DOCSLIB.ORG

The Basic Word Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Basic Word Template CR803 George Crumb Music of Our Time, Vol. 3: Music of George Crumb Orchestra 2001 James Freeman, artistic director boy soprano (mvt. 5); Dorothy Freeman, oboe and harmonica; Patrick Mercuri, mandolin; David Crumb, mandolin (mvt. 3); Sophie Labiner, harp; Marcantonio Barone, electric piano and toy piano; Susan Jones, William Kerrigan, and Kenneth Miller, percussion; George Crumb, Kenneth Miller, and Marcantonio Barone, humming in mvt. IV; James Freeman, conductor A Little Suite for Christmas, A.D. 1979 (1980) ........... (13:57) After Giotto’s Frescoes in the Chapel at Padua 8. I. The Visitation ....................................... (3:10) 9. II. Berceuse for the Infant Jesus ............... (1:42) 10. III. The Shepherd’s Noël .......................... (1:08) 11. IV. Adoration of the Magi ........................ (1:41) 12. V. Nativity Dance .................................... (1:00) 13. VI. Canticle of the Holy Night ................. (2:36) 14. VII. Carol of the Bells .............................. (2:36) Marcantonio Barone, piano Three Early Songs (1947) .......................................... (8:47) 15. Night (Robert Southey) ............................ (2:59) 16. Let It Be Forgotten (Sara Teasdale) ......... (3:17) Ancient Voices of Children (1970) ............................ (24:59) 17. Wind Elegy (Sara Teasdale) ..................... (2:31) 1. I. El niño busca su voz (The little boy was looking for his voice) ................................ (4:10) Barbara Ann Martin, soprano; James 2. Dances of the Ancient Earth ..................... (2:30) Freeman, piano 3. II. Me he perdido muchas veces por el mar 18. Dream Sequence (Images II) (1976) ................... (14:22) (I have lost myself in the sea many times). (2:15) Geoffrey Michaels, violin; Lori Barnet, cello; 4. III. ¿De dónde vienes, amor, mi niño? (From James Freeman, piano; Susan Jones, percussion; where do you come, my love, my child?) . (3:48) Sonja Downing, Ken Williams, and Sydney 5. IV. Todas las tardes en Granada, todas las Foster, glass harmonica tardes se muere un niño (Each afternoon in Granada, a child dies each afternoon) ....... (2:38) 6. Ghost Dance .............................................. (2:17) Total playing time: 60:02 7. V. Se ha llenado de luces mi corazón de seda (My heart of silk is filled with lights) ....... (7:17) Ê & © 1998 Composers Recordings, Inc. Barbara Ann Martin, soprano; Derek Yale, © 2006 Recorded Anthology of American Music, Inc. boy soprano (mvts. 1 and 3); Noel Bisson, Notes Some Personal Reminiscences about George Crumb wanted to know and play every note this composer had I was a young first-year instructor in music at Swarthmore written, and to share that music with everyone I knew. College and a freelance bass player when I first met George The chance for me to become acquainted with George on a Crumb (b Charleston, WV, 24 Oct 1929). The enterprising more personal level came with Swarthmore College’s decision conductor of the Philadelphia Composers Forum, Joel Thome, a few years later to erect the remarkable Lang Music Building decided to try out the new bass player in town and invited me and to commission a piece for the inauguration of the new to play in a concert that included the first book of Crumb’s building. The piece turned out to be Music for a Summer Madrigals, for soprano, vibraphone, and bass. Practicing my Evening (Makrokosmos III), for two amplified pianos and two part, I was immediately entranced by the sensuous sounds, the percussionists. My friend and colleague Gilbert Kalish and I remarkably acute understanding of the instruments, the clear were to be the pianists. Surely one of the most exciting things sense that every note and every rest were essential to the piece, for any performer must be to open the pages of a major new and the extraordinarily beautiful reflection of Lorca’s haunting work whose arrival one has been impatiently anticipating for poetry. The piece literally changed my life, for I realized that I months, and to discover in those pages a masterpiece! That is certainly what Gil, Ray DesRoches, Richard Fitz, and I all felt NWCR803 - George Crumb: Music of Our Time, Vol. 3: Music of George Crumb Page 1 of 7 on opening our mail one morning in December of 1974. Most —James Freeman of the rehearsals were held in Ray’s studio at William Paterson James Freeman’s involvement with my music has been truly College in north Jersey. George and I lived only a few miles multi-faceted. He was (with Gilbert Kalish) one of the original from each other in suburban Philadelphia and drove the five- pianists of Music for a Summer Evening; as contrabassist he hour round trip together for each rehearsal. It was on these made the first recording of