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74TH SEASON of CONCERTS April 24, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 24, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court Inscape Richard Scerbo, conductor Toru Takemitsu (1930 – 1996) Rain Spell Asha Srinivasan (b. 1980) Svara-Lila John Harbison (b. 1938) Mirabai Songs It’s True, I Went to the Market All I Was Doing Was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Monica Soto-Gil, mezzo soprano Intermission Chen Yi (b. 1953) Wu Yu Praying for Rain Shifan Gong-and-Drum Toru Takemitsu Archipelago S. 2 • National Gallery of Art The Musicians Founded in 2004 by artistic director Richard Scerbo, Inscape Chamber Orchestra is pushing the boundaries of classical music in riveting performances that reach across genres and generations and transcend the confines of the traditional concert experience. With its flexible roster and unique brand of programming, this Grammy-nominated group of high-energy master musicians has quickly established itself as one of the premier performing ensembles in the Washington, DC, region and beyond. Inscape has worked with emerging American composers and has a commitment to presenting concerts featuring the music of our time. Since its inception, the group has commissioned and premiered over twenty new works. Its members regularly perform with the National, Baltimore, Philadel- phia, Virginia, Richmond, and Delaware symphonies and the Washington Opera Orchestra; they are members of the Washington service bands. Inscape’s roots can be traced to the University of Maryland School of Music, when Scerbo and other music students collaborated at the Clarice Smith Center as the Philharmonia Ensemble. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
1 Fo U R Fr Eed Om S
Music and Libretto by Joseph C. Phillips, Jr. C. Joseph Phillips, by Libretto Music and FREEDOMS FOUR Presents Maryland Studio Opera Music’s Maryland of of School University February 14, 2020 • 7:30PM GILDENHORN RECITAL HALL at The Clarice 1 PROGRAM University of Maryland School of Music’s Maryland Opera Studio Presents FOUR FREEDOMS Music and Libretto by Joseph C. Phillips, Jr. Performed in English CAST Act I Freedom of Speech Welcome to the annual Maryland Opera Studio (MOS) New Work Reading. Thanks to MOS Commissioner 1 ................................................................ Sarah Stembel founder Leon Major, commitment to new work has always been an integral part of our Citizen 1 ..................................................................................... Erin Ridge program’s identity. I’m particularly interested in creating opportunities to foster new work ABOUT MARYLAND OPERA STUDIO Citizen 2 ...................................................................................Nora Griffin that connect composers and librettists to our singers throughout the creative process and Citizen 3 ..................................................................................... Gal Kohav that allow our audience to witness and take part in its creation. This past fall, our composer Citizen 4 ...................................................................... Christian Simmons travelled to College Park to meet the first year MOS singers at the start of the school year. Singers read libretto excerpts with our creative team -
Delores Ziegler Program Spring 2010
T He d eparTmenT of m uSic at Salisbury university presents The House of Tomorrow Sunday april 25, 2010 Holloway Hall, Great Hall, 4 p.m. deloreS ZieGler, meZZo-Soprano JoHn Greer, piano Guest Appearance: John Wesley Wright, Tenor PROGRAM On Children and Childhood on children (from The Prophet by Kahlil Gibran) John Greer children’s Hour (H.W. longfellow) charles ives The more it Snows (H. fraser-Simson) H. fraser-Simson o wüsst ich doch demWeg zurück (Klaus Groth) Johannes Brahms no one is alone/childrenWill listen (from Into theWoods ) Stephen Sondheim Voices of Children The Whole duty of children (r.l. Stevenson) John Greer With nanny (from Nursery ) modest mussorgsky memories (charles ives) charles ives a. Very pleasant B. rather Sad Quelle aventure! (from La courte paille , m. carême) francis poulenc evening prayer (from Nursery ) modest mussorgsky circus Band (charles ives) charles ives Children and Sacrifice abraham and isaac, canticle ii, op. 51 Benjamin Britten — inTermiSSion — Children and Grown-Ups die ihr schwebet (from Spanisches Liederbuch , e. Geiber) HugoWolf canción de cuna para dormir un negrito (J. Valdez) Xavier montsalvatge charm (from A Charm of Lullabies , T. randolph) Benjamin Britten la reine de coeur (from La courte paille, m. carême) francis poulenc Toi, la coeur de la rose (from L’enfant et les sortilèges , colette) maurice ravel erlkönig (Goethe) franz Schubert midnight prayer (Khomyakov) John Greer Children’s Rhymes and Games Hobby Horse (from Nursery ) modest mussorgsky mausfallen Sprüchlein (e. mörike) HugoWolf Ba, be, bi, bo, bu (from La courte paille , m. carême) francis poulenc lune d’avril (from La courte paille , m. -
