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FOR IMMEDIATE RELEASE UPDATED May 28, 2015 February 17, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] NEW YORK PHILHARMONIC TO RETURN TO BRAVO! VAIL FOR 13th-ANNUAL SUMMER RESIDENCY, JULY 24–31, 2015 Music Director Alan Gilbert To Lead Three Programs Bramwell Tovey and Joshua Weilerstein Also To Conduct Soloists To Include Violinist Midori, Cellist Alisa Weilerstein, Pianists Jon Kimura Parker and Anne-Marie McDermott, Acting Concertmaster Sheryl Staples, Principal Viola Cynthia Phelps, Soprano Julia Bullock, and Tenor Ben Bliss New York Philharmonic Musicians To Perform Chamber Concert The New York Philharmonic will return to Bravo! Vail in Colorado for the Orchestra’s 13th- annual summer residency there, featuring six concerts July 24–31, 2015, as well as a chamber music concert performed by Philharmonic musicians. Music Director Alan Gilbert will conduct three programs, July 29–31, including an all-American program and works by Mendelssohn, Mahler, Mozart, and Shostakovich. The other Philharmonic concerts, conducted by Bramwell Tovey (July 24 and 26) and former New York Philharmonic Assistant Conductor Joshua Weilerstein (July 25), will feature works by Grieg, Elgar, Tchaikovsky, Rachmaninoff, and Richard Strauss, among others. The soloists appearing during the Orchestra’s residency are pianists Jon Kimura Parker and Anne-Marie McDermott, cellist Alisa Weilerstein, violinist Midori, soprano Julia Bullock and tenor Ben Bliss, and Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps. The New York Philharmonic has performed at Bravo! Vail each summer since 2003. Alan Gilbert will lead the concert on Wednesday, July 29, featuring Mendelssohn’s Violin Concerto, with Midori as soloist, and Mahler’s Symphony No. -
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Signing Day Brings High School Students
the Irving Rambler www.irvingrambler.com “The Newspaper Irving Reads” February 08, 2007 Obituaries Page 14-15 THIS Movie Times Page 3 Artist exhibit their Vintage Tea invitation Police & Fire Page 2 Boundless Expressions Page 8 Puzzles Page 13 WEEK Sports Page 4-5 Page 6 TTeexasxas RailroadRailroad CommissionCommission recommendsrecommends gasgas ratesrates bebe reducedreduced Texas Railroad Commission Atmos Mid-Tex, a division of charging ratepayers at the same resolutions requiring Atmos to jus- Cities’ decision to the Texas Rail- judges recently ruled that natural Atmos Energy Corporation, is the time the company was reporting tify the monopoly rates it was road Commission and asked the gas rates currently charged by monopoly provider of natural gas that it was earning more money for charging the city and their citizens Commission to approve a $60 mil- Atmos Mid-Tex should be reduced to 1.5 million customers through- shareholders than did TXU Gas, for natural gas. Based on the in- lion rate increase. by $23 million on an annual basis out North Central Texas. Jay the previous utility owner. More formation provided by Atmos, the After a three-week hearing, and that ratepayers are entitled to Doegey, city attorney for the City than 80 city councils throughout city councils voted to reduce the Railroad Commission judges a $2.5 million refund of improper of Arlington, and Chairman of the North Texas individually adopted Atmos’ rates. Atmos appealed the See CITIES, Page 11 surcharges. city coalition challenging Atmos’ The judges’ 186-page decision rates, pointed out that cities have to lower rates is the result of an regulatory authority over natural action initiated by more than 80 gas rates that are charged custom- Texas cities including Irving to ers within city limits and can use investigate whether the rates that that power to ensure monopoly Atmos was charging its customers rates are just and reasonable. -
Virgil Thomson: a Catalogue of the Orchestral and Choral Music
