Volume 18 No. 2, Spring 2019
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Leonard Bernstein
Leonard Bernstein Arias and Barcarolles (Bright Sheng version) 1988 31 min for mezzo and baritone, strings and percussion Orchestrated with the assistance of Bright Sheng perc(2):xyl/glsp/vib/small cym/small SD/large SD/chimes/small BD/ tamb/tgl/crotales/small tam-t/police whistle/small wdbl/large wdbl/ small susp.cym/TD-strings Availability: This work is available from Boosey & Hawkes for the world Arias and Barcarolles (Bruce Coughlin version) Leonard Bernstein photo © Susech Batah, Berlin (DG) Leonard Bernstein, arranged by Bruce Coughlin 1988, arr. 1993 31 min VOICE(S) AND ORCHESTRA arranged for mezzo-soprano, baritone and chamber orchestra 1(=picc).1(=corA).1(=Ebcl,asax).1-2.1.0.0-perc(2):timp/SD/low tom-t/ 1600 Pennsylvania Avenue trap set(hi-hat cym/ride cym/BD)/cyms/susp.cym/low gong/crot/ slapstick/rainstick/auto brake dr/police whistle/tamb/tgl/wdbl/ Selections for concert performance glsp/xyl/vib-strings(8.8.6.6.3 or 1.1.1.1.1) 1976 Availability: This work is available from Boosey & Hawkes for the world for solo voice and orchestra Bernstein's Blues Availability: This work is available from Boosey & Hawkes for the world Leonard Bernstein, arranged by Sid Ramin 2003 14 min 1600 Pennsylvania Avenue a suite of four songs arranged for voice and orchestra: Ain't Got No Tears Take Care of this House Left, Lonely Me, Screwed On Wrong, Big Stuff 1976 4 min 2.2.2.2.asax.tsax.barisax-2.2.2.1-timp-perc(trap set)-gtr-pft-strings for voice and orchestra Availability: This work is available from Boosey & Hawkes for the world 1.1.2.bcl.1-2.2.2.1-perc(2):timp/xyl/bells-harp-guitar-pft-strings -
Dédé Et Tété En Amérique
Alice n’est plus ici Un premier film hollywoodien de Scorsese et un Oscar pour l’actrice Ellen Burstyn. 1 Sur CineCinema Culte. PAGE 24 Profession régisseur Quatrième portrait de notre série TV&Radio d’été consacrée aux métiers Du lundi 4 août de la fiction. PAGES 2 ET 3 au dimanche 10 août 2008 Dédé et Tété en Amérique L’audiovisuel public en questions (4) Entretien avec Catherine Tasca, sénatrice (PS) des Yvelines, ex-ministre de la culture et de la communication. PAGE 3 Belleville tour Khalid Maadour, Francis Renaud et Marilou Berry dans une fable sociale drôle et légère. Sur France 2. PAGE 12 Le musicien André Manoukian et le chanteur- Nathalie Guyon/ France 5 ; Warner ; Calt Production ; compositeur Tété PHOTOPQR/La Voix du Nord ; Jean Pimentel/France 2. dans un road-movie musical en quatre étapes sur France 5. PAGE 16 - CAHIER DU « MONDE » DATÉ DIMANCHE 3 - LUNDI 4 AOÛT 2008, Nº 19757. NE PEUT ÊTRE VENDU SÉPARÉMENT - 2 Le Monde Dimanche 3 - Lundi 4 août 2008 SÉRIES D’ÉTÉ Les métiers de la fiction (4) Service compris Régisseur. Des places de parking à l’hébergement de l’équipe ou à l’installation d’une cantine en passant par le transport du matériel, des techniciens ou des comédiens, il est en charge de la logistique d’un tournage et sert d’interface entre le plateau et le monde extérieur ORSQUE nous l’avons être transférée… vers l’auberge rencontré, à Mende, de jeunesse. en Lozère, fin juin, Chargés de la logistique et de Fabien Morault, ré- l’intendance pour toute la com- gisseur de cinéma, munauté impliquée dans l’élabo- était « en sinistre » : ration d’un film, les régisseurs le tournage de sont responsables du lieu de L« Hero corp », une série produite tournage, de la sécurisation des par la société Calt (« Kaame- personnes et de la zone de tra- lott », « Caméra café », « Off- vail. -
KEVIN COLE “America's Pianist” Kevin Cole Has Delighted
