eeva Savolainen Joel Fischer Naomi Staruch Bryan Fisher Monica Stratton Eric Hopkins Chris Jackson Brian Kremer Steve Staruch Alto Gregory Tambornino Devjani Banerjee-Stevens Sara Boos Bass Erin Colwitz Galina Erickson Bruce Broquist Joanne Halvorsen * Matt Culloton Anne Holmes Ryan French Linda Kachelmeier Dave Jacobson Shelley Kline Pat McDonough Kathleen Robinson Tim O'Brien Bob Peskin* Jim Ramlet Terry Sheetz Brian Steele Mike Winikoff Woody Woodward 4 An AmERicAII CLAssic Friday, May 12, 2000 8:00 PM Benson Great Hall, Bethel College I. Reincarnations Samuel Barber I. Mary Hynes II. Anthony 0 Daly III. The Coolin II. Before the Stars Peep N. Lincoln Hanks (World Premiere) (1998 New Choral Music Winner) Favorites I o Magnum Mysterium Morten Lauridsen III. Tom o'Bedlam Jacob Avshalomov Kathleen Robinson, oboe Jay Johnson, percussion INTERMISSION IV Spherical Madrigals Ross Lee Finney 1. When again all these rare perfections meet 2. All-circling point 3. His body was an orb 4. On a round ball 5. Nor doe I doubt 6. See how the earth Favorites II Alleluia Randall Thompson V 'fsalm 90 Charles Ives Dean Billmeyer, organ Jay Johnson and Fred Opie, percussion Reincarnations Samuel Barber In 1938 the director of Philadelphia's Curtis Institute of Music, Randall Thompson (whose Alleluia you'll hear near the end of our concert), invited 28-year old Samuel Barber back to his alma mater to found and conduct a chamber choir. Every Monday afternoon for the next three years, Barber hopped a train from New York to lead a two-hour rehearsal with his 24-voice Madrigal Chorus. Tucked in his briefcase was usually a new piece for these lucky singers, most of whom remember him for his beautiful music - not his skill on the podium. (Barber wrote a friend: "At first I came into rehearsal with trembling hands. Until I saw that they were afraid of me and that the accompa- nist's hands were trembling. Now I have them in my hands, but in case I beat wrong I've learned the gentle arrogance with which to blame it on them. This sounds conceited, but as you see I'm still rather scared of them. ") Mixed feelings aside, Barber created an especially rich group of works for his singers, including Reincarnations. These three texts are Irish poet James Stephen's re-writing, or reincarnating, old Gaelic poems which in turn bring to life three memorable characters. The first is about Mary Hynes, whose loveliness was the subject of dozens of poems, most written generations after her death. Barber's setting begins white-hot, but grows more tranquil and rapturous. Anthony 0 Daly, another real-life character, was convicted of leading an Irish peasant uprising in 1820 and hanged. This lament for his passing is the most intricately designed of the Reincarnations as well as the most gripping. The basses repeat the man's name and support a wrenching three-part canon above. Just as in Barber's popular Adagio for Strings, the music mixes grief and consolation on its way to a searing climax. James Stephens described the word coolin: "a little, very special curl that used to grow exactly in the middle of the back of the neck of a girl. That term, 'little curl,' or 'coolin,' came to mean one's sweetheart." Barber's setting needs no introduction: this is music simply to revel in. 1. Mary Hynes She is the sky Of the sun! She is the dart Of love! She is the love Of my heart! She is a rune! She is above The women Of the race of Eve As the sun Is above the moon! Lovely and airy The view from the hill That looks down on Ballylea! But no good sight Is good, until By great good luck You see 6 The Blossom Of Branches, Walking towards you, Airily! 2. Anthony 0 Daly Since your limbs were laid out The stars do not shine! The fish leap not out In the waves' On our meadows the dew Does not fall in the morn, For 0 Daly is dead! Not a flow'r can be born Not a word can be said! Not a tree have a leaf! For 0 Daly is dead! Anthony! After you There is nothing to do! There is nothing but grief! 3. The Coolin (The Fair Haired One) Come with me, under my coat, And we will drink our fill Of the milk of the white goat, Or wine if it be thy will. And we will talk, until Talk is a trouble, too, Out on the side of the hill; And nothing is left to do, But an eye to look into an eye; And a hand in a hand to slip; And a sigh to answer a sigh; And a lip to find out a lip! What if the night be black! And the air on the mountain chill! Where the goat lies down in her track, And all but the fern is still! Stay with me, under my coat! And we will drink our fill Of the milk of the white goat, Out on the side of the hill! -Iames Stephens (1882-1950) Before the Stars Peep (World Premiere) N.
