DOCSLIB.ORG

[email protected] BARBARA HAWS NAMED ARCHIV

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johnsonk@Nyphil.Org BARBARA HAWS NAMED ARCHIV FOR IMMEDIATE RELEASE April 18, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] BARBARA HAWS NAMED ARCHIVIST AND HISTORIAN EMERITUS AT THE NEW YORK PHILHARMONIC Haws To Retire from the Philharmonic After 34-Year Tenure To Pursue Doctoral Degree from University of Oxford, Researching Philharmonic Founder Ureli Corelli Hill The New York Philharmonic has named Barbara Haws Archivist and Historian Emeritus for her leadership role in the creation, curation, and expansion of the Philharmonic’s extensive Archives for almost 34 years. She will retire from the Philharmonic in August 2018 and pursue a doctorate in musicology when she matriculates at New College, University of Oxford, in October. Over the course of three-and-a-half decades as Philharmonic Archivist / Historian, Ms. Haws amassed and added to the Philharmonic Archives through research and acquisition. She also made the remarkable American cultural resource accessible for free throughout the world by launching and developing the New York Philharmonic Leon Levy Digital Archives. “Barbara has been an indispensable colleague in the more than 25 years we’ve known each other,” said Deborah Borda, New York Philharmonic President and CEO. “Her pioneering work in the Archives has produced an invaluable resource for the world, one that allows us to clearly see how the New York Philharmonic’s history is the history of our city, our country, and classical music in America. Barbara’s creativity in crafting events and stories around this material, and her innovation and foresight in establishing the Digital Archives, has positioned the Philharmonic as a leader in this area. Though her departure from the Philharmonic will be felt deeply, we are proud that Barbara will be representing this Orchestra at Oxford.” At Oxford University, Ms. Haws will be researching and writing about Ureli Corelli Hill, the Philharmonic’s founder and the first American musician to study and perform abroad (1835–37). Her research will investigate how his landmark journey shaped the early years of the New York Philharmonic and contributed to its success. “Barbara has played a unique role at the New York Philharmonic, always keeping us meaningfully connected to the rich history of this great organization — its past, present, and future,” said Oscar S. Schafer, Chairman of the Philharmonic. “We are so proud of the work she’ll be doing at Oxford, exploring the Philharmonic’s founder and maverick New Yorker, Ureli Corelli Hill. We can’t wait to learn what she discovers. Oxford University’s gain is also the New York Philharmonic’s gain!” 2 “My journey with the Philharmonic has been filled with the greatest musical and intellectual rewards and the most supportive friendships,” said Barbara Haws. “I am particularly honored and humbled by Deborah Borda’s offer to name me Archivist and Historian Emeritus, which, without a doubt, makes the difficult and emotional process of leaving my day-to-day life with the world’s greatest Orchestra a little easier. Oxford is a wonderful opportunity for me and is a great tribute to and affirmation of the significance of the Philharmonic’s early history. So, although I will not be in New York this fall, I will not be far from the Philharmonic that I love so dearly.” Barbara Haws’s landmark achievements during her Philharmonic tenure include: Creating the first comprehensive performance history database of any symphony orchestra Directing the design and construction of the state-of-the-art Research Archives Serving as Founding Executive Producer of New York Philharmonic Special Editions; collaborating with Sedgwick Clark in producing five major CD box sets (i.e. 57 discs) of historic recordings over five years, each containing a 500-page booklet with archival material and some garnering Grammy Award nominations and the Cannes Classical Prize Establishing a Philharmonic exhibition program, with both changing and permanent installations in David Geffen Hall as well as collaborations across New York and Europe Working with composer John Adams on his Pulitzer Prize–winning On the Transmigration of Souls, co-commissioned by the Philharmonic as a memorial to those lost on 9/11; the recording of the premiere won three Grammy Awards, including Best Recording of the Year, which Ms. Haws accepted on behalf of the Orchestra Working with James North to publish the Orchestra’s first discography Acquiring complete marked score libraries of former Music Director Leonard Bernstein and Erich Leinsdorf, plus important items from the collections of Artur Rodziński, Dimitri Mitropoulos, and Kurt Masur Acquiring the diary of Philharmonic Founder Ureli Corelli Hill, along with countless other historic music materials related to the history of the New York Philharmonic Developing and launching the Philharmonic Leon Levy Digital