Madrigals; and he played sitar in trips that I first began to know George apart from his music. the first recording of Lux Aeterna (and in a later one on CRI). One of my most vivid memories from those trips is driving Jim has a profound understanding of my musical intentions home at three in the morning after one particularly long and the ability to realize these in beautiful sound. I am rehearsal and finding that I could not buy gasoline anywhere, delighted to be associated with him and the wonderful despite the fact that we were close to running out—because my musicians of Orchestra 2001 in this new recording of my license plate ended in an even number (this was in the midst of music. the gasoline crisis). Barely able to contain myself, I was —George Crumb furious at the idiocy of the law and at the gas station attendant’s absolute refusal to sell us a drop, but George was Notes on the Music serenely (and characteristically) unruffled and said not to Ancient Voices of Children worry, he had heard that driving at exactly fifty miles per hour Ancient Voices of Children was composed during the summer conserved gas most efficiently, and that he thought we had an of 1970 on commission from the Elizabeth Sprague Coolidge outside chance of making it home if we did that. I am certain Foundation, while I was in residence at Tanglewood, that with anyone else in the car, we would have found Massachusetts. This work forms part of an extended cycle of ourselves stranded on the Jersey Turnpike at 4 A.M. on a cold vocal compositions based on the poetry of Federico García February morning. George maintained a constant close watch Lorca that has absorbed much of my compositional energy on the speedometer while I drove, correcting me immediately over the years. if the dial rose to fifty-two or fifty-three. The car ran out of gas In Ancient Voices of Children, as in my earlier Lorca settings, I as I pulled into George’s driveway. have sought musical images that enhance and reinforce the There is one fact about our recording of Music for a Summer powerful, yet strangely haunting imagery of Lorca’s poetry. I Evening (made in 1975, now available on Electra/Nonesuch feel that the essential meaning of this poetry is concerned with CD 79149-2) that I have always thought ought to be known. In the most primary things: life, death, love, the smell of the the fourth movement, Myth, one of the pianists is asked to earth, the sounds of the wind and the sea. These “ur-concepts” groan (“eerie, uncanny”) several times. All four of us tried, but are embodied in a language that is primitive and stark, but George was dissatisfied with the timbre of everyone’s which is capable of infinitely subtle nuance. groaning: one was too sensual, another too sleepy, a third too The texts of Ancient Voices are fragments of longer poems that deep, and the fourth too comical. We asked him to do it, and it I have grouped into a sequence that seemed to suggest a is in fact the composer’s own groans—timbrally perfect and “larger rhythm” in terms of musical continuity. The two purely not acknowledged in the liner notes—that exist on the instrumental movements—Dances of the Ancient Earth and recording. Ghost Dance—are dance-interludes rather than commentaries The founding of Orchestra 2001 in 1998 gave me the on the texts. These two pieces, together with the third song, opportunity to bring a great deal of new music by a great many subtitled “Dance of the Sacred Life-Cycle” (which contains a composers to a public that I think is just now beginning to rising-falling ostinato bolero rhythm in the drums), can be thirst for more adventuresome programming. George’s music performed by a solo dancer. has been a staple of our programs for ten years, and George The vocal style in the cycle ranges from the virtuosic to the himself has accompanied us on several European tours. In intimately lyrical, and in my conception of the work I very America, George Crumb is a highly respected composer of much had in mind Jan DeGaetani’s enormous technical and classical music, admired by many who have followed the timbral flexibility. Perhaps the most characteristic vocal effect development of contemporary music since the 1960s. But in in Ancient Voices is produced by the mezzo-soprano singing a Europe, especially Eastern Europe, George is a cultural hero, a kind of fantastic vocalise (based on purely phonetic sounds) star on whom people look with awe, almost a god-like figure into an amplified piano, thereby producing a shimmering aura for young composers. We have had some wonderful of echoes. The inclusion of a part for boy soprano seemed the adventures on these trips with George (and sometimes his wife best solution for those passages in the text where Lorca clearly Liz) in our midst. Probably the most memorable was our implies a child’s voice.