Load more

Recommended publications
  • Noexit Jan 2017 Program Print
    NoExit New Music Ensemble from left to right; James Praznik, James Rhodes, Luke Rinderknecht, Eric Gonzalez, Timothy Beyer, Nicholas Underhill, Sean Gabriel, Nick Diodore and Cara Tweed. Since it’s inception, the idea behind NoExit has been to serve as an outlet for the commission and performance of contemporary avant-garde concert music. Now in our eighth season and with well over sixty commissions to date, NoExit is going strong in our efforts to promote the music of living composers and to be an impetus for the creation of new works. We have strived to create exciting, meaningful and thought-provoking programs; always with the philosophy of bringing the concert hall to the community (not the other way around) and by presenting our programs in a manner which allows for our audience to really connect with the experience......... free and open to the public in every sense. For NoExit’s 2016-2017 concert season we’ve expanded our programming to include more than twice the number of concerts than in previous years! We will continue to participate in the NeoSonicFest and produce our successful series of exchange concerts with the St.Paul, Minnesota based new music ensemble Zeitgeist, who we will be performing with in Cleveland this January. And of course, unveiled before your very eyes, more newly commissioned pieces will see their world premiere this season than you can shake a stick at. NoExit is grateful to have such an enthusiastic and engaged audience. We have so many extraordinary things in store for you, so keep listening! Thank you for your support.
    [Show full text]
  • In the Key of Now™ 2014 Annual Report the American Composers Forum Enriches Lives by Nurturing the Creative Spirit of Composers and Mission Communities
    In the key of now™ 2014 Annual Report The American Composers Forum enriches lives by nurturing the creative spirit of composers and Mission communities. We provide new opportunities for composers and their music to flourish, and engage communities in the creation, performance and enjoyment of new music. Vision Make composers, and the music they create, a vibrant and integral part of our culture. ACF welcomes guests The Discovery Middle for a January open School 7th grade choir house at our new rehearses the newest home at Landmark ChoralQuest® work: “The Center. ACF grantee Golden Queen” by René Beatrix*JAR provides Clausen. The text was musical entertainment written by two students with interactive and reflects on the growth instruments made and changes faced from upcycled throughout life. children’s toys. Photo: Fargo Public Schools ACF would like to extend a special thank you to all the organizations that partnered with us last year. Alliance of Artists Communities (Providence, RI) Minnesota Boychoir (Saint Paul, MN) American Composers Orchestra (New York, NY) Minnesota Music Coalition (Saint Paul, MN) American Public Media (Saint Paul, MN) Minnesota Opera (Minneapolis, MN) Amsterdam Bar & Hall (Saint Paul, MN) Minnesota Public Radio (Saint Paul, MN) Associated Church (Owatonna, MN) New Music USA (New York, NY) Beatrix*JAR (Minneapolis, MN) Our Savior’s Lutheran Church (Menomonie, WI) Caponi Art Park (Eagan, MN) Rosemount Middle School (Rosemount, MN) Children’s Hospitals & Clinics of Minnesota (Minneapolis, MN) Sacred Heart Catholic
    [Show full text]
  • 1980 AGO National Convention St Paul
    Thomas Murray is one of the relatively few organists in this country with a concert career of ever widening scope ... Louise Kenngotr, in the MILWAUKEE JOURNAL, November 7, 1977 Recitals for A.G.O. chapters during the last five years: Atlanta, May 11, 1976 St. Louis (return engagement), 1\ov. 8, 1977 Boston (N::J.tion<JI Convention), June 24-25, 1976 Boulder, Feb. 10, 1978 Syracuse, Oct. 11, 1976 Portland Main, March 13, 1978 North Shore (with Northwestern University, Jan. 25, 1977 Richmond, Oct. 24, 1978 Cleveland, Jan. 30, 1977 Jacksonville, Oct. 29, 1978 \Vashington, D.C., Feb. 14, 1977 Providence, Nov. 5, 1978 St. Louio,, March 15, 1977 Albany (Regional Convention), June 27, 1979 Cape Cod, March 21, 1977 Buffalo, Sept. 18, 1979 Boston, May 1, 1977 Springfield, Mass. (with Smith College), Nov. 11, 1979 ue. Hartford (Regional Convention), June 26, 1977 Baton Rouge, Jan. 21, 1980 Mihvaukce (with Carroll College), Nov. 6, 1977 Cincinnati (with Christ Church), Feb. 29, 1980 . ',[VI!,? ailsw,~rs, una'""· TheRodgers 200. AI1d theRodgers 205. ....•... Murray is the consummate musician . his towering technique negotiates the most difficult passages with ease, but u.:;ou.Lv early 17th andJ8th century organ designs, with their· alwa:ys serving the mwic rather than drm.ving attention to itself. •.el!ij'liJiiSlSOilurlity, uru'""'"' ;.uJd(JptillhUJ:n performance. Both offer suchfeatures as lighted John Ogasapian, in THE AMERICAN ORGANIST, Septemher 1979 wooden optional Tracker Touch. Yetsince both combine pipes with electronic voices, neither costs anywhere near whatrul-plpe organs with the same.capabilities would. And their sound is breathtaking.