Archives — the world’s largest digitization project by a single institution in time span and comprehensiveness — made possible by the Leon Levy Foundation under the leadership of Shelby White Barbara Haws was born in Beatrice, Nebraska, the daughter of an agricultural agent and a school teacher, and attended East High School in Lincoln. Ms. Haws graduated from Miami University in Ohio with a B.A. in History and moved to New York City in 1977 to work for the Council on International Educational Exchange. She enrolled in New York University’s history department, which offered the newly established Archival Management and Historical Editing program, and received her M.A. in 1983. Her early career included developing the archives of the Bowery Savings Bank (founded in 1834) and organizing the personal holdings of the legendary baseball player Jackie Robinson. She was elected president of the Archivist Roundtable of Metropolitan New York and is a founder of New York Archives Week. In late 1984 the New York Philharmonic created a permanent staff position of Archivist / Historian to manage and interpret its sizable historic collection comprising material dating back to its founding in 1842. The first to hold the post, Ms. Haws used these holdings to reveal previously unexplored humanities issues — social, political, and economic — integral to the development and success of America’s oldest symphony orchestra. 3 Over the decades Barbara Haws has been an active spokesperson for the Philharmonic’s history and its relevance today, spearheading many public events and projects. Her contributions to the Orchestra’s 150th anniversary celebrations included the installation of a major exhibition at the New York Public Library for the Performing Arts titled The Orchestra and the City: 150 Years of the New York Philharmonic. In 1994 the Philharmonic opened the Bruno Walter Gallery on the Grand Promenade of Avery Fisher (now David Geffen) Hall, which has hosted almost 100 exhibitions focused on the Orchestra, its music, and its place and experience in New York City. Ms. Haws has also worked on large-scale exhibitions both in the United States and abroad, on topics ranging from former Music Director Dimitri Mitropoulos (Foundation for Hellenic Culture, New York, 1995) to the 175th anniversaries of the New York Philharmonic and Vienna Philharmonic (which opened in New York and traveled to Vienna, 2017; the New York exhibition is available at noasarai.com/NYP-VPO). The Longest Run: New York’s Philharmonic, a multimedia exhibition that opened at the UBS Art Gallery in New York in 2003, became a permanent installation in David Geffen Hall. To make the Philharmonic’s history available worldwide, in 2007 Ms. Haws spearheaded a collaboration with photographer Ardon Bar Hama and the Leon Levy Foundation to digitize 2,000 pages a day per camera; in less than three years three million pages of archival documents (including marked conducting scores, business documents, printed programs, and photographs) from the Philharmonic’s Leonard Bernstein Era, 1943–70, had been made freely available on the internet. The Leon Levy Foundation then provided an additional $2.5 million, and the National Endowment for the Humanities granted $325,000, to complete the digitization of all of the Archives’ holdings, 1842–70, plus all public-facing documents through the present. The performance history data of the world’s largest continuous set of concerts was also made available through Github through a Creative Commons license for anyone working in Digital Humanities or using large datasets for creative compositions, either musical or visual. The Leon Levy Digital Archives has also been used by the likes of Columbia University sociologists who, working under an Andrew W. Mellon Foundation grant, used subscriber records dating back to 1842 to study relationships among elites in New York City. In 2008, to mark what would have been Leonard Bernstein’s 90th birthday, Barbara Haws worked with his brother, Burton, to commission, write, and edit Leonard Bernstein: American Original (Harper Collins), a collection of essays on different aspects of Bernstein’s story, including his social activism, television work, and family life. For the Philharmonic’s 175th anniversary, Sony Classical engaged Ms. Haws to write the liner notes for its 65-CD collection of recordings, 1917–96. She also oversaw the launch of Listening Through Time, a podcast comprising interviews with current and former Philharmonic members while they listened to recordings of themselves and their predecessors playing the same work, analyzing how the interpretations or techniques have or have not changed over the years. Her most recent major event featuring Archival material was Bernstein’s Mahler Marathon, a 13- hour listening session hosted by Fred Child, presenting Bernstein’s recordings of Mahler’s symphonies accompanied by digital images of the scores Bernstein used when conducting the works. .
