THE CLEVELAN ORCHESTRA California Masterwor S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
ST. LOUIS SYMPHONY DAVID ROBERTSON, CONDUCTOR Wednesday, March 29, 2017, at 7:30Pm Foellinger Great Hall PROGRAM ST
ST. LOUIS SYMPHONY DAVID ROBERTSON, CONDUCTOR Wednesday, March 29, 2017, at 7:30pm Foellinger Great Hall PROGRAM ST. LOUIS SYMPHONY David Robertson, music director and conductor John Adams The Chairman Dances, Foxtrot for Orchestra (1985) (b. 1947) Aaron Copland Appalachian Spring, Ballet Suite for Orchestra (1944) (1900–1990) 20-minute intermission Ludwig van Beethoven Symphony No. 7 in A major, op. 92 (1812) (1770–1827) Poco sostenuto; Vivace Allegretto Presto; Assai meno Allegro con brio 2 THANK YOU TO THE SPONSORS OF THIS PERFORMANCE GIVING OF ACT THE Krannert Center honors the spirited generosity of these committed sponsors whose support of this performance continues to strengthen the impact of the arts in our community. Krannert Center honors the memory of Endowed Underwriters Marilyn Pflederer Zimmerman & Vernon K. Zimmerman. Their lasting investment in the performing arts and our community will allow future generations to experience world-class performances such as this one. * Krannert Center gratefully acknowledges the continued generosity of Endowed Sponsors Mary & Kenneth Andersen. With their previous sponsorships, they demonstrate their dedication to sharing beautiful and significant cultural events with our community. *PHOTO CREDIT: ILLINI STUDIO 3 * * JAMES ECONOMY HELEN & DANIEL RICHARDS Special Support of Classical Music Twenty-Seven Previous Sponsorships * * THE ACT OF GIVING OF ACT THE PEGGY MADDEN & MARY SCHULER & RICHARD PHILLIPS STEPHEN SLIGAR Fourteen Previous Sponsorships Five Previous Sponsorships Two Current Sponsorships -
Program Notes: Inspiration & Impact
CABRILLO FESTIVAL Program Notes: Inspiration & Impact Lola Montez Does the and she glides from the stage of sensory and expressive overload. Spider Dance (2016) overwhelmed with applause, At its premiere in March of 2012, the first third and smashed spiders, John Adams of the piece was largely a trope on the Opus (b. 1947) and radiant with parti-colored skirts, [World Premiere] 131 C# minor quartet’s scherzo and suffered smiles, graces, cobwebs and glory. from just this problem. After a moody opening of tremolo strings and fragments of the Ninth Commissioned by the musicians of the Cabrillo Lola Montez Does the Spider Dance was Symphony signal octave-dropping motive, Festival Orchestra in honor of Marin Alsop commissioned by members of the Cabrillo Festival Orchestra in celebration of Marin the solo quartet emerged as if out of a haze, The Irish-born actress and dancer Eliza Gilbert Alsop’s twenty five seasons as music director, playing the driving foursquare figures of that (1821—1861) achieved international fame and it is dedicated to her. scherzo material that almost immediately went under the name “Lola Montez, the Spanish through a series of strange permutations. Dancer.” After a controversial career on the —John Adams continent, including a sojourn in Bavaria This original opening never satisfied me. The where she become both the lover as well as clarity of the solo quartet’s role was often political advisor to King Ludwig, she returned Absolute Jest (2011) buried beneath the orchestral activity resulting in what sounded to me too much like “chatter.” to London, where she eloped with and married John Adams (b. -
Spring 2021 Course Descriptions
PhD/DMA Programs in Music – Spring 2021 Course Descriptions MUS 81502: Performance Practice: Baroque – Professor Gwendolyn Toth This course, intended for performance majors at the doctoral level, is designed to provide students with an in-depth understanding of what performance practice means and why we study it. Specific course content includes knowledge of the conventions of musical performance during the period 1550-1800, with emphasis on the changes from Renaissance to early baroque, early baroque to high baroque, and high baroque to early classical. Students will also gain acquaintance with the development of musical instruments, music printing, and musician status, as well as changing audiences, during the time frame. First-hand sources of principal pedagogical publications of the period will be used to the extent possible. Students should gain an understanding of performance practice principles (rhetoric, phrasing, ornamentation, improvisation, instrumentation) in different periods from 1550-1800; but equally, will examine applications of performance practice in today’s modern concert world internationally through critical listening. Students should attain sufficient knowledge to run an early music ensemble/collegium or teach a beginning course on historical performance. The