    [Show full text]
  • North Central Division Headliner •
    North Central Division Headliner • . ..~ Chanticleer the friendship between Sister Cities San Francisco and Shanghai. In May 2008, Chanticleer will "travel the Mission Road" with EI Camino Real, a program of Mission-era music to be performed of American Masterpieces - California, a program Arts Council, the National Endowment for he Arts, the Western States Arts Federation, and the E. Nakamichi Foundation. Since 1994, Chanticleer has recorded exclusively forWarner Classics, making the group's recordings available worldwide. 2007 sees the release of a fifth Christmas CD, Let It Snow. In 2005, Sound in Spirit, a mosaic of sacred chant from across time and cultures, " wasreleased.Writingcfor BBC Music:, t\.othony=_B=y.J:1qIL~~!l~ Chanticleer's performances on the recording "impeccably tuned and consistently beautiful," and gave the album the magazine's highest rating. In 2004, the ensemble released How Sweet the Sound: Spirituals and Traditional Gospel Music featuring guest artist Bishop Yvette Flunder. Colors of Love won the Grammy® Award in 2000 for Best Small Ensemble Performance (with or without Conductor) and the Contemporary A Cappella Recording Award for Best Classical Album. The world-premiere recording of Sir Called' 'the world's reigning male chorus," by the New Yorker John Tavener's Lamentations and Praises was released in January magazine, Chanticleer will perform I00 concerts in 2007~08, 2002 to critical acclaim, and garnered two Grammy® awards, the Grammy Award-winning ensemble's 30th Season. Praised for Classical Best Small Ensemble Performance (with or without by the San Francisco Chronicle for their "tonal luxuriance and Conductor) and for Best Classical Contemporary Composition.
    [Show full text]
  • RADIO HOUR at FITZGERALD THEATER Every Kid Deserves a Brush with Inspiration
    season 46 2014 - 2015 PRESENTS RADIO HOUR AT FITZGERALD THEATER Every kid deserves a brush with inspiration. Christina Baldwin Sponsored by ©2012 Target Brands, Inc. Target and the Bullseye Design are Target Inc. Brands, Target ©2012 722966 Inc. Brands, Target registered trademarks of A Commission and Regional Premiere of The Radio Hour by Jake Heggie was supported by New Music USA, made possible by annual program support and/or endowment gifts from Andrew W. Mellon Foundation, Mary Flagler Cary Charitable Trust, Rockefeller Brothers That’s why Target is on track to give Learn about the difference Fund, William and Flora Hewlett Foundation, Francis Goelet Charitable this support is making for Lead Trusts, Anonymous. Jake Heggie $1 BILLION FOR EDUCATION kids nationwide. by the end of 2015. Target.com/Education S, M 14 8 S, M 15 4 2014-2015 46TH ANNIVERSARY SEASON SPECIAL THANKS FOR THE SUPPORT OF THIS CONCERT RADIO HOUR Ann and Gordon Getty Foundation Saturday, March 14, 2015 at 8 pm Fitzgerald Theater Jack and Linda 10 East Exchange Street Hoeschler Fund of the Saint Paul, MN Saint Paul Foundation Pre-Concert Conversation with Classical Minnesota Public Radio Host The John and Ruth John Birge, composer Jake Heggie and librettist Gene Scheer at 7 pm. Huss Fund of the Saint Paul Foundation Sunday, March 15, 2015 at 4 pm Lucy R. Jones Fitzgerald Theater Garrison Keillor and Pre-Concert Conversation with Classical Minnesota Public Radio Host Jenny Lind Nilsson John Birge, composer Jake Heggie and librettist Gene Scheer at 3 pm. R C Lilly Foundation VocalEssence Chorus & Ensemble Singers Philip Brunelle, conductor Christina Baldwin, actor Nikki Swoboda, director A Commission and Regional Premiere of The Radio Hour by Jake Heggie was Charles Kemper, pianist supported by New Music USA, made possible by annual program support and/ or endowment gifts from Andrew W.