Load more

Recommended publications
  • Vail Daily Column Musically Speaking on New York Philharmonic's
    Vail Daily column Musically Speaking on New York Philharmonic’s Thirteenth Residency at Bravo! Vail by Sandra Pearson, Assistant Principal Librarian, New York Philharmonic An orchestra's season has a certain flow to it. When we finish our winter season, the shirt sleeves get shorter, and our summer festival wardroBe is donned. Our thoughts also turn towards a change of scenery that takes us from the concrete confines of New York to the pine-scented fresh mountain air of Colorado. Along with the other orchestras who get to enjoy a summer season such as Blossom or Tanglewood, we too get to enjoy our summer residency hiking and making music in the Beautiful surroundings of the Rocky Mountains. We are happy to once again Be sharing music By some our greatest composers with our enthusiastic audiences in the Vail Valley. We enjoy our collaBoration with the amicaBle and witty Bramwell Tovey, and judging from past audience reactions, so do our fans in Vail. The first program on July 24th showcases the pianist Jon Kimura Parker playing Edvard Grieg's classic Piano Concerto in A minor. This concert will also showcase the suBliminal overture to Fingal's Cave By Felix Mendelssohn and Edward Elgar's Enigma Variations. Maestro Tovey's second program on July 26th features Bravo! Vail's artistic director and talented pianist Anne-Marie McDermott playing Rachmaninoff's romantic Rhapsody on a Theme of Paganini. Balancing out the rest of the program are Le Corsair Overture By Berlioz, The Emperor Waltzes by Johann Strauss, Jr., and the prismatic Suite from Der Rosenkavalier by Richard Strauss.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
    SHI BOSTON SYMPHONY ORCH ESTRA 2005-2006 SEASON JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE Tap, tap, tap. The final movement is about to begin. unique and In the heart of This 1 final phase is priced this eight-acre gated *" - : million community, at the ->r-C from $1,625 to $6.6 million. pinnacle of Fisher Hill appointment to view the original Manor will be trans- For an finale, please call formed into five estate-sized luxury this grand condominiums ranging from 2,052 Hammond GMAC Real Estate 617-731-4644, ext. 410. to a lavish 6,650 square feet of at old world charm with today's ultra-modern comforts. LONGYEAR at 3is£er( Jfitf BROOKLINE www.longyearestates . com -••*- 1 Hammond CORt-LAND III I . I N j I . L I'ROr'l-K'I'IIiS INC. i<$t?Tv fr '^ i*6lfe" •i? *? *'A-I , * The path to recovery... JS&S * McLean Hospital '- j— - -The nation's top psychiatric hospital. 1 -V U.S. News ScWorld Report, &&* i j» .? - *** - .*•** 1 * SB apr^fe- >£Jd :%&^£r &, ;iDBi:;||::!BSi: A; jRS The Pavilion at McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean /s the largest p psychiatric clinical care, teaching and research affiliate 1 ARTNERb™ of Harvard Medical School, an affiliate of Massachusetts General Hospital and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care.
    [Show full text]
  • Symphonic Constructions of American National Identity, 1840–1870
    MUSIC OF A MORE PERFECT UNION: SYMPHONIC CONSTRUCTIONS OF AMERICAN NATIONAL IDENTITY, 1840–1870 Douglas William Shadle A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2010 Approved By: Mark Evan Bonds, Chair Annegret Fauser Jon Finson Mark Katz Philip Vandermeer ABSTRACT DOUGLAS SHADLE: Music of a More Perfect Union: Symphonic Constructions of American National Identity, 1840–1870 (Under the direction of Mark Evan Bonds) The genre of the symphony has long been recognized as a medium for constructing national identities in German, French, and Russian culture, yet little is known about the genre’s history in the United States. Between 1840 and 1870, the era of the first generation of American orchestral composers, it served as a potent means of expressing American national identity. During this period of American cultural history, two separate processes shaped conceptions of national identity: decolonization from Great Britain and a nascent sense of imperial expansionism. This dissertation explores how mid-century American symphonic composers musically constructed national identities reflecting these conceptions and argues that this practice continued well into the twentieth century. Composers who focused on decolonization generally employed one of two separate strategies. The first was emulation, or copying European symphonic models with the intention of continuing the symphonic tradition. George Frederick Bristow (1825– 1898), for example, wrote symphonies that might be mistaken for music by Mendelssohn or Schumann. The second strategy was exceptionalism, or selectively omitting traditional stylistic elements in order to pave new musical pathways.