Load more

Recommended publications
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Artist Series – Gilbert Kalish Program Notes
    ARTIST SERIES – GILBERT KALISH PROGRAM GEORGE CRUMB (b. 1929) Three Early Songs for Voice and Piano (1947) Night Let It Be Forgotten Wind Elegy Tony Arnold, soprano • Gilbert Kalish, piano FRANZ SCHUBERT (1797-1828) “Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965, Op. 129 (1828) Lisette Oropesa, soprano • David Shifrin, clarinet • Gilbert Kalish, piano JOHANNES BRAHMS (1833-1897) Quartet No. 3 in C minor for Piano, Violin, Viola, and Cello, Op. 60 (1855-56, 1874) Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Gilbert Kalish, piano • Nicolas Dautricourt, violin • Paul Neubauer, viola • Torleif Thedéen, cello NOTES ON THE PROGRAM Three Early Songs for Voice and Piano (1947) George Crumb (b. CHarleston, WV, 1929) Crumb wrote these songs in 1947, the year he graduated high school and entered Mason College in his native Charleston, West Virginia. His now-wife of 70 years, Elizabeth May Brown, was the first to sing them and they are dedicated to her. They are wholly unlike the works that Crumb eventually became famous for—their sound is more early 20th century art song than the unique and otherworldly sound palette he would later develop. Crumb explained that in West Virginia at that time, Debussy was “almost an ultra-modern.” These songs, with delightful melodies and floating harmonies, show that young Crumb, even before finding his mature style, still had a gift for music that is understated yet emotionally powerful. Crumb suppressed the vast majority of his student compositions but he’s allowed performance of these songs. “Most of the music I wrote before the early sixties (when I finally found my own voice) now Chamber Music Society of Lincoln Center causes me intense discomfort,” he writes, “although I make an exception for a few songs which I composed when I was 17 or 18.… these little pieces stayed in my memory and when, some years ago, Jan DeGaetani expressed an interest in seeing them (with a view to possible performance if she liked them), I made a few slight revisions and even decided to have them published.
    [Show full text]
  • Prospective Encounters
    FOUR INNOVATIVE EVENTS IN GREENWICH VILLAGE presented by the NEW YORK PHILHARMONIC PIERRE BOULEZ, Music Director EISNER AND LUBIN AUDITORIUM, LOEB STUDENT CENTER, NEW YORK UNIVERSITY Friday Evening, February 18, 1972, at 7:30 p.m. PROSPECTIVE ENCOUNTER IV PIERRE BOULEZ, Conductor STANLEY SILVERMAN PLANH Stanley Silverman, Guitar Violin Flute, Alto Flute Percussion Kenneth Gordon Paige Brook Richard Fitz Viola Clarinet, Gordon Gottlieb Sol Greitzer Bass Clarinet Mandolin Cello Stephen Freeman Jacob Glick Bernardo Altmann GEORGE CRUMB "Ancient Voices of Children" A Cycle of Songs on Texts by Garcia Lorca I "El niho busca su voz" ("The Little Boy Was Looking for his Voice") "Dances of the Ancient Earth" II "Me he perdido muchas veces por el mar" ("I Have Lost Myself in the Sea Many Times") III "6De d6nde vienes, amor, mi nino?" ("From Where Do You Come, My Love, My Child?") ("Dance of the Sacred Life-Cycle") IV "Todas ]as tardes en Granada, todas las tardes se muere un nino" ("Each After- noon in Granada, a Child Dies Each Afternoon") "Ghost Dance" V "Se ha Ilenado de luces mi coraz6n de seda" ("My Heart of Silk Is Filled with Lights") Jan DeGaetani, Mezzo-soprano Joseph Lampke, Boy soprano Oboe Harp Percussion Harold Gomberg Myor Rosen Raymond DesRoches Mandolin Piano Richard Fitz Jacob Glick PaulJacobs Gordon Gottlieb Orchestra Personnel Manager, James Chambers ERIC SALZMAN with QUOG ECOLOG QUOG Josh Bauman Imogen Howe Jon Miller Tina Chancey Garrett List Barbara Oka Tony Elitcher Jim Mandel Walter Wantman Laura Greenberg Bill Matthews
    [Show full text]
  • Jan De Gaetani Collection (Music Library)
    JAN DEGAETANI COLLECTION (MUSIC LIBRARY) EASTMAN SCHOOL OF MUSIC ARCHIVES RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Laura Mayes Schweibacher Fall 2004–Winter 2005 Revised by Gail E. Lowther May 2021 Sydney Hodkinson and Jan DeGaetani in rehearsal, Kilbourn Hall, Eastman School of Music. Photograph from ESPA 30-90 (8x10). 