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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music. -
MUS434-571.3 Music of the Modern Era WWII Exodus to USA – Feb
MUS434-571.3 Music of the Modern Era WWII Exodus to USA – Feb. 19, 2013 Olivier Messiaen – Quatuor pour la Fin du Temps (1941) • Drafted into French Army • Written while imprisoned in Stalag VII-A at Görlitz prisoner-of-war camp (1940–41) • Interest in birdsong • Evasion of meter / rhythmic freedom • Intense personal experience informs music • Taught at Paris Conservatoire after being released 1941 Escaping WWII • Schoenberg – UCLA (1932) • Stravinsky – LA (1940) • Bartók – New York (1940) • Rachmaninov – New York / LA (performing) • Weill – New York (Broadway) • Milhaud – Mills College (CA) + Paris Conservatoire • Hindemith – Yale (1940) • Krenek + Eisler Born in the USA • Aaron Copland – Among the first class to study with Nadia Boulanger at American Conservatory at Fontainebleu • Virgil Thomson – Outspoken music critic, also studied at Fontainebleu • Roger Sessions – studied with Schoenberg, more modernist – “Composers should obey only an inner creative urge – an ‘essential innerlich notwendig’ [inwardly necessary] musical impulse” not a political or commercial obligation • Roy Harris – From humble roots in OK, also studied at Fontainbleu with help from Aaron Copland • Walter Piston – Neoclassicism • Samuel Barber – Long melodies, lush orchestration = considered more traditional League of Composers • Founded 1923 as alternative to International Composers’ Guild, which was more modernist and bigoted (against Jewish folks and others) • Championed works of composers listed on previous slide • Organizational attempt to advocate for new -
Walter Piston, Practical Theorist
Walter Piston, Practical Theorist Mark DeVoto, Tufts University given at Harvard University, April 18, 1994 revised for Notre Dame, November 1, 1994 University of North Carolina at Chapel Hill, November 10, 1994 It hardly seems possible that Walter Piston would be a century old this year. Or even that it was eighteen years ago that he died. It doesn't even seem thirty-four years ago that he retired from teaching, so vivid is the memory of the man himself to many of us. But perhaps even more vivid than our personal memories of Walter Piston, which include his total dedication to his art, his quiet wit, his charm, modesty, generosity, and reserve, even more vivid than these is the legacy of his teaching, which so many of us knew so well and continue to know so well today because of the enduring value of his writings. Many others have written about his compositions, which after a period of eclipse that was perhaps inevitable, even in Boston, are beginning to emerge again with the vigorous attention that they deserve. But it's the Piston of his four books that I particularly want to speak about today, in part because of our work together on Harmony, but also because I so much admire his economical, precise prose style. I suppose that everyone knows that Piston got a certificate in draftsmanship from the Massachusetts Normal Art School in 1916, even before entering Harvard to study music, and that his calligraphic scores were the basis of facsimile editions of many of his works. -
Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. -
ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata . -
NEW ENGLAND CONSERVATORY CHORUS LORNA COOKE Devaron, Conductor
NEW ENGLAND CONSERVATORY CHORUS LORNA COOKE deVARON, conductor MALCOLM PEYTON THE BLESSED VIRGIN COMPARED TO THE AIR WE BREATHE MALCOLM PEYTON (b. 1932, New York City) began early music training with piano and trumpet lessons and later continued piano studies with Edward Steuerman in New York. He studied composition with Edward Cone and Roger Sessions at Princeton University and with Wolfgang Fortner while on a Fulbright Fellowship in Germany. At present (1982) he is Acting Chairman of the composition department at the New England Conservatory where he has been teaching since 1965. He writes: "The initial idea for THE BLESSED VIRGIN COMPARED TO THE AIR WE BREATHE came with the words which appear near the end of Gerard Manley Hopkins' poem: 'Stir in my ears, Speak there'. I composed the ending and thereafter found my way back to the beginning. A fantasy that the music already existed, and was therefore to be discovered, was vivid with me at the time. The piece was written in 1972 for the New England Conservatory Chorus and for Lorna Cooke deVaron, to whom it is dedicated." ROBERT CEELY FLEE FLORET FLORENS ROBERT CEELY (b. 1930, Torrington, CT) cast aside early interests in ventriloquism in favor of music as he studied trumpet and played in youth bands, orchestras, and jazz groups. Mr. Ceely was educated at Hobart College, Williams College, the New England Conservatory, Mills College, Princeton University, and the University of Perugia in Italy. His principal composition teachers were Francis Cooke, Darius Milhaud and Roger Sessions. Since 1967 he has taught at the New England Conservatory where he is also Director of the Electronic Music Studio. -