    [Show full text]
  • CHRISTOPHER ROUSE the Marie-Josée Kravis Composer-In-Residence at the New York Philharmonic, 2012-2015
    CHRISTOPHER ROUSE The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2012-2015 Odna Zhizn · Symphonies Nos. 3 & 4 · Prospero’s Rooms New York Philharmonic · Alan Gilbert, Conductor CHRISTOPHER ROUSE 1 Odna Zhizn (2008) for orchestra �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16:05 The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2012-2015 Symphony No. 3 (2011) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 28:24 Odna Zhizn · Symphonies Nos� 3 & 4 · Prospero’s Rooms 2 Allegro �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8:33 3 Theme � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:16 4 Variation 1 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:29 New York Philharmonic 5 Variation 2 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:07 Alan Gilbert, Conductor 6 Variation 3 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:30 7 Variation 4, 5, and Theme �� � � � � � � � �
    [Show full text]
  • NEW YORK PHILHARMONIC the New York Philharmonic Plays A
    NEW YORK PHILHARMONIC The New York Philharmonic plays a leading cultural role in New York City, the United States, and the world. Each season the Philharmonic connects with up to 50 million music lovers through live concerts in New York and around the world, international broadcasts, albums and digital recordings, and education programs. In 2018–19 Jaap van Zweden begins his tenure as the 26th Music Director, and the Orchestra welcomes an expanded connection to New York City. Maestro van Zweden leads five World Premieres and core symphonic masterworks; presides over Music of Conscience, New York Stories: Threads of Our City, and The Art of Andriessen; and welcomes New York’s community and service professionals to Phil the Hall. The New York Philharmonic has commissioned and / or premiered works by leading composers from every era since its founding in 1842. Highlights include Dvořák’s New World Symphony; Gershwin’s Concerto in F; John Adams’s Pulitzer Prize–winning On the Transmigration of Souls, dedicated to the victims of 9/11; Esa-Pekka Salonen’s Piano Concerto; Wynton Marsalis’s The Jungle (Symphony No. 4); and Anna Thorvaldsdottir’s Metacosmos. The Philharmonic introduces two new-music series in the 2018–19 season. A resource for its community and the world, the New York Philharmonic complements annual free concerts across the city — including the Concerts in the Parks, Presented by Didi and Oscar Schafer — with Philharmonic Free Fridays and education projects including the famed Young People’s Concerts. Committed to developing tomorrow’s orchestral musicians, the Philharmonic established the Shanghai Orchestra Academy and Partnership and a residency partnership with the University Musical Society of the University of Michigan.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1993
    MppfaMttBaHg mi laHHBHiiBBaiiaiiBssiaHiiasL '--^^l iTTTTrT ^iWffffiSS I "SSftS 5 I ! mlkM Tools ofExcellence In every discipline, outstanding performance springs from the combination of skill, vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics :^-' A^ Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1992-93 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Nina L. Doggett R. Willis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer James F. Cleary Avram J . Goldberg Molly Beals Millman John F. Cogan, Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Council Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent Leo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey Abram T. Collier Thomas D. Perry, Jr. John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G.
