DOCSLIB.ORG

José Serebrier Last Tango Be Fore Sunrise

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
José Serebrier Last Tango Be Fore Sunrise José Serebrier Last Tango Be fore Sunrise Málaga Philharmonic Orchestra Moscow Gnessin Percussion Ensemble, Ilia Melikhov, Director Nadia Shpachenko, piano Nestor Torres, flute Gabriel Goñí, flute fr esh ! Sara Cutler, harp Solène Le Van, soprano José Serebrier, who is one of the most frequenJtoly sreéc oSrdeedr ecobndruicetors, estab - wlishhoed i hs imonsel fo afs ath seig nmifoicsatn ftr ceoqmuepnostelyr raes cfoarrd ebdac k caosn dthuec t1o9rs5,0 s. eTsthaeb liSsyhm ed - hphimonsye lNf oa. s3 , a“S ysmigpnhiofniciea Mnty sctioqmuep,” owsears sreinlecaes edh oins a Nteaexnoss , DwVhDe nin 2L00e8o,p poelr d - Sfotromkeodw lsivkei apt Crehmeiseterre dC atthed r1a7l iny ethaer oUlKd' sb yF tihrset N Saytmionpahlo Ynoyu ttho Orerpchlaecsetr ath oe f pSrpeamini ecroen douf ctthede bIvye tsh e4 tcho mSpymosperh. Tonhye . T3rhde S Symymphpohnoyn, yo rNigoin. a3l,l y" Sreycmorpdhedo noine CMD ysftoiqr uNea,"x ows absy rtehle aTsoedul oouns ea CNhaaxm o-s DbeVr D iOn r2c0h0e8st,r pa,e rformeceidv eadt Chtehsrteer GRAMMY® nominations, including a Cathedral in the UK by the National nomination for the “Best New Compo - Youth Orchestra of Spain conducted sition of 2004”. BIS Records and the by the composer. The 3rd Symphony, American Composers Orchestra co-com - originally recorded on CD for Naxos missioned a piano concerto in 2018, by the Toulouse Chamber Orchestra, “Symphonic B A C H Variations” recceoivrdede dth rbeye GARleAxaMndMreY ®K nanomtoirnoawtio onns , BinIcSl.u Pdrienvgi oau ns oremcoinrdaitniogns ofof rS tehreb "rBieers”st mNuewsic Cinocmludpeo sai tCioDn roefle a2s0ed0 4b"y. bBoItSh NReacxosr dasn da nRde fetrheen cAe Rmeecroicrdainn gCs owm ith- tphoes eLrso Ondrocnh ePsthrail hcoar-mcoomnimc, isfseiaotnueridn ga Spiyamnop hcoonnyc eNrto . in2 20an1d8 , "oSthymer phmoanjoicr B A C H Variations" recorded by Awolerxkas.ndre Kantorow on BIS. Previous recordings of Serebrier's music include a C D S erreelberaiseerd w bays bboortnh iNn 1ax9o3s8 ain dM Roenfterveidnecoe, RUerucogurdaiyn ogfs Rwuistshi atnh aen Ld oPnodliosnh Ppahrielnhtasr. mAot nthice, faegaet uorf inign eth hee Sbyemgapnh toon syt uNdoy . v2io. lin, and at age eleven made his c o n d Sucetrienbgr ideerb wuta. sW bohrilne in h1i9g3h8 s cinh oMol ohnet eovrigdaenoiz, eUd raungdu acyo nodfu Rctuedss itahne fainrsd t Pyooulitshh o prcahreensttrsa. Aint U thrueg augaey , owf hniicnhe t ohuer bedeg aannd tgoa vsteu mdyo rvei othliann, aonde haut nadgree edl ecvoen n - mceratdse o vheirs focuorn ydeuacrst.i nUgp odne bguratd. uWatihngil ef roinm hthieg hM sucnhicoiopla l hSec hoorogl aonfi zMedu siacn idn cMonondtuecvtiedde ot hine vfiiroslti ny,o suotlfhe goer,c thheesotrya, iann dU Lruagtiuna Ay, mwehriicchan t ofoulrkeldo raen adt aggaev efi fmteoerne , tohpapno rtounneit ihesu fnodr rceodn dcuocnticnegr tUs rouvgeura yf”os uorn lye marasj.o