David Tudor in Darmstadt Amy C
This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 David Tudor in Darmstadt Amy C. Beal To cite this Article Beal, Amy C.(2007) 'David Tudor in Darmstadt', Contemporary Music Review, 26: 1, 77 — 88 To link to this Article: DOI: 10.1080/07494460601069242 URL: http://dx.doi.org/10.1080/07494460601069242 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, No. 1, February 2007, pp. 77 – 88 David Tudor in Darmstadt1 Amy C. -
Hannah Anderson, Flute Daryl Shay, Piano
proudly presents the 2020-2021 Student Artist Series Hannah Anderson, flute Daryl Shay, piano This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree. Saturday, April 3, 2021 7:30 p.m., Livestreamed from Kitt Recital Hall Program Sonata for Flute and Piano in D Major, op. 94 Sergei Prokofiev I. Moderato (1891-1953) Façades Philip Glass (b. 1937) Piccolo Play Thea Musgrave I. L’Enchanteresse (b. 1928) II. L’Amphibie III. La Pateline IV. Les Papillons V. Le Reveil-matin VI. Le Bruit de guerre VII. Le Turbulent ~ Intermission ~ Sonata for Flute and Piano Walter Piston I. Allegro moderato e con grazia (1894-1976) II. Adagio III. Allegro vivace Partita in A Minor, BWV 1013 Johann Sebastian Bach III. Sarabande (1685-1750) Fantaisie brillante sûr “Carmen” François Borne (1840-1920) Please turn off or silence all electronic devices. Unauthorized audio and video recordings are prohibited. Program Notes by Hannah Anderson (2021) SERGEI PROKOFIEV (1891-1953) Sonata for Flute and Piano in D Major, op. 94 Sergei Prokofiev composed Sonata for Flute and Piano in D Major for the USSR’s Committee on Artistic Affairs during World War II, while he was evacuated to Kazakhstan in 1943 to avoid being captured by the German regime. Though originally for flute and piano, Prokofiev later transcribed his flute sonata for violin and piano. This piece is Prokofiev’s only work for flute, and he stated that he “wanted to write a sonata in a delicate, fluid, classical, style.” Though he wrote for the flute to create something uniquely beautiful and delicate, Prokofiev’s flute sonata explores the entire range of the flute as well as a broad range of tone colors and musical styles. -
William Grossman
Music at MIT Oral History Project William Grossman Interviewed by Forrest Larson May 3, 2003 Massachusetts Institute of Technology Lewis Music Library Transcribed by MIT Academic Media Services and 3Play Media. Cambridge, MA Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2013 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Current occupation (00:01:05) ..............................................................................1 Freelance musician—assistant conductor for Cats in NY—Broadway pianist and assistant conductor—working with Stephen Sondheim—Festive Prelude—John Corley—Gregory Tucker's Prelude and Allegro/Centennial Overture—American Symphony Orchestra League, The Conductors Guild—French horn—John Raitt—Harvey Schmidt, composer 2. Early history and influences (00:05:54) ...............................................................3 Father, amateur pianist—four-hand versions of Beethoven—New York Philharmonic—Young People's Concerts—Artur Rubinstein—playing piano, percussion, trumpet—mellophone—playing piano for musical theatre at MIT—meeting Edgard Varèse in NY—first hearing Varèse—Robert Kraft—meeting Harvey Schmidt 3. Early exposure to contemporary music and jazz (00:11:27) ................................5 Edgard Varèse—Karlheinz Stockhausen: Zeitmasse; Kontra-Punkte—Varèse: Ionisation; Density 21.5—Hofstra Symphony Orchestra—Elie Siegmeister—conducting Ionisation at MIT—Dave Brubeck—learning about jazz from Larry Cohen—Ornette Coleman—David Izenzon—John Coltrane playing Kresge Auditorium in 1967—Thad Jones/Mel Lewis Band at Village Vanguard 4. Musical training before coming to MIT (00:18:34) .............................................7 Lessons with his father—comparing recordings and scores—Stravinsky: Rite of Spring—Aaron Copland: Billy the Kid Suite—perfect pitch—original interest in orchestra music—Barry Skeist— mathematics and science proficiency 5. -
MIT Concert Choir William Cutter, Conductor Joseph Turbessi, Pianist/Organist Sunday, December 6 4Pm Kresge Auditorium