2 TABLE OF CONTENTS Description of Collection 4 Organization of Collection 7 INVENTORY SUB-GROUP 1: LIBRARY 11 Series 1: Oratorios, Masses, and Cantatas 11 Series 2: Symphonies and Ballets 17 Series 3: Operas 18 Series 4: Songs and Song Collections, Pre-1960 22 Sub-series A: Solo Songs 22 Sub-series B: Multi-voice Works 55 Sub-series C: Vocalises 56 Series 5: Late 20th Century Songs, 1960s-1980s 57 Sub-series A: Works in English 57 Sub-series B: Works in Other Languages 68 Series 6: Performance Copies as Filed 70 Series 7: Chamber and Symphonic Scores 82 Series 8: Instrumental Works 87 Series 9: Oversized Scores 88 SUB-GROUP 2: PAPERS 93 3 DESCRIPTION OF COLLECTION Shelf location: A3B 1,1–1,6; 2,3 Extent: 24 linear feet Biographical Sketch Jan DeGaetani rehearsing in Kilbourn Hall (1980s). Photograph from ESPA 30-93 (8x10). Although her repertoire encompassed works from the entire historical spectrum of Western classical music, Jan DeGaetani (1933–1989) achieved worldwide prominence as an interpreter of twentieth-century vocal music. She earned a bachelor’s degree from the Juilliard School, where she was a scholarship student of Sergius Kagen. Over the course of her career, DeGaetani appeared as soloist with such ensembles as the New York Philharmonic, San Francisco Symphony, London Symphonietta, New York Pro Musica, the Waverly consort, the 4 Fine Arts Quartet, the American and New York Brass Quintet, and the Aspen Festival orchestra.
    [Show full text]
  • 2005 Distinguished Faculty, John Hall
    The Complete Recitalist June 9-23 n Singing On Stage June 18-July 3 n Distinguished faculty John Harbison, Jake Heggie, Martin Katz, and others 2005 Distinguished Faculty, John Hall Welcome to Songfest 2005! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer 1996 Young Artist program with co-founder John Hall. Songfest 2005 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2005 at Pepperdine University once again this summer. In our third year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song to exploring the varied and rich American Song. We are once again privileged to have John Harbison with us this summer. He has generously donated a commission to Songfest – Vocalism – to be premiered on the June 19 concert. Our singers and pianists will be previewing his new song cycle on poems by Milosz. Each time I read these beautiful poems, I am reminded why we love this music and how our lives are enriched. What an honor and unique opportunity this is for Songfest.
    [Show full text]
  • Ingressive Phonation in Contemporary Vocal Music, Works by Helmut Lachenmann, Georges Aperghis, Michael Baldwin, and Nicholas
    © 2012 Amanda DeBoer Bartlett All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor The use of ingressive phonation (inward singing) in contemporary vocal music is becoming more frequent, yet there is limited research on the physiological demands, risks, and pedagogical requirements of the various ingressive phonation techniques. This paper will discuss ingressive phonation as it is used in contemporary vocal music. The research investigates the ways in which ingressive phonation differs acoustically, physiologically, and aesthetically from typical (egressive) phonation, and explores why and how composers and performers use the various ingressive vocal techniques. Using non-invasive methods, such as electroglottograph waveforms, aerodynamic (pressure, flow, flow resistance) measures, and acoustic analyses of recorded singing, specific data about ingressive phonation were obtained, and various categories of vocal techniques were distinguished. Results are presented for basic vocal exercises and tasks, as well as for specific excerpts from the repertoire, including temA by Helmut Lachenmann and Ursularia by Nicholas DeMaison. The findings of this study were applied to a discussion surrounding pedagogical and aesthetic applications of ingressive phonation in contemporary art music intended for concert performance. Topics of this discussion include physical differences in the production and performance of ingressive phonation, descriptive information regarding the various techniques, as well as notational and practical recommendations for composers. iv This document is dedicated to: my husband, Tom Bartlett my parents, John and Gail DeBoer and my siblings, Mike, Matt, and Leslie DeBoer Thank you for helping me laugh through the process – at times ingressively – and for supporting me endlessly. v ACKNOWLEDGEMENTS I have endless gratitude for my advisor and committee chair, Dr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 103, 1983-1984, Subscription
    Boston Symphony Orchestra SEIJI OZAWA, Music Director f BOSTON \ (SYMPHONY | I ORCHESTRA | v SEIJI OZAWA A N ,jfj Mum Director _fT - 103rd Season lit, ^iVv A . 1983-84 Savor the sense of Remy. RtMY N &&mtf^m i Imported by Remy Martin Amerique, Inc., N.Y. VS.O.P COGNAC. SINCE Sole U.S.A. Distributor, Premiere Wine Merchants Inc., N.Y. 80 Proof. REMY MARTINI Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Third Season, 1983-84 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu J.R Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti Abram T. Collier, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon Richard P Chapman Edward G. Murray John L. Thorndike John T. Noonan Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris - General Manager William Bernell - Artistic Administrator Daniel R. Gustin - Assistant Manager B.J.