rU oprcohne sgtrraa wdueraet innogt fforrotmhc otm he- Mingu. nTihciapt ayle Sarc, hthoeo la nonf uMal ucsoimc pino sMitioonn tceovnitdeesot biyn tvhieo lNina,t isoonlafel gSey, mthpehoornyy, aOnr d - chestra was announced very late, only two weeks before the deadline. The young Latin American folklore at age fifteen, opportunities for conducting musician, thinking that if he won he might be permitted to conduct his work, Uruguay’s only major orchestra were not forthcoming. That year, the annual entered the contest with a hastily written Legend of Faust overture. The 18-minute composition contest by the National Symphony Orchestra was announced work was written in the last four days and nights, and the last page composed on very late, only two weeks before the deadline. The young musician, thinking a taxi ride while rushing to meet the deadline. Serebrier won the contest. But the that if he won he might be permitted to conduct his work, entered the contest composer being fifteen, his work was assigned to a guest conductor, Eleazar de wCiatrhv aalh hoa, satti ltyh awt rtiitmteen t hLee gmenodst opf rFoamuisnt eonvt eLrtautirne . ATmher i1c8an-m coinnudtuec tworo. rTko wdaays , wSerriettbernie rin c othnde ulactsst mfoousrt doaf ytsh ae nmda njoigr hotrsc,h aenstdr atsh aer olausnt dp athge woarsl dc,o amnpdo hsaesd boe n - aco tmaxei trhide em wohsti lree croursdheidn gc otnod muceteotr t ohfe h dise agdenlienrea.t iSoenr,e pberrihear pws oin hthiseto croyn, wteistht. wBeultl tohve r ctohmrepe ohsuenr dbreeidn gre lfeifatseees na,n hdi sm wulotirpkl ew ianst earsnsaitginonedal taow ar dgsu. eHsti sc opnudbluischtoedr, Ecolmeapzoasri tidoen sC, maravnayl hoof , thaet mth watr itttiemn ea tt hane emarolys ta gper,o amlsoin neunmt bLear toinve rA omne rhicuan n - cdorendd.Eucatrolyr. inT ohdisa cya, rSeer,e Sberriebr rcieorn wdausc ths em reocsitp ioefn t hoef mmaanjyo ro fo mrcuhseisct”rsa ms oasrto cuonv d - tehteed w hoornldor, sa. nIdn h19a5s 6b eacnodm 1e9 5th7 eh me roescte irveecdo rad eUdn citoendd Sutcattoers oSft ahteis Dgepnaertamtieont, pFerllhoawpssh inp thoi ssttourdyy, wcoitmhp woseiltli oonv eart tthree Ce uhrutnisd Irnesdt irteulteea osef sM anusdi cm wuiltthip Bleo hinutselar v- nMaatirotinnaul aanwda Vrditst.o Hrioi sG piaunbnliisnhi,e adn dc owmitpho Asiatrioonn sC, omplaannyd oatf Tthanegmle woroitdte. Inn a1t9 a5n6 ehaer lwya asg aew, aalrsdoe dn uam Kboeurs osevveirt zoknye Fhouunnddraetdio. n Award at Tanglewood and in the s a m e E yeaarrly a iBn MhiIs Ycoaurenegr ,C Soemrepboriser sw Aaws athrde froerc hipisie Fnitr sot fS mymanpyh oonf ym aunsdi cQ’s umarotest cforv Setaexdo phhoonnoerss. .T Inh e1 S9t5a6te a Dnde p1a9rt5m7 ehnet rFeecleloivwesdh iap Uwnasit feodl lSowtaetde sb Sy ttawteo consec - Dutievpea Grtmugegnetn Fheelilmow Fsehlilpow tosh sitpusd iyn c 1o9m5p7o asnitdio 1n9 a5t8 t. hAet C nuinrteitse Iens, thiteu rtem ofa iMnsu tshice wyoiuthn gBesoth euvselra tvo M obatratiinn tuh easned a Vwaitrtdosr iino aGnyia