2018 Long Island Guitar Festival Program Book
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Notes from a Classical Guitarist Sharon Isbin, a Pioneer in Classical Guitar, Faced a Steep Career Climb, but She Refused to Accept the Possibility of Failure
Sharon Isbin: Notes From a Classical Guitarist Sharon Isbin, a pioneer in classical guitar, faced a steep career climb, but she refused to accept the possibility of failure By Alexandra Wolfe November 26, 2014 For most of her childhood, Grammy-winning guitarist guitar was not on the radar of most kids in the U.S.,” she Sharon Isbin imagined a different career for herself: She says. “Had we not gone to Italy, I would’ve become a wanted to be a rocket scientist. Her brain surgeon or a scientist, no question father, a chemical engineer, used to about it.” make her practice the guitar before she was allowed to work on the model She took to the guitar in part because of rockets that she would construct and its range. “The guitar can capture the send speeding skyward. cry of the human voice because we can create the sound in between notes, The bribery worked. By age 14, Ms. which you can’t do on the piano, but Isbin performed as a soloist before an you can if you’re a singer or a violinist,” audience of 10,000 in her hometown of she says. Minneapolis. “I walked out on the stage and thought, ‘This is even more exciting Her interest in the instrument continued than seeing my worms and after her family returned to the U.S. grasshoppers go up to space,’ ” she when she was 10. Back in Minneapolis, remembers. Ms. Isbin didn’t have an official teacher Sharon Isbin Allison Michael Orenstein after she was 16, but she says growing Now one of the world’s pre-eminent for The Wall Street Journal up in a scientifically oriented household classical guitarists, she’s performed at gave her the tools to continue to learn music on her own. -
Guitarist Sharon Isbin to Star with Santa Rosa Symphony
Guitarist Sharon Isbin to star with Santa Rosa Symphony By DIANE PETERSON THE PRESS DEMOCRAT Published: Thursday, January 20, 2011 at 3:00 a.m. WWW.SHARONISBIN.COM/ J. HENRY FAIR Sharon Isbin serves as the American ambassador of the classical guitar, performing everywhere from the concert hall to the White House. It's a job that no one else really wanted. That's because most Americans are exposed to the guitar through rock and folk music and then fall in love with classical guitar by accident. “That's changing now, but that certainly has been part of the history of classical guitar in this country,” Isbin said in a phone interview from her home in New York City. “Europe has a much longer tradition of classical guitar, going back to Spain and Italy and the U.K., so that the roots have had time to blossom and flourish.” For the Santa Rosa Symphony's fourth concert set this weekend, Isbin will whisk the audience off to the gardens of Spain during a performance of Joaquin Rodrigo's passionate “Concierto de Aranjuez.” “The Rodrigo is one of the most popular works of any works for orchestra,” she said. “The second movement is so powerfully moving and emotionally raw, with great nuances and musical inspiration. It's something that really touches people in unusual ways.” Led by guest conductor and Mexico native Enrique Arturo Diemecke, the south-of-the- border program also includes Astor Piazzolla's seductive “Tangazo, Variations on Buenos Aires” and the Fourth Symphony of composer Carlos Chavez, considered to be the founder of modern Mexican music. -
Aniello D Esiderio