KEVIN COLE “America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of American Music. Cole’s performances have prompted accolades from some of the foremost critics in America. "A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy," wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was at work… Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; Hong Kong Philharmonic; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Philharmonia Orchestra (London); Boston Philharmonic, Adelaide Symphony Orchestra (Australia) Minnesota Orchestra, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony,Vietnam National Symphony Orchestra; New Zealand Symphony, Edmonton Symphony (Canada), Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute and many others. He made his Carnegie Hall debut with the Albany Symphony in May 2013. He has shared the concert stage with, William Warfield, Sylvia McNair, Lorin Maazel, Brian d’Arcy James, Barbara Cook, Robert Klein, Lucie Arnaz, Maria Friedman, Idina Menzel and friend and mentor Marvin Hamlisch. Kevin was featured soloist for the PBS special, Gershwin at One Symphony Place with the Nashville Symphony. He has written, directed, co- produced and performed multimedia concerts for: The Gershwin’s HERE TO STAY -The Gershwin Experience, PLAY IT AGAIN, MARVIN!-A Celebration of the music of Marvin Hamlisch with Pittsburgh Symphony and Chicago Symphony and YOU’RE THE TOP!-Cole Porter’s 125th Birthday Celebration and I LOVE TO RHYME – An Ira Gershwin Tribute for the Ravinia Festival with Chicago Symphony. -
July 2, 2020 – Berlin's Annie, Get Your Gun & Porter's Kiss Me, Kate
July 2, 2020 – Berlin’s Annie, Get Your Gun & Porter’s Kiss Me, Kate On this week’s Thursday Night Opera House, we’re turning to Broadway for a pair of 1940s musicals: Irving Berlin’s Annie, Get Your Gun and Cole Porter’s Kiss Me, Kate. These were among the last such shows that were completely acoustical, with lead actors who could project their voices like opera singers. Jerome Kern was originally hired to set Dorothy Fields’s lyrics and her brother Herbert’s book, but after his unexpected death Berlin was engaged to do both the score and lyrics. Annie, Get Your Gun opened on May 16, 1946 and ran for 1,147 performances. Ethyl Merman and Ray Middleton starred as Annie Oakley and Frank Butler, respectively. Annie Oakley (Kim Criswell) is a poor, but spirited and happy, country girl who lives by her native sharp-shooting quickly makes her the star of Buffalo Bill’s (David Healy) Wild West Show, where she meets and falls in love with expert rifleman Frank Butler (Thomas Hampson). Unfortunately, the tough, outspoken Annie is not Frank’s idea of what a wife should be and the two remain at competitive odds. Then Annie is initiated into an Indian tribe whose chief, Sitting Bull (Alfred Marks), gives her some good advice: only by deliberately, but discreetly, losing a shooting contest can she win Frank’s heart. Annie does so and the show ends with the exuberant climax “There’s No Business Like Show Business.” John McGlinn conducts the London Sinfonietta and the Ambrosian Chorus in this 1991 EMI recording. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
Swr2-Musikstunde-20110823.Pdf
__________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Die., 23. 8. 2011 „Gefühl und Kalkül: Janusköpfigkeit der Musik“ (2) MUSIK: EMMA G., NACH ... SEC AUSBLENDEN „Beethovens Musik bewegt die Hebel der Furcht, des Schauers, des Entsetzens, des Schmerzes und erweckt eben jene unendliche Sehnsucht, welche das Wesen der Romantik ist ... Der Meister, an Besonnenheit Haydn und Mozart ganz an die Seite zu stellen, trennt sein Ich von dem innern Reich der Töne und gebietet darüber als unumschränkter Herr. Ästhetische Messkünstler haben oft im Shakespeare über gänzlichen Mangel innerer Einheit und inneren Zusammenhanges geklagt, indem dem tieferen Blick ein schöner Baum, Blätter, Blüten und Früchte, aus einem Keim treibend, erwächst; so