MIT Concert Choir William Cutter, conductor Joseph Turbessi, pianist/organist Sunday, December 6 4pm Kresge Auditorium The MIT Concert Choir Dr. William Cutter, conductor Joseph Turbessi, pianist/organist Sunday, December 6, 2009 4:00 PM Kresge Auditorium PROGRAM Fanfare Anon. Hodie Christus Natus Est Jan Pieterszoon Sweelinck (1562-1621) Christmas Cantata Daniel Pinkham (1923-2006) (Sinfonia Sacra) I. Maestoso: Quem vidistis pastores II. Adagio: O magnum mysterium III. Allegro: Gloria in excelsis Deo Hymn to the Virgin Benjamin Britten (1913-1976) Lauren Shields, soprano; Paulina Sliwa, mezzo-soprano Martin Frankland, tenor; Thorston Maly, bass Ave Maria Franz Biebl (1906-2001) Jiahao Chen, tenor Lauren Shields, Elizabeth Maroon, Paulina Sliwa, soprano trio In Dulci Jubilo J.S. Bach (1685-1750) Canon at the Octave from Das Orgelbüchlein Joseph Turbessi, organ Vom Himmel Hoch J.S. Bach Freut euch un jubiliert Lullay my liking Gustav Holst (1874-1934) Amy Hailes, soprano; Paulina Sliwa, mezzo-soprano; Martin Frankland, tenor; Joshua Hester, bass Gloria John Rutter (b. 1945) Lauren Shields, soprano solo Tammy Ngai, Elizabeth Maroon, Tina Tallon, soprano trio Hodie Christus Natus Est Jan Pieterszoon Sweelinck (1562-1621) Jan Pieters Sweelinck was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented one of the highest pinnacles attained in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was a skilled composer for voices as well. Some of Sweelinck’s innovations were of profound musical importance, including the fugue - he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. -
CONITZ-DOCUMENT-2019.Pdf
i Abstract (Re)Examining narratives: Personal style and the viola works of Quincy Porter (1897–1966) By Aaron Daniel Conitz The American composer Quincy Porter (1897–1966) is primarily remembered for his achievements and contributions as a member of the academy and, as a result, his music has largely been cast in the shadows. His compositional style is frequently described as “personal” or “highly individual,” particularly in reference to his works of chamber music, specifically those for string instruments. Porter was a fine violist who performed throughout his professional career in solo recitals and chamber ensembles; these experiences directly influenced his composition. Reexamining Porter’s narrative through the lens of his works for viola reveals a more nuanced perspective of the individual, one that more effectively conveys his personal style through the instrument he played. This body of repertoire forms a unique sector of his oeuvre: the works are valuable for the violist in their idiomatic qualities and compositional appeal, yet also display the composer’s voice at its finest. This document will present the works Porter originally wrote for viola (no transcriptions) as a valuable contribution to the repertory of 20th century American viola music. The works will be presented in chronological fashion and explore analytical aspects, stylistic concerns, historical context, and performance practice. The document begins with a biography to provide context for these works. ii Acknowledgements It is said that it takes a small village to raise a child. The essence and wisdom of this statement has certainly held true throughout the creation of this document; I would like to thank and recognize the small village of individuals that have helped me along this long, but rewarding journey. -
The Bulletin
I will speed up my story by following the philosophy that “brevity is godliness.” Citizens and cultural organizations in the state of New Jersey turned out by the thousands in 1976 to participate in the year-long Bicentennial Celebration of the Declaration of Independence. The Bulletin One of my contributions to the cele- bration took place on the evening of June 11, 1976, when I sang Francis OF THE S OCIETY FOR A MERICAN M USIC Hopkinson’s Seven Songs for Harpsichord or FOUNDED IN HONOR OF O SCAR G. T. SONNECK Forte Piano in the parlor of his house, which is still standing and in use a few miles south of Trenton, in Bordentown, Vol. XXVIII, No. 1 Spring 2002 New Jersey. I made my own edition of Mr. Hopkinson’s seven songs and arranged for three excellent musicians to accompany It’s a Long, Long Way from me on a harpsichord, recorders and a viola Bordentown to Japan! da gamba. An excellent tape recording was made Francis Hopkinson (1737-1791) that evening, and I had several hundred LP records pressed up and made available—at —Gordon Myers cost—to historical groups and interested individuals in the area. My singing teacher at Cornell At a New York Pro Musica concert given Some fourteen years later, on July 30, College, Mt. Vernon, Iowa, Mr. Francis at Dumbarton Oaks in the Washington, 1990, I received a letter from CBS Special German—a fellow in singing from the D.C. area, Noah introduced me to his long- Products. They were making CD record- Juilliard Graduate School in New York time friend, Irving Lowens.