... a century guitarist... ANIELLO DESIDERIO “Il Fenomeno” 16.30 …il genere di musicista che sembra essere scomparso tempo fa, Aniello Desiderio porta con sé il pubblico con entusiasmo, come i grandi virtuosi Paganini, Regondi o Giuliani fecero nell’800: si vive un suo concerto con il fiato sospeso attraverso cambi timbrici, arpeggi e scale di straordinaria brillantezza e eleganza come una Ferrari… Stuttgarter Zeitung… Nato a Napoli nel 1971 inizia lo studio della chitarra classica all’età di 6 chitarra anni. I suoi maestri sono stati Pietro Piscitelli, Bruno Battisti D’Amario e Stefano Aruta; frequentando per diversi anni masterclass tenute dal compositore cubano Leo Brouwer. Si è diplomato nel 1992 con il Massimo 01 dicembre ore ore 01 dicembre dei voti e la lode presso il Conservatorio “A. Vivaldi” di Alessandria. Ha tenuto il suo primo concerto all’ età di 8 anni. La sua carriera internazionale inzia nel 1989. Si è esibito in tutto il mondo: Svizzera, Giappone, USA, Canada, Danimarca, Finlandia, Grecia, Germania, Turchia, Francia, Irlanda, Norvegia, Svezia, Spagna, Venezuela, Brasile, Cuba, Messico, Austria, domenica Polonia, Russia, Indonesia, Ungheria, Colombia, Olanda, Italia. Si è esibito sia come solista sia con diverse orchestre: Berliner Philarmonie e I Virtuosi di Mosca diretti dal M° Vladimir Spivakov. Dal 2005 è Professore presso L’Accademia Internazionale di Musica a Koblenz (Germania). Ganna Da Novembre 2009 tiene un corso annuale di Alto di Perfezionamento presso il Conservatorio di Musica “Domenico Cimarosa”. Dal 2009 è testimonial delle Corde per Chitarra “D’Addario”. Badia Dal 2010 è in tour con una delle leggende della chitarra classica Angel Romero con il quale si esibisce in duo. -
The Philharmonia Orchestra of Yale New Music New Haven
The Yale School of Music Thomas C. Duffy, Acting Dean The Philharmonia Orchestra of Yale Shinik Hahm, music director New Music New Haven Martin Bresnick, director Friday, March 31, 2006 8:00 p.m., Woolsey Hall aaron jay kernis New Era Dance (1992) ryan vigil [ untitled ] (2006) melissa mazzioli These Worlds In Us (2006) jennifer graham Endurance (2003-06) INTERMISSION martin bresnick Grace (2000): Concerto in 3 movements for two marimbas and orchestra I. Pendula and the Center of Gravity (The Puppet Theatre) II. Of the Heaviness of Matter (only a god is a match for matter) III. Grace Will Return (most purely in a puppet or a god) Robert Van Sice and Eduardo Leandro, marimbas robinson mcclellan Gone Today (2006) jacob cooper Odradek (2006) PHILHARMONIA ORCHESTRA OF YALE Program Notes Aaron Jay Kernis: New Era Dance (1992) Commissioned for the 150th anniversary of the New York Philharmonic, Aaron Jay Kernis’s NEW ERA DANCE is a multilayered, virtuosic work for orchestra, with a sampling of electric bass and collage of sound effects. Seeking to write, as he says, a ‘larger than life’ work, the composer drew upon the pulsing, rhythmic music that blares on the streets of his neighborhood, the Washington Heights section of New York City: Latin salsa, crackmobile rap, gypsy-camp folk. Disco and 50s jazz were also added to the tumultuous mix. The title is taken from a World War 1 ragtime dance, but also suggests Kernis’s response to events taking place around the time he wrote NEW ERA DANCE: the summer of 1992. The LA riots had recently ended, the presidential election of Bill Clinton was approaching, and in the middle distance was the millennium. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
THE OREGON SYMPHONY 2021/22 SEASON ©Disney
THE OREGON SYMPHONY 2021/22 SEASON ©Disney David Danzmayr, Music Director Sarah Kwak, Concertmaster Disney and Pixar’s Coco JáTtik Clark, Principal Tuba Joshua Bell 2 Your Symphony. Back together again, with you. Join us at the Arlene Schnitzer Concert Hall for an extraordinary Oregon Symphony 2021/22 Season, as we come together and celebrate the orchestra, our 125th Anniversary, and the debut of Music Director David Danzmayr. Together, we’ll experience a season filled with concerts of exceptional vibrancy and cultural diversity, building on the 18-year legacy of Music Director Laureate Carlos Kalmar. And, in an exciting new partnership with a creative alliance of musical luminaries, your Oregon Symphony will bring the power of music to more people in new ways, both on and off the stage. As we reunite with our audience, there is much to celebrate. We can’t wait to experience the joy and healing power of live music with you once again. Camille Zamora with the Mambo Kings 3 You’ll