    [Show full text]
  • 2001 Distinguished Artist
    DaleWarland 2001 Distinguished Artist the mc knight foundation Introduction horal music is perhaps the most ubiquitous American art form, performed in and out of tune by school and church choirs in every city, town, and rural outpost. But choral music in the Dale Warland style—elegant, moving, provocative, sublime— is rare. Few professional choruses exist in the United States today; even fewer exhibit the quality of the Dale Warland Singers. Warland’s decision to establish his career in Minnesota has brought countless rewards to musicians and audiences here. As a collaborator with local music organizations, a commissioner of Minnesota composers, a conductor of Ceagerly anticipated concerts, and a recording artist, Warland has made Minnesota a national center of choral music. In so doing, he has kept an ancient tradition alive and relevant. Be sure to hear for yourself on the commemorative CD recording inside the back cover of this book. To achieve so much, an artist must have high expectations of himself and others. There is no doubt that Warland is demanding, but always in a way that is warm, human, and inspiring—that makes people want to do their best. Person after person who has been associated with Warland mentions his modesty, his quiet nature, his thoughtfulness, and his support. He leads by example. The McKnight Foundation created the Distinguished Artist Award to honor those whose lasting presence has made Minnesota a more creative, more culturally alive place. Dale Warland has conducted his Singers and others all over the world. He is internationally recognized as one of the masters of choral music.
    [Show full text]
  • University of Minnesota Duluth New Music Festival Program One April 24, 2003
    University of Minnesota Duluth New Music Festival Program One April 24, 2003 Featuring Zeitgeist Heather Barringer and Patti Cudd, percussion; Anatoly Larkin, piano; Pat O’Keefe, woodwinds, Yuri Merzhevsky, violin Program Ablauf Magnus Lindberg Like Water Bun-Ching Lam Intermission Quartet Scott Lindroth Two in a dream…dancing Justin Rubin Wails Frederic Rzewski Ablauf (1983) for clarinet and two bass drums is a fast-flowing and breath-taking work that is enhanced by the instrument's polyphonic potential but that nevertheless retains its burgeoning love of freedom. Like Water consists of a series of short self-contained movements. It makes reference to images of water and its various manifestations such as ice, steam, and mist. I had in mind a few Chinese saying while I was composing Like Water: “Relations between gentlemen are plain like water.” “Years flow by like water.” “Love tender like water.” —Bun-Ching Lam My first idea for Quartet was the tune played in unison by the ensemble towards the beginning of the piece. It is heard throughout in various guises. The original, highly syncopated melody becomes a long, arching lyrical theme later on. Towards the end, the theme reappears enveloped in virtuosic figuration. The odd rhythmic character of the piece grew out of manipulating the numbers of the magic square in Dürer’s engraving, ‘Melancholia,’ though the musical result is about as far from melancholy as I can imagine. Quartet was commissioned by Zeitgeist, the California E.A.R. Unit, and Relâche through the Meet the Composer/Readers’ Digest Consortium Commission program. — Scott Lindroth Two in a dream…dancing was composed in response to an actual dream wherein lovers who find themselves at a ball, not knowing what the occasion or even why they are there, simply begin to join the dance.