VIRGIL THOMSON: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC 1923: Two Sentimental Tangos for orchestra: 5 minutes 1926-28: Symphony on a Hymn Tune: 21 minutes + (Mercury, Albany and Naxos cds) 1930/41: Symphony No.2: 16 minutes + (Albany and Naxos cds) 1934: Oratorio “Four Saints in Three Acts” for two sopranos, two mezzo-sopranos, Two tenors, baritone, two basses, chorus and orchestra: 45 minutes 1936: “The Plow That Broke The Plains” for narrator and orchestra: 26 minutes 1937: Ballet Suite “Filling Station: 15 minutes + (Albany cd) Suite “The River” for orchestra: 24 minutes + (EMI and Naxos cds) The John Mosher Waltzes for orchestra: 2 minutes 1940: Fanfare for France(Max Kahn) for brass and percussion: 3 minutes 1940-45: Eight Portraits for orchestra: 29 minutes 1942: Suite “The Plow That Broke The Plains”: 16 minutes + (Hyperion, EMI and Naxos cds) 1944: Cantabile for Strings: A Portrait of Nicholas de Chatel: 4 minutes Percussion piece for orchestra: 3 minutes 1945: Fugue and Chorale on “Yankee Doodle” for orchestra: 4 minutes 1945-50:Cello Concerto: 23 minutes + (Albany and Naxos cds) 1948: “The Seine at Night” for orchestra: 8 minutes + (Bmop cd) Suite “Louisiana Story” for orchestra: 20 minutes + (Vox, Hyperion and Ess.a.y. Recordings cds) “Louisiana Story: Acadian Songs and dances” for orchestra: 15 minutes + (Hyperion and Ess.a.y. Recordings cds) “Wheat Field at Noon” for orchestra: 7 minutes + (Bmop cd) 1949: A Solemn Music for Band: 7 minutes Concert Waltz “At the Beach” for Trumpet and Band: 5 minutes Suite “Mother of -
Thomson, Virgil (1896-1989) by Patricia Juliana Smith
Thomson, Virgil (1896-1989) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Virgil Thomson in 1947. Photograph by Carl van Critic and composer Virgil Thomson was a pioneer in creating a specifically American Vechten, June 4, 1947. Library of Congress form of classical music that is at once "serious" yet whimsically sardonic. He is best Prints and Photographs known as Gertrude Stein's collaborator in two operas, Four Saints in Three Acts (1934) Division. and The Mother of Us All (1947). The hymn melodies that shape the score of Four Saints are an echo of Thomson's earliest musical career, that of an organist in a Baptist church in Kansas City, Missouri, where he was born on November 25, 1896 into a tolerant, middle-class family. His mother especially encouraged his musical and artistic talents, which were obvious very early. Thomson joined the United States Army in 1917 and served during World War I. After the war, he studied music at Harvard University, where he discovered Tender Buttons (1914), Stein's playful and elaborately encoded poetic work of lesbian eroticism. He subsequently studied composition in Paris under Nadia Boulanger, the mentor of at least two generations of modern composers. In 1925 he finally met Stein, whose works he had begun to set to music. In Paris, he also met Jean Cocteau, Igor Stravinsky, and Erik Satie, the latter of whom influenced his music greatly. There he also cemented a relationship with painter Maurice Grosser, who was to become his life partner and frequent collaborator (for example, Grosser directed Four Saints in Three Acts and devised the scenario for The Mother of Us All). -
Mimi Stillman, Artistic Director
Mimi Stillman, Artistic Director Wednesday, February 20, 2019 at 7:00pm Trinity Center for Urban Life 22 nd and Spruce Streets, Philadelphia Dolce Suono Ensemble Presents Rediscoveries: Festival of American Chamber Music I Dolce Suono Trio Mimi Stillman, flute/piccolo – Gabriel Cabezas, cello – Charles Abramovic, piano with Kristina Bachrach, soprano Trio for Flute, Cello, and Piano (1944) Norman Dello Joio (1913-2008) Moderato Adagio Allegro spiritoso Stillman, Cabezas, Abramovic Enchanted Preludes for Flute and Cello (1988) Elliott Carter (1908-2012) Stillman, Cabezas Dozing on the Lawn from Time to the Old (1979) William Schuman (1910-1992) Orpheus with His Lute (1944) Bachrach, Abramovic Winter Spirits for Solo Flute (1997) Katherine Hoover (1937-2018) Stillman Two Songs from Doña Rosita (1943) Irving Fine (1914-1962) (arr. DSE) Stillman, Cabezas, Abramovic Intermission Moon Songs (2011) * Shulamit Ran (1949) Act I: Creation Act II: Li Bai and the Vacant Moon Entr’acte I Act III: Star-crossed Entr’acte II: Prayer to Pierrot Act IV: Medley Bachrach, Stillman, Cabezas, Abramovic Tonight from West Side Story (1961) Leonard Bernstein (1918-1990) [premiere of new arrangement ] (arr. Abramovic) Stillman, Cabezas, Abramovic *Commissioned by Dolce Suono Ensemble About the Program – Notes by Mimi Stillman We are pleased to present Dolce Suono Ensemble (DSE)’s new project “Rediscoveries: Festival of American Chamber Music,” which seeks to illuminate an important but largely neglected body of chamber music by American composers. Aside from the most celebrated American composers from this period whose chamber works are regularly performed, i.e. Copland, Barber, Bernstein, and Carter, there are many other composers highly lauded in their time and significant in shaping the story of music in the United States, who are rarely heard today. -