fnienldin. iS, earnebdr iwerit hha sA aalsro nb eCeno phloanodr ead t Twaitnhg tlewwoo Dodo.r aItni F1e9l5lo6w hseh iwpsa sa ta wthaer dUendi vae rKsiotyu sosfe vMitiznknye sFootua nwdhaetrioe nh eA rwecaeridv ead t Thiasn MglAew ino o1d9 6a0n (dh ein g rtahdeu asatemd ef ryoema rt hae B CMurIti sY Ionusntigtu Cteo imn 1p9o5s8e)r,s a A Pwana rAdm foeri chain s FUinrsiot nS Pymubplhicoantiyo na nAdw Qardu a(rftoert hfoisr ESlaegxyo pfohro Sntersin. Tgs )h, ea nSdta tthee D Feoprda rFtmouenndt aFtieol n- lAomwsehriicpa nw aCs ofnodlluocwtoerds bCyo tmwpoe ctiotniosne cAutwivaerd G, wugonge tnohgeitmhe rF ewlliothw Jsahmipess iLn e1v9in5e7 . Many other prizes followed: a Rockefeller Foundation award to be Composer- and 1958. At nineteen, he remains the youngest ever to obtain these awards in-Residence of the Cleveland Orchestra, at the invitation of George Szell during in any field. Serebrier has also been honored with two Dorati Fellowships at the season 1968/69 and again 1969/70; a Harvard Musical Association Com - the University of Minnesota where he received his MA in 1960 (he graduated mission Award (for Fantasia for string quartet); a National Endowment for the from the Curtis Institute in 1958), a Pan American Union Publication Award Arts Commission (for a ballet, Orpheus x Light for the Joffrey Ballet, based on (for his Elegy for Strings ), and the Ford Foundation American Conductors the Concerto for Harp and Orchestra, Colores Mágicos ); a Grammy nomination for Chios mrepcoertditiinogn oAf wthaer dF,o wurotnh Stoygmepthheorn yw bityh C Jahmareless LIveevsi nwei.t hM tahne yL ootnhdeorn p Prihziel -s fhoalrlmowonedic: Oa rRchoecskterafe; ltlheer UFo.Ku.n Mdautsiiocn R aewtaailredr st oA sbseo cCiaotmionp oaswearr-din f-oRr beesisdt eonrcchee os -f thrael Crelceovredlainngd (Oforrc hthees tMra,e antd tehlses oinhvni tsaytmiopnh oofn Giees,o wrgieth S tzheell Sdcuortitnigsh t hCeh saemasboen r 1O9r6ch8/e6st9r aa);n tdh ea gDaeinu ts1c9h6e9 S/7ch0a; lalp Hlataternva Ardw Mardu fsoicra bl eAsts osorcchiaetsitoranl rCecoomrdminigss (ifoon r Athwe afrirds t( foofr tFharenet aCsiDa ”fso ro fs tSrihnogs tqaukaorvtiecth)”;s a F Nilmat ioSnuaitle Es, nwdiothw tmhe nBt eflogri atnh eR Aadritos COorcmhemstirsas)i,o An u(dfoiprh ail eb aMlleatg,a zOinrpe”hse uaws xar dL ifgohrt Bfeosrt tOherc Jhoefsftrreayl RBeaclolerdt,i nbga sfeodr hoin s trhened iCtionc oerft So chfeohre rHazaardpe wanitdh tOhrec Lheosntrdao, nC Pohloilrheas rmMoángiicc, oas n);d am aGnyR oAthMerMs. Y® n o m iSnearteibornie fro wr ahsi s2 2re yceoarrdsi nolgd owf htehne LFoeouprtohld S Sytmokpohwosnkyi nbyam Cehda hrliems IAvsesso wciiatth e tChoen Lduocntdoor no fP theil hnaerwmlyo fnoircm Oedrc Ahemsterraic; atnh eS yUm.Kph. Monuy sOicr cRheetsatirlae rins ANseswo cYioatriko, n a apwosatr dh ef ohre lbde fsot ro fricvhe eysetararsl. rPerceovridoiunsgly ,( fSoerr etbhrei eMr wenasd tehlses oMhinn nsyemsoptah Oonricehse, swtriat”h s tAhpep Srecnotitciseh C Cohnadmucbteor, Owritchh eAstnrtaa)l; tDhoe