    [Show full text]
  • Symphony2 MAHLER Symphony No
    NEw YoRkPhILhaRmONIc LORIN MAAZEL The CompLeTe MAHLER symphonies Livesymphony2 MAHLER SymPhony NO. 2 in c minor, New York PhilharmoNic Resurrection (1888–94) 84:28 aNd loriN maazel: The comPleTe mahler 1 allegro maestoso 22:42 SYmPhoNieS, live 2 andante moderato 10:13 is released in celebration 3 In quietly flowing motion 10:51 of mr. maazel’s seven-year 4 Primal Light: Very solemn, but simple 4:38 tenure as music Director 5 In the speed of the scherzo — allegro 36:04 of the New york Philharmonic, energico — Slow, mysterious 2002–2009. REcoRdEd LivE June 19–21, 2003, avery Fisher hall Visit nyphil.org/maazelmahler for bonus at Lincoln center for the Performing arts content including a score with mahler’s own notes, video interviews with Lorin maazel, and audio samples from the complete series. Lorin maazeL conductor JESSICa JONES Soprano cover photo: Chris Lee CORNELIA KaLLISCh mezzo-soprano unless otherwise noted, additional imagery: NEW YORK CHORAL ARTISTs, Joseph FLummerFelt Director neW yorK phiLharmoniC arChives vinCe Ford Executive Producer marK Travis Producer Larry rock Recording and mastering Engineer Used by arraNgEment wIth UniversaL Edition a.g., Vienna NotEs on thE ProgRam: MAHLER SymPhony NO. 2 3 Gustav Mahler was already a famous conductor when he embarked on his Second Symphony. Following formal training in Vienna, he obtained his first professional appointment in 1880 as conductor of a summer opera theater in the Upper Austrian town of Bad Hall. From that modest beginning he built a Born steadily growing reputation thanks to July 7, 1860, in Kalisch (Kalis˘te˘), bohemia, a quick succession of directorships with near the town of humpolec musical organizations in Ljubljana, Olomouc, Kassel, Prague, Leipzig, and diEd Budapest, where he unveiled his First may 18, 1911, in Vienna, austria Symphony — disastrously — in late 1889.
    [Show full text]
  • Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists
    Please do not remove this page Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists Gutierrez, Sheena https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12379289290002976?l#13379289280002976 Gutierrez, S. (2021). Gender Bias Among the Big Five Orchestras - As Illustrated in Hiring Practices of Women Instrumentalists [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031572783502976/01UOML_INST:ResearchR epository Open Downloaded On 2021/09/27 08:36:18 -0400 Please do not remove this page UNIVERSITY OF MIAMI GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN INSTRUMENTALISTS By Sheena Gutierrez A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2021 ©2021 Sheena Gutierrez All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts GENDER BIAS AMONG THE BIG FIVE ORCHESTRAS – AS ILLUSTRATED IN HIRING PRACTICES OF WOMEN STRING PLAYERS Sheena Gutierrez Approved: ________________ ________________ Charles Castleman Jennifer Grim Professor of Instrumental Performance Associate Professor of Instrumental Performance ________________ _________________ Gerard Schwarz Guillermo Prado, Ph.D. Professor of Music, Conducting and Dean of the Graduate School Orchestral Studies ________________ Valerie Coleman Assistant Professor of Performance, Chamber Music and Entrepreneurship GUTIERREZ, SHEENA (D.M.A., Instrumental Performance) (May 2021) Gender Bias Among the Big Five Orchestras – As Illustrated in Hiring Practices of Women Instrumentalists. Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Charles Castleman.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Americans at the Leipzig Conservatory (1843–1918) and Their Impact on AJoamnnae Perpipclean Musical Culture Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AMERICANS AT THE LEIPZIG CONSERVATORY (1843–1918) AND THEIR IMPACT ON AMERICAN MUSICAL CULTURE By JOANNA PEPPLE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Copyright © 2019 Joanna Pepple Joanna Pepple defended this dissertation on December 14, 2018. The members of the supervisory committee were: S. Douglass Seaton Professor Directing Dissertation George Williamson University Representative Sarah Eyerly Committee Member Iain Quinn Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii Soli Deo gloria iii ACKNOWLEDGMENTS I am so grateful for many professors, mentors, family, and friends who contributed to the success of this dissertation project. Their support had a direct role in motiving me to strive for my best and to finish well. I owe great thanks to the following teachers, scholars, librarians and archivists, family and friends. To my dissertation committee, who helped in shaping my thoughts and challenging me with thoughtful questions: Dr. Eyerly for her encouragement and attention to detail, Dr. Quinn for his insight and parallel research of English students at the Leipzig Conservatory, Dr.
