Orcncstrh INCORPORATED THIRTY-NINTH SEASON (^^
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Edouard Lalo Symphonie Espagnole for Violin and Orchestra, Op. 21
PROGRAM NOTES by Phillip Huscher Edouard Lalo Born January 27, 1823, Lille, France. Died April 22, 1892, Paris, France. Symphonie espagnole for Violin and Orchestra, Op. 21 Lalo composed the Symphonie espagnole in 1874 for the violinist Pablo de Sarasate, who introduced the work in Paris on February 7, 1875. The score calls for solo violin and an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, snare drum, harp, and strings. Performance time is approximately thirty-one minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lalo's Symphonie espagnole were given at the Auditorium Theatre on April 20 and 21, 1900, with Leopold Kramer as soloist and Theodore Thomas conducting. Bizet's Carmen is often thought to have ignited the French fascination with all things Spanish, but Edouard Lalo got there first. His Symphonie espagnole—a Spanish symphony that's really more of a concerto—was premiered in Paris by the virtuoso Spanish violinist Pablo de Sarasate the month before Carmen opened at the Opéra-Comique. And although Carmen wasn't an immediate success (Bizet, who died shortly after the premiere, didn't live to see it achieve great popularity), the Symphonie espagnole quickly became an international hit. It's still Lalo's best-known piece by a wide margin, just as Carmeneventually became Bizet's signature work. Although the surname Lalo is of Spanish origin, Lalo came by his French first name (not to mention his middle names, Victoire Antoine) naturally. His family had been settled in Flanders and in northern France since the sixteenth century. -
Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Ottorino Respighi, Musicista Geniale Ed Estroverso a 130 Anni Dalla Nascita
Ottorino Respighi, musicista geniale ed estroverso a 130 anni dalla nascita. di Giuseppe Testa Ottorino Respighi è, tra i compositori italiani del secolo scorso, quello che trovò diffusione e fama internazionale sin dall’inizio della sua carriera. E’ ricordato soprattutto per i tre poemi sinfonici romani, capolavori della letteratura sinfonica del ‘900 italiano, ma è anche stato un apprezzato musicologo. Respighi nasce a Bologna il 9 luglio 1879, inizia gli studi del pianoforte e del violino con il padre Giuseppe, studi che continua al liceo musicale di Bologna, dove è allievo di F. Sarti per il violino e la viola, C. Dall’Olio per il contrappunto e la fuga, L. Torchi e di G. Martucci per la composizione. E’ proprio Martucci che lo interessa alle forme sinfoniche e cameristiche dei romantici tedeschi, sino ad allora poco praticate in Italia. Si Diploma in violino nel 1899 e in composizione nel 1901 al liceo musicale di Bologna. Subito dopo si trasferisce in Russia dove ricopre il posto di prima viola dell’orchestra del Teatro Imperiale a San Pietroburgo, studiando per cinque mesi con Nikolaj Rimskij-Korsakov con cui può approfondire lo studio della sinfonia e del poema sinfonico, evidenziando la tendenza al descrittivismo e l’abilità nel trattamento dell’orchestra. Nel 1902 è accompagnatore in una scuola di canto a Berlino, dove conosce Ferruccio Busoni ed ha modo di studiare con Max Bruch. Ma la sua attività principale fino al 1908 è quella di violista, solo dopo si dedica alla composizione. Nel 1911 torna in Italia per sostituire il suo maestro L. -
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. -
Boston Symphony Orchestra Concert Programs, Season 21,1901
INFANTRY HALL, PROVIDENCE. Boston Symphony Orchestra, Mr. WILHELM GERICKE, Conductor. Twentieth Season in Providence. PROGRAMME OF THE FIRST CONCERT Wednesday Evening, November J 3, At 7*45 sharp. With Historical and Descriptive Notes by Philip Hale. PUBLISHED BY C. A. ELLIS, MANAGER. (1) 'Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY GOFF AND DARLING 276 Westminster Street • Providence, R. I (2) : DOStOn INFANTRY HALL, Symphony f providence. A Twenty-first_Season, 1901-1902. Orchestra Twentieth Season in Providence. Mr. WILHELM GERICKE, Conductor. First Concert Wednesday Evening, November \ 3 At 7.45 sharp PROGRAMME. " Robert Volkmann . Overture, Richard III.," Op* 6S Edouard Lalo Concerto for Violoncello and Orchestra Prelude. Allegro maestoso. * Intermezzo. Introduction. Rondo. " tt Franz Liszt . Symphonic Poem, No. 7, Festklaengfe Hermann Gbtz Symphony in F major, Op* 9 I. Allegro moderato (F major) II. Intermezzo : Allegretto (C major) III. Adagio, ma non troppo lento (F minor IV. Finale : Allegro con fuoco (F major) SOLOIST Mr. JEAN GERARDY. (3) Co. Gabrilowitsch to the Everett Piano EVERETT PIANO CO., NEW YORK. I take the first oppor- just reached St. Petersburg, Gentlemen,Cextlemen- Havingnavi g j roncemine the pianos you furnished for my to express to a tunity £^ !^ ££££££ heartiest "hanks for the same. Am belongs to the superior oof tl "enormous share which TamI am ouTtequite conscifconscious pleasure ot me much qualities of your piano for tiie success y , ^ There js ^ess ty J ^ to say so openly ^^^ ^ra«^, and its of the ^ attainments Ew*'"*^ enthusiastic friends among aZ number o£ future ,s eno s I S g this short time. -