entfaltet sich auch nur durch ein sehr tiefes Eingehen in Beethovens Instrumentalmusik die hohe Besonnenheit, welche vom wahren Genie unzertrennlich ist und von dem Studium der Kunst genährt wird. Welches Instrumentalwerk Beethovens bestätigt dies alles wohl in höherm Grade als die über alle Maßen herrliche tiefsinnige Sinfonie in c-Moll. Wie führt diese wundervolle Komposition in einem fort und fort steigenden Klimax den Zuhörer unwiderstehlich fort in das Geisterreich des Unendlichen. Nichts kann einfacher sein, als der nur aus zwei Takten bestehende Hauptgedanke des ersten Allegros, der, anfangs im Unisono, dem Zuhörer nicht einmal die Tonart bestimmt ... Wie einfach (...) ist das Thema (...), aber wie wundervoll reihen sich ihm alle Neben- und Zwischensätze durch ihr rhythmisches Verhältnis so an, dass sie nur dazu dienen, den Charakter des Allegros, den jenes Hauptthema nur andeutete, immer mehr und mehr zu entfalten.“ Also schrieb E. T. A. Hoffmann, romantischer Dichter und klassischer Komponist, in seinem Essay „Beethovens Instrumentalmusik“. -
Silvester- Und Tempodrom Mo Hugh Martin |Ralphblane›The Hugh Martin Trolley Song‹Ausdemfilm›Meetmeinst
Silvester- und Neujahrskonzerte So 31. Dezember 2017 | 15 Uhr + 19 Uhr Mo 1. Januar 2018 | 18 Uhr Tempodrom JOHN WILSON Dirigent Kim Criswell Gesang Artisten des Circus Roncalli Leonard Bernstein Ouvertüre zur Komischen Operette ›Candide‹ Hugh Martin | Ralph Blane ›The Trolley Song‹ aus dem Film ›Meet Me in St. Louis‹ CIRcustHEATER BINGO Leroy Anderson Song ›The Girl in Satin‹ und Walzer ›Belle of the Ball‹ VIVI PAUL Leroy Anderson Serenata TRIO CSÀSZÀR Leroy Anderson ›Sandpaper Ballet‹ KGB CLOWNS John Williams Thema aus dem Film ›Schindler’s List‹ (Solovioline: Byol Kang) LILI PAUL Cole Porter Song ›Love of My Life‹ aus dem Film ›The Pirate‹ John Williams ›Harry‘s Wondrous World‹ aus dem Film ›Harry Potter and the Sorcerer‘s Stone‹ Franz Waxman ›The Ride to Dubno‹ aus dem Film ›Taras Bulba‹ CIRcustHEATER BINGO Leroy Anderson ›Fiddle-Faddle‹ PAuSe Richard Rodgers Walzer aus dem Musical ›Carousel‹ CATWALL TRAMPO George Gershwin Ouvertüre zum Musical ›Girl Crazy‹ John Williams ›Fawkes the Phoenix‹ aus dem Film ›Harry Potter and the Chamber of Secrets‹ Miklós Rózsa Finale von ›Parade of the Charioteers‹ aus dem Film ›Ben Hur‹ DUO PYKHOV Änderungen der Programmreihenfolge vorbehalten Programmreihenfolge der Änderungen Leonard Bernstein ›Dream With Me‹ aus dem Musical ›Peter Pan‹ VIVI PAUL & KGB CLOWN EDDY NEUMANN John Williams ›Hedwig’s Theme‹ aus dem Film ›Harry Potter and the Sorcerer‘s Stone‹ PAOLO CARILLON Frederick Loewe Ouvertüre zum Musical ›My Fair Lady‹ WHITE NIGHT John Williams ›Swashbuckler‹ aus dem Film ›Indiana Jones and the Kingdom of the Crystal Skull‹ ROBERT WICKE Irving Berlin Song ›There’s No Business Like Show Business‹ aus dem Musical ›Annie Get Your Gun‹ Jerome Moross Thema aus dem Film ›The Big Country‹ Scott Bradley Suite ›Tom and Jerry at MGM‹ CATWALL TRAMPO Leonard Bernstein ›Mambo‹ aus dem Musical ›West Side Story‹ Julius Fučík ›Einzug der Gladiatoren‹ JOHN WILSON wurde im nordenglischen Gateshead geboren und studierte am Royal College of Music in London Komposition und Dirigieren. -
Performing Music History Edited by John C
musicians speak first-hand about music history and performance performing music history edited by john c. tibbetts michael saffle william a. everett Performing Music History John C. Tibbetts · Michael Saffe William A. Everett Performing Music History Musicians Speak First-Hand about Music History and Performance Forewords by Emanuel Ax and Lawrence Kramer John C. Tibbetts William A. Everett Department of Film and Media Studies Conservatory of Music and Dance University of Kansas University of Missouri-Kansas City Lawrence, KS, USA Kansas City, MO, USA Michael Saffe Department of Religion and Culture Virginia Tech Blacksburg, VA, USA ISBN 978-3-319-92470-0 ISBN 978-3-319-92471-7 (eBook) https://doi.org/10.1007/978-3-319-92471-7 Library of Congress Control Number: 2018951048 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