The Boston Symphony Orchestra Seiji Ozawa, Music Director & Conductor Peter Serkin, Piano
PETER LIEBERSON New World Records 80325 Piano Concerto The Boston Symphony Orchestra Seiji Ozawa, music director & conductor Peter Serkin, piano Peter Lieberson was born in New York City on October 25, 1946; he lives in Newton Center, Massachusetts, and is currently teaching at Harvard. His Piano Concerto is one of twelve works commissioned by the Boston Symphony Orchestra for its centennial in 1981. From the beginning the piano solo part was intended for Peter Serkin, who gave the first performance with Seiji Ozawa and the Boston Symphony Orchestra on April 21, 1983, in Symphony Hall, Boston. The youngest of the 12 composers commissioned by the Boston Symphony Orchestra for its centennial, Peter Lieberson grew up in a family where music was ubiquitous. Both his parents were important figures in the artistic world. His father, Goddard Lieberson, himself a trained composer, was perhaps best known as the most influential record-company executive in the artistic world. Peter's mother, under the stage name Vera Zorina, was a ballerina with the Ballets Russes de Monte Carlo and later with George Balanchine, before she became known as a specialist in spoken narration. Through a job at New York's classical music radio station WNCN, Lieberson came to know Aaron Copland and Virgil Thomson. But the crucial connection came when Copland invited Milton Babbitt to do a program. Until that time the major influence on Lieberson's music was Stravinsky. Now he began to study informally with Babbitt. At Babbitt's suggestion Lieberson chose Columbia when he decided to pursue graduate studies; there he worked with Charles Wuorinen (the third of his three principal teachers would be Donald Martino, with whom he studied at Brandeis University). -
TYLER GOODRICH WHITE Director of Orchestral Activities/Associate Professor of Music University of Nebraska-Lincoln
TYLER GOODRICH WHITE Director of Orchestral Activities/Associate Professor of Music University of Nebraska-Lincoln University of Nebraska-Lincoln School of Music 6540 Rexford Drive Westbrook Music Building 0100 Lincoln, Nebraska 68506 Lincoln, Nebraska 68588-0100 (402) 488-7154 (402) 472-7698 or 472-2503 [email protected] EDUCATION Cornell University. D.M.A., Composition, 1991. Composition study with Steven Stucky and Karel Husa, musicology with Don M. Randel, conducting with Edward Murray. Thesis: Part I: Eagle Descending: An Elegiac Landscape for mezzo-soprano and orchestra (text by Robert Penn Warren). Part II: "The Music's Proper Domain": Form, Motive, and Tonality in Carl Nielsen's Fourth Symphony ("The Inextinguishable"). Conservatoire Américain de Fontainebleau, Fontainebleau, France, 1988. Composition study with André Boucourechliev, Betsy Jolas, and Alain Louvier. Københavns Universitet, Musikvidenskabeligt Institut, Copenhagen, Denmark. Guest student, 1986- 87. Thesis research on symphonic music of Carl Nielsen. Independent composition study with Niels Viggo Bentzon. Cornell University. M.F.A., Musical Composition, 1986. Thesis: Triptych: Three Panels after Pascal, for orchestra. University of North Carolina at Chapel Hill. A.B., Music, 1983. Viola study with Ann Woodward, violin with Richard Luby, composition with Roger Hannay, conducting with David Serrins. PROFESSIONAL APPOINTMENTS Conducting and Ensemble Administration Lincoln Symphony Orchestra. Resident Conductor, 2000-present. University of Nebraska-Lincoln. Director of Orchestral Activities, 1994-present. Full responsibility for conducting and administration of the orchestra program (primarily music majors, bachelor's- through doctoral-level) within the nationally prominent school of music of a large, land-grant university. Duties include recruitment and cultivation of contacts with high school orchestra directors and string educators throughout the state and region.