rDatei,u ftosrc htwe oS csheasllopnlsa.t tSeenr eAbwriearr dm faodre b hesist oNrecwhe Ysotrrakl croencodrudcitningg ( dfoebr utht ew fitirhs th oef Athmreeer iCcaDn S’s yomf pShhoonsyta Okorcvhicehst’sr aF aitlm C aSrunietgeise , wHiatlhl inth 1e9 6B5e wlgiitahn w Ridaed ciroi tiOcarlc ahcecslatirma)., RAuundniionpgh liilkee M a tahgeamzien teh’s roauwgahr dth efo rre vBieewsst Owarsc hane satwraalr eRnecsso ordf ihnigs ifnotre nhsies, dryenadmitico nap opfr oSachhe htoe rmazuasdice awndit hi st hsuep Lerobn cdoon n - Ptrholi lohfa rthmeo onricch, easntdra .m Saenreyb oritehre”sr sa. ssociation with Stokowski goes back to 1957, w h e n S tehre btrwieor cawmaes t2o2g etyheearr st horoldu gwh hae dnr aLmeaotipco tludr nS
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • An Interview with Robert Shaw: Reflections at Eighty
    An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con­ the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per­ decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu­ as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement.
    [Show full text]
  • MUSIC DIRECTORS 100 Years Of
    TABLE OF CONTENTS “A Hero’s Journey: Fun & Games .......................6 Beethoven & Prometheus, Grades 4-8 . 2 Fan Mail ...........................7 Civil Rights: Remembering Youth Orchestra ....................8 Dr. Martin Luther King Jr., Grades 6-12 . 3 Children’s Chorus ...................8 See the Sounds. 4 Youth Chorus. .8 Conductor of the Orchestra ............5 Family Concerts ....................8 2017-18 Season Guide for Young Concert-goers MUSIC DIRECTORS 100 Years of NIKOLAI SOKOLOFF 1918-33 The Cleveland Orchestra!! 2017-2018 marks the 100th season of The Cleveland and dismissal pro cess (where every bus and corresponding Orchestra! You may not realize that by coming to school group gets a number) was established in 2000 to a Cleveland Orchestra Education Concert you are man age traffic and insure students’ safety. There are many part of a great Cleveland tradition! Students have more cars on the road today than there ARTUR RODZINSKI were in the 1930’s! 1933-43 been attending Cleveland Orchestra concerts since 1918! Ms. Lillian Bald win, the Orchestra’s first Ed u ca tion Director, pioneered the In the be gin ning, The Cleve land Or ches tra performed format of ‘educational concerts’ we concerts in com mu ni ty cen ters and sev er al area schools, know today. She developed extensive including East Tech and West Tech High Schools in study ma te rials so students could be Cleveland, Shaw High School in East Cleveland, and knowl edge able about the music they Lakewood High School. By 1920 audienc es be came too would hear at the concerts. (Instead large to accommodate in school settings and teachers and of read ing The Score as you are now, students be gan to trav el to hear The Cleve land Orchestra, ERICH LEINSDORF students read Ms.
    [Show full text]
  • THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made.