format of the course will include introductory lectures, extensive readings, occasional assigned practical written exercises, in-class listening and discussion, area-specific (keyboard, winds, strings, voice) papers comparing recorded modern performances, and a comprehensive final exam. MUS 71500: D.M.A. Topics (Spring) – Professor Anne Stone The second semester DMA Topics course will focus on the various types of scholarly writing encountered by performers in doctoral work and beyond. In addition to reading and analysis/discussion of writing on music from multiple genres by both scholars and performers, weekly writing assignments will include in- class writing, evaluation of classmates’ work, and ongoing work on longer assignments. -
Mahler 5 & Music You Know
CONCERT PROGRAM Friday, January 22, 2016, 10:30am Saturday, January 23, 2016, 8:00pm David Robertson, conductor Timothy McAllister, saxophone JOHN ADAMS Saxophone Concerto (2013) (b. 1947) Animato; Moderato; Tranquillo, suave Molto vivo (a hard driving pulse) Timothy McAllister, saxophone INTERMISSION MAHLER Symphony No. 5 in C-sharp minor (1901-02) (1860-1911) PART I Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt Stürmisch bewegt, mit größter Vehemenz PART II Scherzo. Kräftig, nicht zu schnell PART III Adagietto. Sehr langsam— Rondo-Finale. Allegro 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral series. These concerts are presented by St. Louis College of Pharmacy. David Robertson is the Beofor Music Director and Conductor. Timothy McAllister is the Ann and Paul Lux Guest Artist. The concert of Saturday, January 23, is underwritten in part by a generous gift from Rex and Jeanne Sinquefield. The concert of Friday, January 22, 10:30am, features coffee and doughnuts provided through the generosity of Community Coffee and Krispy Kreme, respectively. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of Bellefontaine Cemetery and Arboretum and are located at the Customer Service table in the foyer. 24 ON EDGE BY EDDIE SILVA Their music is made of the worlds around them, Gustav Mahler and John Adams. Mahler of that thrilling age, the shift from the 19th to the 20th century, the speed of the modern beginning to TIMELINKS change how people think and act. Also a time of anxiety, especially for a Jewish artist in an anti- Semitic Vienna. -
Joana Carneiro Music Director
JOANA CARNEIRO MUSIC DIRECTOR Berkeley Symphony 17/18 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index Media Sponsor Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. October 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director Dear Friends, Happy New Season 17/18! I am delighted to be back in Berkeley after more than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life. -
Tutti I Plagi Di Fabrizio De André
TUTTI I PLAGI DI FABRIZIO DE ANDRÉ Storie di musica, collezioni, emozioni G IT RO A P I I PIÙ RAR sommario Il prossimo VINILE #1 2016 numero sarà Articoli in edicola il Fabrizio De André 10 giugno 14 Luci, ombre, stroncature, plagi e contraffazioni del più intoccabile dei cantautori italiani. di Alessio Lega Mark Fry 30 Il disco più raro e improbabile fra quelli pubblicati dalla It di Enzo Micocci ha una storia fatta di personaggi straordinari e intrecci impensabili. di Maurizio Becker Furio Colombo 38 La mitica scena del Greenwich Village, gli esordi di Bob Dylan e le fortune internazionali di una canzone tutta italiana, nei ricordi di un testimone d’eccezione. Intervista di Luciano Ceri I gioielli del Prog 46 I 15 album più rari e costosi del Prog italiano. di Franco Brizi Nada 56 Un servizio fotografico in bianco- nero realizzato nel 1968, alla vigilia del suo primo Sanremo: pura magia. di Francesco Coniglio Battisti-Mogol 60 35 anni dopo, i veri motivi della rottura. di Michele Neri Pier Paolo Pasolini 72 Un intellettuale a tutto tondo: letteratura, poesia, cinema, teatro, giornalismo. E canzoni. Lo sapevate? di Luciano Ceri Guido Guglielminetti 80 Battisti, Fossati, De Gregori, ma anche Patrick Samson, Umberto Tozzi e… Nilla Pizzi. La lunga storia di un 14 bassista per caso. Intervista di Vito Vita Fabrizio Rhino Records 110 Esce un libro che racconta le storie di 50 negozi USA specializzati in vinile: la nostra anteprima. De André di Mike Spitz e Rebecca Villaneda I segreti del genio Domenico Modugno 116 La discografia completa di un mito assoluto della canzone italiana. -
Calder Quartet, Terry Riley to Play Blum & Poe Gallery