Topical Weill: News and Events
Volume 27 Number 1 topical Weill Spring 2009 A supplement to the Kurt Weill Newsletter news & news events Summertime Treats Londoners will have the rare opportunity to see and hear three Weill stage works within a two-week period in June. The festivities start off at the Barbican on 13 June, when Die Dreigroschenoper will be per- formed in concert by Klangforum Wien with HK Gruber conducting. The starry cast includes Ian Bostridge (Macheath), Dorothea Röschmann (Polly), and Angelika Kirchschlager (Jenny). On 14 June, the Lost Musicals Trust begins a six-performance run of Johnny Johnson at Sadler’s Wells; Ian Marshall Fisher directs, Chris Walker conducts, with Max Gold as Johnny. And the Southbank Centre pre- sents Lost in the Stars on 23 and 24 June with the BBC Concert Orchestra. Charles Hazlewood conducts and Jude Kelly directs. It won’t be necessary to travel to London for Klangforum Wien’s Dreigroschenoper: other European performances are scheduled in Hamburg (Laeiszhalle, 11 June), Paris (Théâtre des Champs-Elysées, 14 June), and back in the Klangforum’s hometown, Vienna (Konzerthaus, 16 June). Another performing group traveling to for- eign parts is the Berliner Ensemble, which brings its Robert Wilson production of Die Dreigroschenoper to the Bergen Festival in Norway (30 May and 1 June). And New Yorkers will have their own rare opportunity when the York Theater’s “Musicals in Mufti” presents Knickerbocker Holiday (26–28 June). Notable summer performances of Die sieben Todsünden will take place at Cincinnati May Festival, with James Conlon, conductor, and Patti LuPone, Anna I (22 May); at the Arts Festival of Northern Norway, Harstad, with the Mahler Chamber Orchestra led by HK Gruber and Ute Gfrerer as Anna I (20 June); and in Metz, with the Orchestre National de Lorraine, Jacques Mercier, conductor, and Helen Schneider, Anna I (26 June). -
Oscar Hammerstein II Collection
Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966. -
2009–Senior Seminar, Ives, Blues, Porter
James Hepokoski Spring 2009 Music 458: Ives, Blues, Porter Visions of America: Competing concepts of musical style and purpose in the United States in the first half of the twentieth century. We examine some stylistic and cultural bases of both “art” and “popular” music and their often uneasy interrelationships. This is neither a survey course nor one concerned with mastering a body of facts. Nor is it preoccupied with coming to aesthetic value judgments. Instead, it is a course in applying critical thinking and analysis to some familiar musical styles basic to the American experience: asking hard questions of differing early- and mid-twentieth-century repertories. Areas to be examined include: 1) Ives (selected songs, Concord Sonata, Second Symphony); 2) early blues (Bessie Smith, Charley Patton, Robert Johnson, and others), including samples of African-American recorded precedents and related genres; 3) Broadway and popular song—including a brief look at Jerome Kern (selected numbers from Show Boat) followed by a closer study of Cole Porter (Anything Goes). Some main questions to be faced are: What aesthetic/contextual/analytical tools do we need to think more deeply about differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? The course will also make use of resources in Yale’s music collection—most notably the Charles Ives Papers and The Cole Porter Collection. We shall also be concerned with original recordings from the 1920s and 1930s.