    [Show full text]
  • Central Opera Service Bulletin Volume 27, Number 4
    CENTRAL OPERA SERVICE BULLETIN VOLUME 27, NUMBER 4 CONTENTS NEK OPERAS AND PREMIERES 1 NEWS FROM OPERA COMPANIES 18 GOVERNMENT ft NATIONAL ORGANIZATIONS 28 CONFERENCES 30 TAX FACTS 31 NEtf AND RENOVATED THEATERS 32 FORECAST 33 ARCHIVES AND COLLECTIONS 38 ATTENTION COMPOSERS AND LIBRETTISTS 40 MUSIC PUBLISHERS 42 ATTENTION CONDUCTORS 43 EDITIONS AND ADAPTATIONS 44 EOUCATION 45 APPOINTMENTS AND RESIGNATIONS 48 COS INSIDE INFORMATION 53 COS NATIONAL CONFERENCE PROGRAM 54 COS SALUTES... 56 WINNERS 58 CAREER GUIDE SUPPLEMENT 60 BOOKS AND PERIODICALS 68 OPERA HAS LOST... 76 PERFORMANCE LISTING, 1986-87 SEASON CONT. 84 FIRST PERFORMANCE LISTING. 1987-88 SEASON 110 COS NATIONAL CONFERENCE REGISTRATION FORM 125 Sponsored by the Metropolitan Opera National Council !>i>'i'h I it •'••'i1'. • I [! I • ' !lIN., i j f r f, I ;H ,',iK',"! " ', :\\i 1 ." Mi!', ! . ''Iii " ii1 ]• il. ;, [. i .1; inil ' ii\ 1 {''i i I fj i i i11 ,• ; ' ; i ii •> i i«i ;i •: III ,''. •,•!*.', V " ,>{',. ,'| ',|i,\l , I i : I! if-11., I ! '.i ' t*M hlfi •'ir, S'1 , M"-'1'1" ' (.'M " ''! Wl • ' ;,, t Mr '«• I i !> ,n 'I',''!1*! ,1 : I •i . H)-i -Jin ' vt - j'i Hi I !<! :il --iiiAi hi CENTRAL OPERA SERVICE BULLETIN Volume 27, Number 4 Spring/Summer 1987 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government & National Organizations 28 Conferences 30 Tax Facts 31 New and Renovated Theaters 32 Forecast 33 Archives and Collections 38 Attention Composers and Librettists 40 Music Publishers 42 Attention Conductors 43 Editions and Adaptations 44 Education 45 Appointments and Resignations 48 COS Inside Information 53 COS National Conference Program 54 COS Salutes..
    [Show full text]
  • 20031101.Pdf
    Sponsored by Dorsey & Whitney LLP --~Ild a lew a R I and sin g e R S table of contents 2003-2004 Concert Season 4 The Dale Warland Singers 6 Dale Warland, Founder and Music Director 8 Artistic Staff 9 From the President 10 Concert Moderator, Tom Crann 11 An American Thanksgiving Program 12 Program Notes 14 The Singers 24 Honor Roll 28 Acknowledgements 31 Sponsors 32 Recordings 33 3 2003-2004 concert season Echoes of Christmas Saturday, December 6,2003 8:00 PM St. Olaf Catholic Church, Minneapolis Sunday, December 7,2003 4:00 PM Wayzata Community Church, Wayzata Saturday, December 13, 2003 8:00 PM Nativity of Our Lord Catholic Church, St. Paul Sponsored by Minnesota Monthly Embrace the magic of the season with some of the world's best-loved Christmas choral works. Holiday favorites include David Willcocks' historic Sussex Carol, Norman Luboffs arrangement of Still, Still, Still and Dale Warland's lovely What Child is This. Let the soul-stirring a cappella score of Francis Poulenc's Quatre Motets pour le temps de Noel fill your heart with joy and bask in the beauty of This Night, a new work by composer-in-residence John Muehleisen. Rounding out this seasonal concert are new commissions by two of the Singers own, Matthew Culloton and Abbie Betenis. Order tickets early to bring family and friends! Join Tom Crann (MPR's on-air host) for a pre-concert discussion 45 minutes prior to the performance. Cathedral Classics Thursday, March 18, 2004 7:30 PM Saturday, March 20,2004 8:00 PM Basilica of Saint Mary, Minneapolis Sponsored by Ecolab, Inc.