    [Show full text]
  • Emerson String Quartet
    Emerson String Quartet The Emerson String Quartet has maintained its stature as one of the world’s premier chamber music ensembles for more than four decades. The quartet has made more than 30 acclaimed recordings, and has been honored with nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s “Ensemble of the Year”. The Emerson frequently collaborates with some of today’s most esteemed composers to premiere new works, keeping the string quartet art form alive and relevant. They have partnered in performance with stellar soloists including Reneé Fleming, Barbara Hannigan, Evgeny Kissin, Emanuel Ax and Yefim Bronfman, to name a few. During the 2018-2019 season the Emerson continues to perform as the quartet in residence at the Smithsonian Institution in Washington, D.C. for its 40th season and returns to perform with the Chamber Music Society of Lincoln Center. The group’s North American appearances include a performance at New York’s Alice Tully Hall, and appears around North America that include the Library of Congress in Washington DC, Denver, Vancouver, Seattle, Houston, Indianapolis, Detroit, the Yale School of Music and University of Georgia, among others. The quartet also embarks on two European tours, performing in major venues in the United Kingdom, Germany, France, Italy and Spain. During the summer of 2019, the Emerson will perform at Tanglewood, Ravinia, and the Aspen Music Festivals. Other North American highlights include subsequent performances of Shostakovich and The Black Monk: A Russian Fantasy, the new theatrical production co-created by the acclaimed theater director James Glossman and the Quartet’s violinist, Philip Setzer.
    [Show full text]
  • Jacob Druckman
    JACOB DRUCKMAN: LAMIA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDÉE [1] THAT QUICKENING PUlsE (1988) 7:41 JACOB DRUCKMAN 1928–1996 Francesco Cavalli/Jacob Druckman: [2] DELIZIE CONTENTE CHE L’ALME BEATE (arr. 1985) 2:48 THAT QUICKENING PULSE [3] NOR SPELL NOR CHARM (1990) 11:37 DELIZIE CONTENTE CHE L’ALME BEATE Marc-Antoine Charpentier/Jacob Druckman: NOR SPELL NOR CHARM SUITE FROM MÉDÉE (arr. 1985) [4] I. Ouverture 2:14 SUITE FROM MÉDÉE [5] II. Prélude 2:45 [6] III. Rondeau pour les Corinthiens 1:50 LAMIA [7] IV. Loure 4:46 [8] V. Passepied & Choeur 3:24 LAMIA (1986) LUCY SHELTON soprano [9] I. Folk conjuration to make one courageous 2:09 [10] II. Metamorphoses, Book VII; BOSTON MODERN ORCHESTRA PROJECT Folk conjuration to dream of one’s future husband 7:01 [11] III. Folk conjuration against death or other absence GIL ROSE, CONDUCTOR of the soul 4:59 [12] IV. Stanza degli Incanti de Medea; Tristan und Isolde; Periapt against theeves 5:08 TOTAL 56:24 COMMENT By Jacob Druckman Lamia was the name of a sorceress of Greek mythology and has come to mean “sorcer- ess” in the generic sense. The concept of the work grew out of a particular performance of my Animus II by my dear friend and colleague, the great American mezzo-soprano Jan DeGaetani at the Aspen Colorado Music Festival in 1972. Ms. DeGaetani, who has magnificently performed and recorded several of my works, gave a particularly magical performance that night in which everything that sounded and befell seemed to be the direct result of her will and her powers.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 105, 1985
    m *$m Boston Symphony Orchestra SEIJI OZAWA, Music Director ^M }&MM "SaH*?. tag® rA'O. .v* 105th Season 1985-86 <> &S*i Outof the wood comes the TnnnzimHiiuiiiuiiiQcto of the world's first barrel-blended • «4s8i»«r-"- *&$ 12 year-old Canadian whisky. .vw^' as tnev a Barrel-Blending is the final process ot blending selected wmsKies into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 7985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation Thomas W Morris, Vice-President, Special Projects and Planning John Ex Rodgers, Assistant Treasurer Theodore A.