2013-2014 Subscription Series
2013-2014 Subscription Series Fri. Sun. Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM 2013-2014 Subscription Series A B C D A B A B C D A B September Fri. Sun. Beethoven 9 PREMIuM Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. Westminster Symphonic Choir Prosperous Voyage A B C D A B A B C D A B Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Beethoven Symphony September No. 9 (“Choral”) Beethoven 9 PREMIuM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. OctoberWestminster Symphonic Choir Prosperous Voyage Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Mahler 4 Beethoven Symphony Oct. Oct. Oct. Oct. Yannick Nézet-Séguin Conductor Britten No. 9 (“Choral”)Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell 4 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto October Mahler Symphony No. 4 Mahler 4 Oct. Oct. Oct. Oct. BronfmanYannick Nézet-Séguin Plays BeethovenConductor Britten Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. 4 Oct. Oct. 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto Yefim Bronfman Piano Shostakovich Symphony No. 11 Mahler Symphony No. 4 10 11 12 (“The Year 1905”) BronfmanPines of Rome Plays BeethovenPREMIuM Rafael Frühbeck de Burgos Beethoven Overture to Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. Oct. -
India's Textile and Apparel Industry
Staff Research Study 27 Office of Industries U.S. International Trade Commission India’s Textile and Apparel Industry: Growth Potential and Trade and Investment Opportunities March 2001 Publication 3401 The views expressed in this staff study are those of the Office of Industries, U.S. International Trade Commission. They are not necessarily the views of the U.S. International Trade Commission as a whole or any individual commissioner. U.S. International Trade Commission Vern Simpson Director, Office of Industries This report was principally prepared by Sundar A. Shetty Textiles and Apparel Branch Energy, Chemicals, and Textiles Division Address all communications to Secretary to the Commission United States International Trade Commission Washington, DC 20436 TABLE OF CONTENTS Page Executive Summary . v Chapter 1. Introduction . 1-1 Purpose of study . 1-1 Data and scope . 1-1 Organization of study . 1-2 Overview of India’s economy . 1-2 Chapter 2. Structure of the textile and apparel industry . 2-1 Fiber production . 2-1 Textile sector . 2-1 Yarn production . 2-4 Fabric production . 2-4 Dyeing and finishing . 2-5 Apparel sector . 2-5 Structural problems . 2-5 Textile machinery . 2-7 Chapter 3. Government trade and nontrade policies . 3-1 Trade policies . 3-1 Tariff barriers . 3-1 Nontariff barriers . 3-3 Import licensing . 3-3 Customs procedures . 3-5 Marking, labeling, and packaging requirements . 3-5 Export-Import policy . 3-5 Duty entitlement passbook scheme . 3-5 Export promotion capital goods scheme . 3-5 Pre- and post-shipment financing . 3-6 Export processing and special economic zones . 3-6 Nontrade policies . -
Boston Symphony Orchestra Concert Programs, Summer, 2008
and El Corpus en Sevilla) was premiered on May 9, 1906, at the Salle Pleyel in Paris by the pianist Blanche Selva, who later gave the first performance of Volume II {Rondena, Almeria, and Triana) on September 11, 1907, in St. Jean de Luz. Volume III {ElAlbaicin, El polo, Lavapies) was published in 1907 in Paris, Volume IV {Malaga, Jerez, Eritana) also in Paris in 1908, the year before his death. Born in Madrid, violinist-conductor-composer Enrique Fernandez Arbos (1863-1939) was conductor of the Madrid Symphony Orchestra until resigning in 1936 following the outbreak of Civil War. A brilliant orchestrator, his instrumentation of music from Albeniz's flm'flwas particularly popular. From 1894-1915 he taught violin and viola at the Royal College of Music in London. As a violinist he appeared not only as a soloist, but in a celebrated piano trio with Albeniz and the cellist Augustin Rubio. For the 1903-04 season he was a concertmaster of the Boston Symphony Orchestra, also appearing with the orchestra that year as soloist in the Mendelssohn concerto and playing a concert piece of his own {Tango, Opus 6, No. 3). His international conducting career included guest appearances with major orchestras on both sides of the Atlantic, including the BSO in 1929 and 1931; his 1929 program included two movements from his arrangement of Iberia, at that time just recently published. In 1932 he led the first Spanish performance of Stravinsky's Rite of Spring. Iberia's pieces typically begin with a dance pattern and later introduce a copla (vocal melody) , but show considerable freedom and variety of form in their fine structure. -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….