Calder Quartet, Terry Riley to play Blum & Poe gallery - latime... http://www.latimes.com/entertainment/news/music/la-et-calder-r... latimes.com/entertainment/news/music/la-et-calder-riley-20110914,0,4944057.story latimes.com Calder Quartet, Terry Riley to play Blum & Poe gallery The young players (and their mentor) perform to raise money so they can commission new works. By Margaret Wappler, Los Angeles Times September 14, 2011 Los Angeles is teeming with places to perform if advertisement you're a rock band stoking dreams of becoming the next Arcade Fire, but what about a classically trained string quartet, one that can play with party guru Andrew WK or the National's stormy rock? The art world, ready to foster the kind of cross-pollination that sparked between Merce Cunningham and John Cage, is ready to receive you with open arms. It's a good thing, too, in a city where genre-jumping musicians have few mid-level-sized homes. Either play in the splendor of Walt Disney Concert Hall or the tiny confines of the Smell or Pehrspace. Or, in the case of local heroes Calder Quartet, talk to Tim Blum, co-owner of Culver City's prestigious Blum & Poe gallery. On Wednesday, the Calder Quartet will perform, followed by a piano set from their mentor Terry Riley, at an event designed to raise money for the group to commission new pieces. Hosted in Blum & Poe's new space partially conceived for interdisciplinary works, it's the kind of show that feels auspicious for its connective tissue between the art world and classical music that expands tradition to incorporate forays into rock, jazz, Indian raga or whatever catches the roaming ear. -
Cose Da Fare 2021 GIUGNO - DICEMBRE
cose da fare 2021 GIUGNO - DICEMBRE TUTTO L’ANNO Anche il Museo degli Sguardi, uno dei RIMINI, VIA L. TONINI 1 E PIAZZA principali musei italiani dedicati alle culture FERRARI extraeuropee, ospitato a Villa Alvarado, MUSEI COMUNALI sul colle di Covignano, è visitabile a richiesta. E DOMUS DEL CHIRURGO Info: 0541.793851 La Domus del chirurgo e il Museo della Città www.museicomunalirimini.it invitano a visitare l’area di scavo in piazza Ferrari che ha restituito la taberna medica TUTTO L’ANNO con il più ricco corredo chirurgico di epoca RIMINI, PIAZZA CAVOUR romana giunto fino a noi e conservato negli PART, PALAZZI DELL’ARTE RIMINI spazi del vicino Museo della Città. Uno spazio museale dove l’antico avvolge il Qui, attraverso la sezione archeologica e contemporaneo in un abbraccio di reciproco quella medievale e moderna si racconta la arricchimento. Un museo d’arte moderna storia di Rimini. Il Museo regala l’emozione di e contemporanea, nato dall’incontro tra scoprire la Rimini malatestiana attraverso i il Comune di Rimini e la Fondazione San dipinti della scuola riminese del Trecento, la Patrignano. Dove l’antico è lo spazio celebre Pietà del Bellini, le opere di Agostino espositivo dei medievali palazzi dell’Arengo e di Duccio e del Ghirlandaio e la pittura del del Podestà, restituiti all’originale splendore Seicento romagnolo nelle tele di Cagnacci, da un progetto di restauro e valorizzazione del Centino e del Guercino. architettonica. E il contemporaneo è la Ingresso: € 7 intero, € 5 ridotto. raccolta eclettica e variegata di importanti Orario estivo (giugno – agosto): opere del Novecento e del nuovo millennio, da martedì a domenica 10 - 19. -
INSTRUMENT REGISTRATION PACKET (Band and Orchestra)
Reading Fleming Intermediate School 20162017 INSTRUMENT REGISTRATION PACKET (Band and Orchestra) For Students and Parents Ms. Susan Guckin Mrs. Audrey Spies [email protected] [email protected] Welcome to RFIS and the opportunity to learn to play a musical instrument! This packet outlines the responsibilities and policies of the instrumental music program to insure a successful year. Today your child observed an instrument demonstration to help them decide if and which instrument they would like to learn. Please take some time to discuss this opportunity with your child and the responsibilities that come along with it. Band and Orchestra is offered to all 5th and 6th grade students during the school day. Lessons take place during their TWC period. Students are not taken out of academics. If you decide to study an instrument, complete and return the last page of this packet to register your child for the program by TUESDAY, 9/13. Note that students are not required to play an instrument. INSTRUMENTS Note: Please DO NOT rent or purchase a PERCUSSION KIT until your child’s choice is confirmed. Students who choose PERCUSSION, will attend a Percussion Demo Lesson before their choice is confirmed. Instrument Choices are: BAND: Flute, Clarinet, Trumpet, Trombone, Baritone Horn and Percussion. th Important Notes: Saxophone will not be a vailable until 6 grade. Students who wish to play th SAXOPHONE should start on C LARINET in 5 grade. This year on clarinet prepares them for nd saxophone. Students who select percussi on should list a 2 choice. th ORCHESTRA: Violin, Viola and Cello. -
Kyle Gann, the Music of Conlon Nancarrow, the Music
Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately.