Baltimore Symphony Orchestra Announces 2019 New Music Festival
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Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Folk Roots, Urban Roots
Thursday 13 December 2018 7.30–9.55pm Barbican Hall LSO SEASON CONCERT FOLK ROOTS, URBAN ROOTS Bartók Hungarian Peasant Songs Szymanowski Harnasie Interval Stravinsky Ebony Concerto Osvaldo Golijov arr Gonzalo Grau Nazareno Bernstein Prelude, Fugue and Riffs ROOTS & Sir Simon Rattle conductor Edgaras Montvidas tenor Chris Richards clarinet Katia and Marielle Labèque pianos Gonzalo Grau percussion Raphaël Séguinier percussion London Symphony Chorus ORIGINS Simon Halsey chorus director In celebration of the life of Jeremy Delmar-Morgan Streamed live on youtube.com/lso Recorded by BBC Radio 3 for broadcast on Tuesday 18 December Welcome Jeremy Delmar-Morgan In Memory 1941–2018 We are also delighted to welcome Katia and Jeremy Delmar-Morgan was a member of Marielle Labèque, who perform Nazareno, the LSO Advisory Council for over 20 years, a double piano suite drawn from Osvaldo a Director of LSO Ltd from 2002 to 2013, and Golijov’s La Pasión según San Marco, thereafter a Trustee of the LSO Endowment arranged by Gonzalo Grau, who appears Trust. He was also Honorary President of alongside Raphaël Séguinier as one of this the Ronald Moore Sickness and Benevolent evening’s percussion soloists. We then close Fund, where he brought invaluable advice with Prelude, Fugue and Riffs by the LSO’s to the LSO musicians on the investment former President, Leonard Bernstein, with strategy for the fund. After studying LSO Principal Clarinet Chris Richards as soloist. medicine at Cambridge he went into the City for a career in stock-broking, latterly elcome to this LSO concert at Tonight’s concert is performed in combining the two in the financing of the Barbican. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Beethoven, Bagels & Banter
Beethoven, Bagels & Banter SUN / OCT 21 / 11:00 AM Michele Zukovsky Robert deMaine CLARINET CELLO Robert Davidovici Kevin Fitz-Gerald VIOLIN PIANO There will be no intermission. Please join us after the performance for refreshments and a conversation with the performers. PROGRAM Ludwig van Beethoven (1770-1827) Trio in B-flat major, Op. 11 I. Allegro con brio II. Adagio III. Tema: Pria ch’io l’impegno. Allegretto Olivier Messiaen (1908-1992) Quartet for the End of Time (1941) I. Liturgie de cristal (“Crystal liturgy”) II. Vocalise, pour l'Ange qui annonce la fin du Temps (“Vocalise, for the Angel who announces the end of time”) III. Abîme des oiseau (“Abyss of birds”) IV. Intermède (“Interlude”) V. Louange à l'Éternité de Jésus (“Praise to the eternity of Jesus”) VI. Danse de la fureur, pour les sept trompettes (“Dance of fury, for the seven trumpets”) VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (“Tangle of rainbows, for the Angel who announces the end of time) VIII. Louange à l'Immortalité de Jésus (“Praise to the immortality of Jesus”) This series made possible by a generous gift from Barbara Herman. PERFORMANCES MAGAZINE 20 ABOUT THE ARTISTS MICHELE ZUKOVSKY, clarinet, is an also produced recordings of several the Australian National University. American clarinetist and longest live performances by Zukovsky, The Montréal La Presse said that, serving member of the Los Angeles including the aforementioned Williams “Robert Davidovici is a born violinist Philharmonic Orchestra, serving Clarinet Concerto. Alongside her in the most complete sense of from 1961 at the age of 18 until her busy performing schedule, Zukovsky the word.” In October 2013, he retirement on December 20, 2015. -
Program Notes By: Joseph & Elizabeth Kahn [email protected]
Stravinsky Firebird Suite – February 17, 2018 Cello Concerto in B minor, Op. 104 Antonín Dvořák 1841-1904 Antonín Dvořák’s sojourn in the United States from 1892 to 1895 came about through the efforts of Mrs. Jeanette B. Thurber. A dedicated and idealistic proponent of an American national musical style, she underwrote and administered the first American music conservatory, the National Conservatory of Music in New York. Because of Dvořák’s popularity throughout Europe, he was Thurber’s first choice as director. He, in turn, was probably lured to the big city so far from home by both a large salary and a passion for musical nationalism that paralleled Mrs. Thurber’s own. He was eager to learn more of the Native-American and African-American music, which he believed should be the basis of the American national style of composition. He also shared with Mrs. Thurber the conviction that the National Conservatory should admit African-American students. Dvořák’s period in New York was quite productive in spite of his administrative and teaching duties. He composed string quartets, a string quintet, the Ten Biblical Songs, Symphony No. 9 and lastly, most of the Cello Concerto. For a number of years, Dvořák’s friend, the cellist Hanus Wihan, had been asking for a cello concerto. But the ultimate impetus was a performance by Irish cellist, composer and conductor Victor Herbert of his Cello Concerto No. 2 at a New York Philharmonic concert. Dvořák thought the work splendid and a few months later sat down to write his own concerto. He finished it just before he left New York to return to his native Bohemia. -
Chicago Presents Symphony Muti Symphony Center
CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI zell music director SYMPHONY CENTER PRESENTS 17 cso.org1 312-294-30008 1 STIRRING welcome I have always believed that the arts embody our civilization’s highest ideals and have the power to change society. The Chicago Symphony Orchestra is a leading example of this, for while it is made of the world’s most talented and experienced musicians— PERFORMANCES. each individually skilled in his or her instrument—we achieve the greatest impact working together as one: as an orchestra or, in other words, as a community. Our purpose is to create the utmost form of artistic expression and in so doing, to serve as an example of what we can achieve as a collective when guided by our principles. Your presence is vital to supporting that process as well as building a vibrant future for this great cultural institution. With that in mind, I invite you to deepen your relationship with THE music and with the CSO during the 2017/18 season. SOUL-RENEWING Riccardo Muti POWER table of contents 4 season highlight 36 Symphony Center Presents Series Riccardo Muti & the Chicago Symphony Orchestra OF MUSIC. 36 Chamber Music 8 season highlight 37 Visiting Orchestras Dazzling Stars 38 Piano 44 Jazz 10 season highlight Symphonic Masterworks 40 MusicNOW 20th anniversary season 12 Chicago Symphony Orchestra Series 41 season highlight 34 CSO at Wheaton College John Williams Returns 41 CSO at the Movies Holiday Concerts 42 CSO Family Matinees/Once Upon a Symphony® 43 Special Concerts 13 season highlight 44 Muti Conducts Rossini Stabat mater 47 CSO Media and Sponsors 17 season highlight Bernstein at 100 24 How to Renew Guide center insert 19 season highlight 24 Season Grid & Calendar center fold-out A Tchaikovsky Celebration 23 season highlight Mahler 5 & 9 24 season highlight Symphony Ball NIGHT 27 season highlight Riccardo Muti & Yo-Yo Ma 29 season highlight AFTER The CSO’s Own 35 season highlight NIGHT. -
A B C a B C D a B C D A
24 go symphonyorchestra chica symphony centerpresent BALL SYMPHONY anne-sophie mutter muti riccardo orchestra symphony chicago 22 september friday, highlight season tchaikovsky mozart 7:00 6:00 Mozart’s fiery undisputed queen ofviolin-playing” ( and Tchaikovsky’s in beloved masterpieces, including Rossini’s followed by Riccardo Muti leading the Chicago SymphonyOrchestra season. Enjoy afestive opento the preconcert 2017/18 reception, proudly presents aprestigious gala evening ofmusic and celebration The Board Women’s ofthe Chicago Symphony Orchestra Association Gala package guests will enjoy postconcert dinner and dancing. rossini Suite from Suite 5 No. Concerto Violin to Overture C P s oncert reconcert Reception Turkish The Sleeping Beauty Concerto. The SleepingBeauty William Tell conducto The Times . Anne-Sophie Mutter, “the (Turkish) William Tell , London), performs London), , media sponsor: r violin Overture 10 Concerts 10 Concerts A B C A B 5 Concerts 5 Concerts D E F G H I 8 Concerts 5 Concerts E F G H 5 Concerts 6 Conc. 5 Concerts THU FRI FRI SAT SAT SUN TUE 8:00 1:30 8:00 2017/18 8:00 8:00 3:00 7:30 ABCABCD ABCDAAB Riccardo Muti conductor penderecki The Awakening of Jacob 9/23 9/26 Anne-Sophie Mutter violin tchaikovsky Violin Concerto schumann Symphony No. 2 C A 9/28 9/29 Riccardo Muti conductor rossini Overture to William Tell 10/1 ogonek New Work world premiere, cso commission A • F A bruckner Symphony No. 4 (Romantic) A Alain Altinoglu conductor prokoFIEV Suite from The Love for Three Oranges Sandrine Piau soprano poulenc Gloria Michael Schade tenor gounod Saint Cecilia Mass 10/5 10/6 Andrew Foster-Williams 10/7 C • E B bass-baritone B • G Chicago Symphony Chorus Duain Wolfe chorus director 10/26 10/27 James Gaffigan conductor bernstein Symphonic Suite from On the Waterfront James Ehnes violin barber Violin Concerto B • I A rachmaninov Symphonic Dances Sir András Schiff conductor mozart Serenade for Winds in C Minor 11/2 11/3 and piano bartók Divertimento for String Orchestra 11/4 11/5 A • G C bach Keyboard Concerto No. -
2021 Contemporary Women Composers Music Catalog
Catalog of Recent Highlights of Works by Women Composers Spring 2021 Agócs, Kati, 1975- Debrecen Passion : For Twelve Female Voices and Chamber Orchestra (2015). ©2015,[2020] Spiral; Full Score; 43 cm.; 94 p. $59.50 Needham, MA: Kati Agócs Music Immutable Dreams : For Pierrot Ensemble (2007). ©2007,[2020] Spiral; Score & 5 Parts; 33 $59.50 Needham, MA: Kati Agócs Music Rogue Emoji : For Flute, Clarinet, Violin and Cello (2019). ©2019 Score & 4 Parts; 31 cm.; 42, $49.50 Needham, MA: Kati Agócs Music Saint Elizabeth Bells : For Violoncello and Cimbalom (2012). ©2012,[2020] Score; 31 cm.; 8 p. $34.50 Needham, MA: Kati Agócs Music Thirst and Quenching : For Solo Violin (2020). ©2020 Score; 31 cm.; 4 p. $12.50 Needham, MA: Kati Agócs Music Albert, Adrienne, 1941- Serenade : For Solo Bassoon. ©2020 Score; 28 cm.; 4 p. $15.00 Los Angeles: Kenter Canyon Music Tango Alono : For Solo Oboe. ©2020 Score; 28 cm.; 4 p. $15.00 Los Angeles: Kenter Canyon Music Amelkina-Vera, Olga, 1976- Cloches (Polyphonic Etude) : For Solo Guitar. ©2020 Score; 30 cm.; 3 p. $5.00 Saint-Romuald: Productions D'oz DZ3480 9782897953973 Ensueño Y Danza : For Guitar. ©2020 Score; 30 cm.; 8 p. $8.00 Saint-Romuald: Productions D'oz DZ3588 9782897955052 Andrews, Stephanie K., 1968- On Compassion : For SATB Soli, SATB Chorus (Divisi) and Piano (2014) ©2017 Score - Download; 26 cm.; 12 $2.35 Boston: Galaxy Music 1.3417 Arismendi, Diana, 1962- Aguas Lustrales : For String Quartet (1992). ©2019 Score & 4 Parts; 31 cm.; 15, $40.00 Minot, Nd: Latin American Frontiers International Pub. -
Turnage Anna Nicole
Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June. -
Getting Over the Shock of the New