    [Show full text]
  • THE CATHOLIC UNIVERSITY of AMERICA Context and Commission
    THE CATHOLIC UNIVERSITY OF AMERICA Context and Commission in Large-Scale Texted Works of Libby Larsen A DISSERTATION Submitted to the Faculty of The Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Deborah B. Crall Washington, D.C. 2013 Context and Commission in Large-Scale Texted Works of Libby Larsen Deborah B. Crall, Ph.D. Director: Grayson Wagstaff, Ph.D. Libby Larsen (b. 1950) is recognized as one of the foremost composers of her generation, as well as one of the most performed. A prolific composer, she produces at least one large-scale piece a year. In an era when classically trained composers conventionally earn their living in an academic environment, Larsen makes her livelihood as a composer in the “classical” or concert field. In this way she exemplifies a shift in composer economics, as many composers have abandoned the academic life in favor of self-promotion. This dissertation examines musical patronage in the United States in the late twentieth and early twenty-first centuries by exploring the ways Larsen has developed commissions as an independent artist, incorporating the complex relationships that exist among composer and commissioner in the process of composing large works. Thus patronage, politics, audience, and composition are all intertwined in compelling ways. These relationships are shown by examining six specific works: three operas, Frankenstein, the Modern Prometheus , Eric Hermannson’s Soul , Barnum’s Bird , one choral symphony, Coming Forth Into Day , one cantata, Eleanor Roosevelt (1996), and one oratorio, The Triptych .
    [Show full text]
  • Research Memorandum Series
    No. 213 Winter/Spring 2020 Research Memorandum Series Journal of The American Choral Foundation, published by Chorus America | Matthew Bumbach, Editor or the past three years I have shared great choral repertoire with my fellow conductors as the editor of Chorus America’s Research Memorandum Series. It Fis a privilege to work with scholars from around the United States to identify significant composers, compile exhaustive lists of their works, and create concise biographies to accompany those lists. It is my hope that these repertoire lists stand as essential resources to aid conductors as they program compelling concerts. Fur- thermore, I strive to amplify the voices of composers whose works may be overlooked through this publication. Minnesota-based composer Carol Barnett may be best recognized for her dozens of compositions for the Dale Warland Singers. Her compositions, however, go far be- yond the late 20th Century midwestern style with which we are familiar. Barnett’s catalog is among the most eclectic that I have seen. It includes arrangements of Amer- ican spirituals and folk songs, settings of Russian and Greek texts, sacred Jewish and Christian repertoire, multi-movement works for choir and bluegrass band, operas, simple hymn settings, and settings of historic American texts. Her music is tonal, satisfying, and filled with warmth. This issue of the Research Memorandum Series features a complete current list of the choral music of Carol Barnett. Matthew Bumbach, editor Biography of Carol Barnett BY MATTHEW BUMBACH, D.M.A. Carol Barnett (b. May 23, 1949, in Dubuque, Iowa) is one younger sister, Elaine. Elaine Phillips was Distin- an American composer of opera and works for orches- guished Professor of Biblical Studies and chair of the tra, chamber ensembles, solo instruments, and choir.
    [Show full text]
  • Agathe Backer Grøndahl (1847-1907): "A Perfectly Plain Woman?" Camilla Hambro on June 9, 1889, When One of His Fa- Strument
    Volume 7, Issue 1 The Kapralova Society Journal Spring 2009 A Journal of Women in Music Agathe Backer Grøndahl (1847-1907): "A perfectly plain woman?" Camilla Hambro On June 9, 1889, when one of his fa- strument. Perhaps you will hear me at vourite authors, Henrik Ibsen, made his the Philharmonic. I am to play Bee- breakthrough in London, George Bernard thoven’s E flat concerto there.2 Shaw made certain to attend a very inter- esting Doll’s House dinner at the Novelty Playing the piano was a very common Theatre. Also present was the Norwegian pastime for young women of the bourgeoi- pianist, composer, and piano teacher sie, such as Nora in Ibsen's drama. It was Agathe Backer Grøndahl. After the event, considered appropriate and important to Shaw gave an account of her participation know how to play, and performing was a in a kind of "hidden theatre" at the party, good way of getting noticed at parties like backstage among the props, and the the one Backer Grøndahl and Shaw at- meaning and interpretation of her tended. However, it was important not to go performance in relation to musical genres too far: a young woman could be seductive and gender expectations. but not too sexual; she had to play well but He entitled it "An Angry Critic and Very Special points of interest: not too well, and she could not appear to Quiet Lady," and published it in his weekly be too mannish or put too much emotion column, where he described Backer Grøn- into her performance.
    [Show full text]