    [Show full text]
  • A Career Filled with High Notes
    A Career Filled With High Notes Michael Tilson Thomas, now in the final season of his 25 years at the helm of the San Francisco Symphony, has left a profound imprint on both the orchestra and the city. By David Mermelstein March 3, 2020 Michael Tilson Thomas, music director of the San Francisco Symphony, in 2018 When Michael Tilson Thomas became music director of this city’s estimable but not very exciting or forward-looking symphony orchestra in 1995, he had been working in London and needed an American career boost, and the ensemble was looking for an energetic maestro who would elevate its profile and maybe even lend it “buzz.” A quarter-century later, their partnership stands as one of the great success stories in U.S. musical history, thanks in large part to Mr. Thomas’s searching intellect, fierce curiosity, and supreme repertorial fluency. His direct connection to musical history, unmatched in our time, hasn’t hurt, either. As a result, the 109-year-old San Francisco Symphony is now widely regarded as among this country’s finest orchestras—right up there with East Coast titans like the New York Philharmonic, the Boston Symphony Orchestra and the Philadelphia Orchestra. West of Chicago, only the Los Angeles Philharmonic challenges San Francisco’s dominance. But nothing lasts forever, and Mr. Thomas, who turned 75 just before Christmas, is midway through his last season at the helm. Fittingly, the exit music, as it were, hearkens back to past triumphs. On Friday, Mr. Thomas and the orchestra will perform Mahler’s Symphony No.
    [Show full text]
  • The Humanities in Western Tradition Volume Ii the Humanities in Western Tradition Volume Ii
    AUDIO COMPACT DISC TO ACCOMPANY The HumanitieIN THE WESTERNs TRADITION VOLUME II: RENAISSANCE TO PRESENT 3-44278 A 61336 Perry | Baker | Hollinger Perry Perry AUDIO COMPACT DISC TO ACCOMPANY | | Baker Baker ISBN 0-395-84818-0 | | Hollinger Hollinger ,!7IA3J5-ieibia!:m;k;k;K;K The HumanitieIN THE WESTERN TRADITIONs VOLUME II: RENAISSANCE TO PRESENT A 61336 3-44278 THE HUMANITIES IN WESTERN TRADITION VOLUME II THE HUMANITIES IN WESTERN TRADITION VOLUME II 1 (15.1) Weelkes: As Vesta Was From 14 (19.4) Beethoven: Symphony No. 5, I 27 (22.6) Mussorgsky: Pictures at an Latmos Hill Descending Exhibition, “Great Gate of Kiev” 15 (19.4) Beethoven: Symphony No. 5, 2 (15.2) Giovanni da Palestrina: Pope III/IV 28/29(22.7) Tchaikovsky: 1812 Overture Marcellus Mass, Credo 16 (19.5) Beethoven: Symphony No. 9, IV 30 (22.8) Debussy: La Mer, II Jeux de 3 (15.3) Monteverdi: L’Orfeo, Lasciete I Vagues 17 (20.1) Schubert: Erlkönig Monti 31 (23.1) Shoenberg: Variations, Theme 18 (20.2) Mendelssohn: Midsummer 4 (16.1) Vivaldi: Four Seasons, Spring, I and Variation IV Night’s Dream, Wedding March 5 (16.2) Handel: Messiah, “All We Like 32 (23.2) Ives: Fourth of July 19/20 (20.3) Berlioz: Symphonie Fantastique, Sheep” IV (23. 3) Stravinsky: The Rite of Spring 6/7 (16.3) Bach: Passacaglia in C Minor 33 Augers of Spring 21 (20.4) Chopin: Polonaise in A Flat 34 Mock Abduction 8 (16.4) Bach: Brandenburg Concerto No. Major 35 Rounds 2, II 22 (22.1) Verdi: Nabucco, “Coro di Schiavi 36 (24.1) Joplin: Maple Leaf Rag 9(16.5) Bach: St.