want to hear where he takes you. “I cannot wait to make music again with the wonderful Oregon Symphony, an orchestra with a real musicality and skill at evoking emotions from the audience. Having worked with such thoughtful musicians, it came as no surprise to me that Oregonians have been on full display in welcoming me to this generous community.” – David Danzmayr, Music Director 4 We are thrilled to Austrian-born, David has gospel music of our country’s introduce you to the conducted orchestras from Black community, to Respighi’s Germany to Scotland, San Diego Pines of Rome, inspired by the person who will lead the to Baltimore. -
Aniello Desiderio Em 1992, Aniello Desiderio Se Formou, Com Honra, No Conservatório De Música De Alessan- Dria (Itália)
CULTURA ARTÍSTICA SÉRIE DE VIOLÃO 2017 Aniello Desiderio Em 1992, Aniello Desiderio se formou, com honra, no Conservatório de Música de Alessan- dria (Itália). Aos oito anos de idade, tocou em público pela primeira vez, mostrando qualida- des tão extraordinárias que os críticos de música começaram a falar dele como “enfant prodige”, “Wunderkind”, “gênio”, “o Orfeu do violão”, “um DIVULGAÇÃO violonista do século”, “il Fenomeno” etc. Ganhou 18 prêmios em competições nacionais e internacionais, incluindo: • 1º Prêmio e Prêmio Especial de melhor interpretação de música sul-americana no Concurso Internacional de Violão de Havana, Cuba (1988); • Prêmio “Napolitano do Ano”, Itália (1988); • 1º Prêmio e Prêmio Especial de melhor interpretação da música de Tarrega no Concurso Inter- nacional Francisco Tarrega, em Benicasim, Espanha (1992); • 1º Prêmio no Concurso Internacional “Guerrero”, Madri, Espanha (1995). Fez apresentações solo e com orquestras nos EUA, América do Sul, Europa, Ásia e África, em alguns dos mais importantes teatros do mundo, como: Carnegie Hall, Philharmonie de Munique, Alte Oper, Tonhalle, Teatro delle Palme, Radio France, Die Gloke, Philharmonie de Istambul, Phi- lharmonie de Berlim, Ópera de Viena. Desiderio tocou com os Virtuosi de Moscou de Vladimir Spivakov, RSO Berliner, Deutsche Kammerphilarmonie, Alessandro Scarlatti, I Pomeriggi Musicali, Bach Collegium, Wiener Kammerorchester, e em alguns dos festivais mais prestigiosos do mundo, como: Rhengau MusikFest, Bremen Musikfest, Ludwigsburger Schlosfestspiele, Mosel Musikfest. Em maio de 1999, a televisão alemã BR/ARD produziu um filme musical e um retrato de Desiderio em Nápoles. Em setembro, recebeu o “Prêmio Artista em Residência 1999”, da rádio alemã DLF e do Musikfest Bremen, junto com Gidon Kremer. -
04 EXTRAPRENSA 14.1 178446.Indd
LA JARDINERA, EMBLEMÁTICA COMPARSA CARNAVALESCA DEL BARRIO “JESÚS MARÍA” DE LA HABANA EN CUBA [ ARTIGO ] Eduardo Franscico Freyre Roach Universidade Regional de Blumenau Adolfo Ramos Lamar Universidade Regional de Blumenau Jesse da Cruz Universidade Federal do Paraná Eduardo Franscico Freyre Roach La Jardinera, emblemática comparsa carnavalesca del barrio “Jesús María” de la Habana en Cuba Adolfo Ramos Lamar 65 Jesse da Cruz [ RESUMEN RESUMO ABSTRACT ] Las comparsas en los carnavales de Cuba son como las escuelas de samba en los car- navales del Brasil. A través del repertorio de ritmos, cantos y danzas que derrochan, se expresa el sentido de liberación corporal, emocional, y verbal de los artistas y el pueblo. La gente comparte su alegría, sus penas, así como su sentido de identidad y pertenencia comunitaria, nacional, gremial, racial, de género, familiar, y religiosa. Estas agrupaciones son portavoces de la disconformidad popular por los tabúes, y los estereotipos que atentan con las tradiciones y la prosperidad de la comunidad que representa. Este artículo trata de la comparsa “La Jardinera” del barrio de “Jesús María” en la Habana Vieja, emblemáticas comparsas de Cuba. Hablaremos del barrio y sus celebridades de la conga y la rumba. Palabras clave: Comparsa la Jardinera de Cuba. Barrio de Jesus Maria. Cuba. Conga. Rumba. As comparsas nos carnavais de Cuba são como as escolas de samba nos carnavais do Brasil. Por meio do repertório de ritmos, canções e danças que esbanjam, se expressa o sentido de liberação corporal, emocional e verbal dos artistas e do povo. As pessoas compartilham sua alegria, suas tristezas, bem como seu senso de identidade e perten- cimento de comunidade, nacionalidade, união, raça, gênero, família e religião. -