    [Show full text]
  • The Cambridge Companion To: the ORCHESTRA
    The Cambridge Companion to the Orchestra This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, score-reading, conductors and conducting, international orchestras, and recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts. Colin Lawson is a Pro Vice-Chancellor of Thames Valley University, having previously been Professor of Music at Goldsmiths College, University of London. He has an international profile as a solo clarinettist and plays with The Hanover Band, The English Concert and The King’s Consort. His publications for Cambridge University Press include The Cambridge Companion to the Clarinet (1995), Mozart: Clarinet Concerto (1996), Brahms: Clarinet Quintet (1998), The Historical Performance of Music (with Robin Stowell) (1999) and The Early Clarinet (2000). Cambridge Companions to Music Composers
    [Show full text]
  • Symphony3 MAHLER Symphony No
    NEw YoRkPhILhaRmONIc LORIN MAAZEL The CompLeTe MAHLER symphonies Livesymphony3 MAHLER SymPhony NO. 3 in D minor New York PhilharmoNic (1895–96, rev. through 1906) 103:46 aNd loriN maazel: The comPleTe mahler PaRt ONe SYmPhoNieS, live 1 Forcefully. Decisively. 36:51 is released in celebration PaRt twO of mr. maazel’s seven-year 2 tempo di minuetto. moderately. 10:34 tenure as music Director 3 comodo. Scherzando. Unhurriedly. 17:14 of the New york Philharmonic, 4 Very slow. misterioso. Pianississimo throughout. 9:02 2002–2009. 5 Joyous in tempo and jaunty in expression. 4:21 Visit nyphil.org/maazelmahler for bonus 6 Slow. calm. Deeply felt. 25:44 content including a score with mahler’s own notes, video interviews with REcoRdEd LivE June 16–19, 2004, avery Fisher hall Lorin maazel, and audio samples from at Lincoln center for the Performing arts the complete series. Lorin maazeL conductor cover photo: Chris Lee anna Larsson contralto unless otherwise noted, additional imagery: Women of The WesTminsTer symphoniC Choir, Joseph Flummerfelt Director neW york phiLharmoniC arChives The ameriCan BoyChoir, vinCenT meTallo Director vinCe ford executive Producer Larry roCk Producer, Recording and mastering engineer USeD by arraNgemeNt wIth UniversaL Edition a.g., VIenna NotEs on the ProgRam: MAHLER SymPhony NO. 3 3 “I find it quite strange that people talking about nature only make mention of flowers, birds, and fresh air. But nobody seems to know Pan, the god Dionysos. Nature is able to show all those phenomena, both pleasant and horrible, and I wanted to put these things in a kind of evolutionary development in my work.” So wrote Gustav Mahler to a music critic Born who was trying to understand his Third July 7, 1860, in Kalischt (Kalis˘te˘), bohemia, Symphony, a towering monument to nature, near the town of humpolec but not so entirely reassuring a work as its subject might lead one to expect.
    [Show full text]
  • Viewers That Season, and in 2018 It Launched a Partnership with Decca Gold, Universal Music Group’S Newly Established US Classical Music Label
    NEW YORK PHILHARMONIC The New York Philharmonic plays a leading cultural role in New York City, the United States, and the world. Each season the Orchestra connects with up to 50 million music lovers through live concerts in New York and around the world, broadcasts, recordings, and education programs. Jaap van Zweden began his tenure as the 26th Music Director in the 2018–19 season. In 2019– 20 he and the Philharmonic reaffirm their vital commitments to serving as New York’s orchestra and to championing new music. Maestro van Zweden conducts seven World Premieres and symphonic cornerstones and presides over Project 19, marking the centennial of the ratification of the 19th Amendment with commissions by 19 women composers; hotspots festival, spotlighting new-music centers Berlin, Reykjavík, and New York; and Mahler’s New York, examining the composer / conductor who spent time in New York as the Philharmonic’s tenth Music Director. During the 2020 European tour, Maestro van Zweden and the Philharmonic will open the Concertgebouw’s Mahler Festival as the first American orchestra in the festival’s 100-year history. The New York Philharmonic has commissioned and / or premiered works by leading composers from every era since its founding in 1842. Highlights include Dvořák’s New World Symphony; Gershwin’s Concerto in F; John Adams’s Pulitzer Prize–winning On the Transmigration of Souls, dedicated to the victims of 9/11; Esa-Pekka Salonen’s Piano Concerto; Wynton Marsalis’s The Jungle (Symphony No. 4); and Julia Wolfe’s Fire in my mouth. The two new-music series introduced in Jaap van Zweden’s inaugural season — Nightcap and Sound ON — return in 2019–20.
    [Show full text]