    [Show full text]
  • National Conference | March 23 – 26, 2011
    National Conference | March 23 – 26, 2011 University of Washington | School of Music Seattle, Washington CBDNA_LAYOUT.indd 1 3/1/11 2:45:02 PM Dear Colleagues, Welcome to Seattle and the University of Washington! I am pleased that Tim Salzman has made it possible for the CBDNA National Conference to return to the West for the first time in four decades. I thank him and his incredible staff for eighteen months of planning and producing that are now transforming into action and events. This gathering has something for everyone, and everyone includes CBDNA conference veterans, first-time CBDNA conference goers, high school band directors and teachers, and a number of on-line participants. All concerts will be streamed live, and all sessions and concerts will be archived. There are performances from ensembles representing every division of CBDNA, and an intercollegiate all-star band assembled from small colleges nationwide. Our sessions reflect the fact that wind band activities are inextricably interwoven with world-class composers and conductors; important research in music, history and education; defining and maintaining the balance betweenstandard repertoire and pioneering new music; the recognition that there is something special about meeting together in person and hearing live music; a long history of colleagues leaving the familiarity of their home academies to experience music-making, music teaching, and music talk – all couched in a warm and comfortable social setting – at institutions in all areas of the country. There are many opportunities offered in the short space of four days – you can’t do everything. Plan carefully – realizing that the conference archive will make it possible for you to eventually experience every facet of the conference (except meals!).
    [Show full text]
  • Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014 Y H P a R G O T O H P
    Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014 y h p a r g o t o h P L e t a K : o t o h P Paula Robison Interview for FLÖTE AKTUELL: PAULA ROBISON, August, 2014 e n i D t t a M Playing : o t to Pan o F Interview with at the age of sixteen ̈ PAULA ROBISON for FLÖTE AKTUELL (Claudia Wälder-Jene) 1. FA (Floete Aktuell): Dear Ms. Robison, evolved human being emerges with the abili- Foto: Boswil the flute and you - a love at first sight?? ty to pass on the deepest meaning and the ̆ Moyse,- Debost,-Strum,- deepest beauty of music to others. When Paula PR (Paula Robison): Indeed it was love at Marcel Moyse called me his “best student” he As a young flutist first sight, and first sound. It was almost did not mean that I was the best flutist who playing Mozart ̈ magical. I had studied the piano, but its had studied with him but rather that I sheer size and mass intimidated me a bit, amidst all of them had truly heard and „The Complete especially since my formidable grandmother under stood him. I heard the beauty, yes, but Sequenzas“ at was my teacher. I just couldn’t sit still to was also acutely aware of his struggles as an Luciano Berio’s 70th practice. I would feel as though my nose artist, of his desire to bring to life the Birthday Celebration ̄ itched, and then my knee, then my ear, I enormous expressive power of the flute.
    [Show full text]
  • Extensions of Remarks E1637 EXTENSIONS of REMARKS
    October 2, 2000 CONGRESSIONAL RECORD Ð Extensions of Remarks E1637 EXTENSIONS OF REMARKS HONORING MARK PEARSON Ms. Newton has recently been named Ele- trombones, each section has its own magical mentary School Teacher of the Year for Fay- sound but still blends modestly with the whole HON. SCOTT McINNIS ette County. Carrie Newton has worked hard of the Orchestra. OF COLORADO to ensure that elementary school students de- A discussion of the grandeur of the Cleve- IN THE HOUSE OF REPRESENTATIVES velop a first-rate academic foundation that will land Orchestra is hardly complete without Monday, October 2, 2000 lead them to realize their full potential in their mention of its magnificent home, Severance future endeavors. Hall. The beautiful, ornate concert hall has just Mr. MCINNIS. Mr. Speaker, I would like to I join our community in recognizing an out- undergone a two-year, $36 million renovation take this moment to honor the considerable standing teacher who has contributed years of and expansion. The goal of the project was to achievements of Mark Pearson. Mark recently dedicated teaching at Lansdown Elementary. preserve Severance Hall's grace and architec- received recognition at Wilderness 2000, a Ms. Newton is the kind of teacher that every tural integrity. Thus, the original detailing of conference on wilderness issues, honoring parent and child wishes forÐan educator who the Hall has been restored, and its legendary him for his dedicated work in the wilderness knows how to engage her students and moti- acoustics have been retained and enhanced. field. vate them to learn. It is a pleasure to recog- Mr.
    [Show full text]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]
  • Other Minds in Association with the Berkeley Art
    OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings.
    [Show full text]