Edgar Aaron Jay Charles
MUSIC + FESTIVAL 2019 THE UNIVERSITY OF ARIZONA TWELFTH ANNUAL COMPOSERS FESTIVAL OCTOBER 12-13 TUCSON, ARIZONA VarèseEdgar · AaronKernis Jay · MingusCharles COLLEGE OF FINE ARTS Fred Fox School of Music Music + Festival 2019: Edgard Varèse, Aaron Jay Kernis, Charles Mingus Twelfth Annual Composers Festival The University of Arizona Fred Fox School of Music October 12-13, 2019 The 2019 Music + Festival: Varese, Kernis, and Mingus will present the lives and music of these three composers within a rich and broad intellectual framework. The festival consists of a symposium providing the historical and artistic context in which these composers lived as well as what to listen for in this music; and four concerts: one chamber, one devoted to music of Charles Mingus, one featuring a mixture of electronic and concert music, and one including large ensembles. The festival features the faculty members and major student ensembles of the Fred Fox School of Music and guest artists and scholars. Despite his output of only slightly more than a dozen compositions, Edgard Varèse is regarded as one of the most influential musicians of the twentieth century. His concept of “organized sound” led to experiments in form and texture. He was constantly on the lookout for new sound sources, and was one of the first to extensively explore percussion, electronics, and taped sounds. He was, as Henry Miller called him, “The stratospheric Colossus of Sound.” Pulitzer Prize-winning composer Aaron Jay Kernis draws artistic inspiration from a vast and often surprising palette of sources, among them the limitless color spectrum and immense emotional tangle of the orchestra, cantorial music in its beauty and dark intensity, the roiling drama of world events, and the energy and drive of jazz and popular music. -
Rumba Rebecca Bodenheimer
Rumba Rebecca Bodenheimer LAST MODIFIED: 25 FEBRUARY 2016 DOI: 10.1093/OBO/97801997578240170 Introduction Along with the traditional dance genre son, the Africanderived music and dance genre called rumba is widely considered to be the foundation of contemporary Cuban popular music. During the late 19th century it was the primary secular party music for poor black and racially mixed Cubans in western Cuba, and during the 20th century its musical features were incorporated into numerous popular genres, such as son, mambo, and salsa. Nonetheless, the literature on rumba does not include many indepth studies, in Spanish or English. None of the pioneering scholars of AfroCuban culture gave much attention to rumba, as Fernando Ortiz and Lydia Cabrera focused primarily on AfroCuban sacred music. The little that has been written by these scholars, namely Ortiz and Alejo Carpentier, tends to overemphasize the “erotic” nature of the dance, thus reinforcing stereotypes about black culture. Nonetheless, as a member of Grupo Minorista—a group of poets, artists and composers founded in the 1920s who sought to valorize AfroCuban vernacular culture—Carpentier did view rumba as an important popular tradition. Among Cuban scholars writing after the Cuban Revolution, the primary indepth studies of rumba have consisted of bachelor’s theses based on ethnographic research with rumba groups and one biography of important rumba musicians (see Musicians and Groups). There have also been articles on various aspects of rumba, and many Cuban scholars include discussions of the genre within sources on broader topics; the most significant examples of the latter are León 1984 (cited under History, Musical Features, and Musicians: History) and Urfé 1984 (cited under General Overviews and Reference Works). -
Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California.