GETTING OVER THE SHOCK OF THE NEW CONTEMPORARY IS SYMPHONIC MUSIC Thomas Dausgaard conducts the Seattle Symphony GETTING OVER THE SHOCK OF THE NEW AGE COMING OF BY GREG CAHILL here is a creepy bloodlust to orchestra will premiere the rest of the it,” he says. “That alertness to what the com- the doom-mongering of clas- works in future seasons. poser actually wrote, rather than what might sical music, as though an Indeed, a look at major orchestras around have become standard practice, is an inspira- “T autopsy were being con- the United States shows that contemporary tion for me when working on music by dead ducted on a still-breathing body,” William symphonic works are slowly, but surely, mak- composers we can no longer ask questions of. Robin wrote in the New Yorker in a 2014 ing inroads into program schedules. For So much of what we perform is written by article about perpetual reports of the example, subscribers to the Chicago Sym- people long gone; it can be frustrating never genre’s death. “What if each commentator phony Orchestra’s 2020–21 season can to be able to ask them, never to see how their decided, instead, to Google ‘young com- expect a generous serving of Brahms, Cho- faces light up when they hear their music poser’ or ‘new chamber ensemble’ and write pin, Schubert, Schumann, Debussy, Ravel, coming to life. a compelling profile of a discovery?” and Scriabin. But the orchestra also will per- “So what a joy it is as performer and audi- That’s good advice, especially since form two world premieres of CSO-commis- ence to be around living composers and young composers are providing an infusion sioned works by American composer Gabriela enrich the experience of hearing and per- of new blood into the modern orchestra. -
Photography in Dialogue
2530 Superior Ave., #403 Cleveland, OH 44114 www.spenational.org Collaborative Exchanges: HOST INSTITUTION Photography in Dialogue 51st SPE National Conference March 6-9, 2014 – Hilton Baltimore, MD Table of Contents GOLD LEVEL SPONSORS 2 Welcome from the Conference Chair 3 Welcome from the Host Institution 4 Sponsors Foldout Conference Schedule 5 Hotel Floor Plan PRESENTATION SCHEDULE & DETAILS Department of Photography 6 Thursday Sessions 9 Friday Sessions 15 Saturday Sessions 20 Presenter Bios & Index SPECIAL EVENTS 28 Daily Special Events Schedule 29 Silent Auction & Raffle 30 Film Festival 33 Book Signing Schedule EXHIBITS FAIR 34 Exhibits Fair Floor Plan & Exhibitor List 35 Sponsor & Exhibitor Contact Information SILVER LEVEL SPONSORS PORTFOLIO CRITIQUES & REVIEWS 38 Portfolio Critiques & Reviews Information 39 Portfolio Reviewers’ Index APPLAUSE 42 Awards & Recognitions 44 SPE Board of Directors, Staff, & Committees 45 Donors GENERAL INFORMATION 46 Map of Baltimore 48 Gallery & Museum Guide 50 Dining & Entertainment Guide 72 2015 Conference Description & Proposal Information Cover Image: Nicholas Kahn and Richard Selesnick, janus-symbiosis, 2010 Program Guide Design: Nina Barcellona Program Guide Co-Editors: Nina Barcellona and Ginenne Clark From The Conference Chair Welcome to Baltimore for the 51st SPE National Conference. Last year’s event celebrated a milestone of fifty years and I hope that this conference marks an auspicious beginning for the next fifty. We’ve worked hard to ensure that it will. The theme is Collaborative Exchanges: Photography in Dialogue. The key word in the title is “dialogue,” and we hope the programming will celebrate artistic practices that employ the photographic image while embracing relationships. This could be a social component, working directly with other artists or writers, creating dialogue with communities, forming collectives or shared resource banks, building public artworks, or otherwise working in expanded practice with others to make new art.