1 a Riod a N Te
1 University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi KAY THEATRE at The Clarice November 21 - 25, 2019 November PROGRAM University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi Performed in Italian, with English Supertitles ABOUT MARYLAND OPERA CAST Ariodante ................................... Esther Atkinson (Nov 22, 25), Jazmine Olwalia (Nov 21, 24) MARYLAND OPERA STUDIO King of Scotland ......................................Jack French (Nov 21, 24), Jeremy Harr (Nov 22, 25) Craig Kier, Director of Maryland Opera Studio Ginevra .............................................. Judy Chirino (Nov 22, 25), Erica Ferguson (Nov 21, 24) Amanda Consol, Director of Acting Justina Lee, Principal Coach | Ashley Pollard, Manager Lurcanio...............................................Charles Calotta (Nov 21, 24) Mike Hogue (Nov 22, 25) Polinesso ..........................................................................................................Jesse Mashburn Dalinda ..........................Michele Currenti (Nov 22, 25), Joanna Zorack-Greene (Nov 21, 24) Odoardo .............................................Charles Calotta (Nov 22, 25), Mike Hogue (Nov 21, 24) ABOUT THE MARYLAND OPERA STUDIO’S CHORUS FALL OPERA PRODUCTION Abigail Beerwart, Andy Boggs, Amanda Densmoor, Henrique Carvalho, Maryland Opera Studio (MOS) singers perform in two fully staged operas. The first of these, -
L a C Lem En Z a D I T
The Maryland Opera Studio Presents LA CLEMENZA DI TITO by Wolfgang Amadeus Mozart KAY THEATRE KAY at The Clarice November 17-21, 2017 November 17-21, THE MARYLAND OPERA STUDIO’S FALL OPERA PRESENTATION: THE “WHITE OPERA” During their four semesters in the Maryland Opera Studio, singers perform in two fully staged operas. The first of these, presented in the fall of the second training year, receives a minimal production: a chamber orchestra, very little in the way of sets or props, and simplified costumes. Because the basis for the fall opera’s costuming over the years has been a set of white muslin mock-ups of period clothing originally produced for classroom use, it has become known informally as the “white opera.” The purpose is both practical and pedagogical. Minimal production costs allow MOS to present two full productions, instead of just one (as is the practice in most training programs), ensuring that singers graduate with two complete roles on their resumes. Even more important, however, is a principle central to the mission of the Maryland Opera Studio: the training of singers who use their voices, acting, and physical presence to tell an effective dramatic story, without the crutches of sets, costumes, wigs, and makeup. The “white” opera is the art form at its most elemental: the singer, the story, and the music take center stage. MARYLAND OPERA STUDIO FACULTY AND STAFF Isabelle Anderson, Mask • Carmen Balthrop, Opera Repertory • Mark Jaster, Mime Naomi Jacobson, Improvisation •Craig Kier, Director of MOS, Conductor & Coach -
Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled -
A Summer of Concerts Live on WFMT
A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android. -
NED ROREM New World Records 80575 Evidence of Things Not Seen
NED ROREM New World Records 80575 Evidence of Things Not Seen Look not to things that are seen, but to that which is unseen; for things that are seen pass away, but that which is unseen is forever. —Corinthians II, 4:18 It is at once by poetry and through poetry, by music and through music, that the soul divines what splendors shine behind the tomb. —Edgar Allan Poe, The Poetic Principle Faith is the substance of things hoped for, the evidence of things not seen. —Hebrews, II:1 If in the world of Elvis song is a trillion-dollar business, in the world of serious classical music song is the least remunerative of expressions. Song, in English, particularly by Americans, is more rarefied still, partly because historically the