    [Show full text]
  • The 2002 Lotte Lenya Competition for Singers Kilbourn Hall, Eastman
    The 2002 Lotte Lenya Competition for Singers Kilbourn Hall, Eastman School of Music 13 April 2002 The Kurt Weill Foundation for Music wishes to thank the Eastman School of Music for graciously hosting both preliminary and final rounds of this competition. In 1998, on the occasion of the centenary of the birth of Lotte Lenya (1898-1981), the foremost interpreter of the music of her husband, Kurt Weill (1900-1950), the Kurt Weill Foundation for Music established an annual Lotte Lenya Competition for Singers. The competition recognizes excellence in the performance of music for the theater, in its broadest sense, including opera, operetta, and American musical theater. Criteria for adjudication include vocal beauty and tlichnique as well as interpretation, acting, idiomatic performance of a varied repertoire, and stage presence. The 2002 compe- tition is open to singers residing in the United States and Canada who have not yet reached their 32nd birthday as of 31 December 2001. Thirteen finalists have been cho- sen from regional competitions held in New York City, Rochester, and Chicago. At today's final competition, judges are Teresa Stratas, world-renowned singer and inter- preter of Weill; Eric Stern, conductor of many Broadway shows and musical theater recordings, and musical director of the off-Broadway Berlin to Broadway with Kurt Weill; and Stanley Walden, composer, conductor, and founder of the musical theater training program at the Hochschule der Kunste in Berlin, and author of the standard German textbook on acting in the musical theater. Awards at the finals will include prizes of $5000, $3500, and $2500, and winners will also be presented in a 13 May recital at the Lincoln Center Library for the Performing Arts in New York City.
    [Show full text]
  • Jan Degaetani Collection (Accession No
    JAN DE GAETANI COLLECTION (ACCESSION NO. 2017-1-17) EASTMAN SCHOOL OF MUSIC ARCHIVES RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Henry Benson, Spring 2018 Revised by Gail E. Lowther, Summer 2021 1 Jan DeGaetani with students from her 1981–1982 studio at the Eastman School of Music. (L to R) Betsy Fulford, Joe Holt, Kate Nesbit, Dawn Flynn, Lee Strawn, and Ms. DeGaetani. Photograph from The Score (1982). Photograph from Jan DeGaetani Collection (Accession no. 2017-1-17), Box 4, Item 1 (slide 25). 2 TABLE OF CONTENTS Description of Collection . 4 Description of Series . 7 INVENTORY Series 1: Scores 9 Series 2: Papers 13 Series 3: Slides 15 Series 4: Audio-Visual Material 15 Sub-series A: Audiocassette tapes 15 Sub-series B: DAT tapes 17 Sub-series C: DVDs 18 Sub-series D: Compact discs 19 Sub-series E: 7” audio reels 19 Sub-series F: LPs 20 Series 5: Oversized 22 3 DESCRIPTION OF COLLECTION Shelf location: A3B 2,3–2,4 Extent: 8 linear feet Biographical Sketch Photograph from Jan DeGaetani Collection (Accession no. 2017-1-17), Box 4, Item 1 (slide 24). Although her repertoire encompassed works from the entire historical spectrum of Western classical music, Jan DeGaetani (1933–1989) achieved worldwide prominence as an interpreter of twentieth-century vocal music. She earned a bachelor’s degree from the Juilliard School, where she was a scholarship student of Sergius Kagen. Over the course of her career, DeGaetani appeared as soloist with such ensembles as the New York Philharmonic, San Francisco Symphony, London Symphonietta, New York Pro Musica, the Waverly consort, the Fine Arts Quartet, the American and New York Brass Quintet, and the Aspen Festival orchestra.
    [Show full text]