form’s intimacy never meshed with the massive concepts of our pioneer composers, and partly because we have no recital tradition for singers. You can count on one hand the number of vocalists who subsist as recitalists, and even they prosper more than the composers. Today, re-creation takes priority over creation. The Three Tenors, intoning arias by dead Italians, earn more in one evening than what a live American composer earns in a lifetime. Nevertheless, I embarked on the madness of a composer’s career by writing songs. The first ones, at age fourteen, were settings of cummings. By age forty I had written 400 songs, on texts of over 100 authors, from Anonymous to Ashbery, Freud to Kafka, Wylie to Whitman. My singular reputation, such as it is, has always centered around song, probably because there is so little competition. -
C O U R T N E Y R U C K M a N, Soprano
C O U R T N E Y R U C K M A N, soprano [email protected] | 301.793.2446 | www.courtneyruckman.com Praised for her "arresting vocalism" by the Spokesman Review, soprano Courtney Ruckman brings a rich and glinting voice to repertoire ranging from bel canto to contemporary opera. In recent engagements, she joined Shreveport Opera as Jessie (Masquerade) and covered the Four Heroines (Tales of Hoffmann) with Opera Orlando. In upcoming engagements, she joins Wilmington Concert Opera as Donna Anna (Don Giovanni) and later debuts with the Port Angeles Symphony in performances of Knoxville, Summer of 1915. In recent seasons she debuted with the Imperial Symphony Orchestra as the soprano soloist in the Messiah and returned as First Lady in a staged production of Die Zauberflöte. She also appeared as an emerging artist with Nashville Opera, singing Frasquita (Carmen) and creating the role of Jessie (Masquerade) in the world premiere of Paterson's Three Way. She reprised the role with American Opera Projects for Three Way's New York City premiere and the cast album recording. Additional roles in her repertoire include Pamina (Die Zauberflöte), Marzelline (Fidelio), Gilda (Rigoletto), the Youth (After Life), and Héro (Béatrice et Bénédict). In concert she debuted with both the Walla Walla Symphony and Portland Chamber Orchestra as the soprano soloist in Handel’s Messiah. She gave additional performances with the Portland Chamber Orchestra as the soprano soloist in Judas Maccabaeus. She performed a series of recitals at the Caramoor Festival which included the world premiere of Images de Noël (Theisen) and collaborated again with Theisen to give the world premiere performance of Klage at the International Saxophone Symposium. -
Cello Concerto (1990)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No. -
Jack & the Beanstalk
Teacher Resource Guide ® Dear Educators, Welcome! Thank you so much for choosing us to be a part of your school year! We are confident that you will find our program, Jack and the Beanstalk, to be an exciting and inspiring part of your classroom curriculum! Within this resource guide we have included a wide range of materials and activities: from general opera studies, to our featured composer, Sir Arthur Sullivan, and the great fairy tale story of Jack and the Beanstalk! Please feel free to adapt and use any of the suggestions for your classroom discussions and activities. We encourage you to take advantage of our photocopy-friendly format and generate copies for students or other colleagues. We would also like to encourage you to fill out and return both the teacher and student evaluations. Student evaluations can come in a variety of forms: artwork, classroom projects, letters, writing samples, etc. Your input is very important to us as we continue to implement arts education in the schools. In addition to the tour of Jack and the Beanstalk at the Florentine Opera this season, we encourage you to look into our other education and community engagement programs. Please visit www.florentineopera.org for more information on GET OPERA, Opera Inside Out, Talk Opera and the Young Singing Actor Intensive! Please don’t hesitate to contact me if you have any questions regarding the performance, the study guide, or the Florentine Opera. Thanks again and we look forward to seeing you this year! Pablo Siqueiros Education and Community Engagement Manager FROM THE GENERAL DIRECTOR William Florescu… While many people in the Milwaukee area enjoy the Florentine Opera’s mainstage offerings, our education and outreach programs are an additional essential element of the work done at the Company.