DOCSLIB.ORG

Gala Concert Programme Gala Concert of the Slovak Philharmonic Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gala Concert Programme Gala Concert of the Slovak Philharmonic Orchestra Gala Concert Programme GALA CONCERT OF THE SLOVAK PHILHARMONIC ORCHESTRA May 4, 2018 8 p.m. Konzerthaus Berlin (Großer Saal) Gendarmenmarkt 5 – 6, 10117 Berlin Slovak Philharmonic Rastislav Štúr, conductor Dalibor Karvay, violin Ján Levoslav Bella: Concert Piece in Hungarian Style Jana Kmit´ová: Secondary Thoughts for Large Orchestra Antonín Dvorˇák: Violin Concerto in A Minor, Op. 53 Allegro ma non troppo – Adagio ma non troppo – Finale: Allegro giocoso ma non troppo Dear friends, It is with great pleasure that I welcome you to this concert of the Slo- vak Philharmonic Orchestra, which is being held to mark the twenty- fifth anniversary of the establishment of the Slovak Republic. The independent Slovak Republic was born a quarter of a century ago – the first democratic state of the Slovaks, of which we can be rightly proud. Slovakia’s story has been anything but straightfor- ward, yet we have come a long way in the past twenty-five years. I can gladly say that Slovakia has been able to make good use of the unique potential of European integration. Over the course of twenty- five years of hard work, we have become a democratic and prosperous country – and a constituent of the safest, freest, most prosperous and best-governed part of the world. On 1st May, Slovakia celebrated 14 years of EU membership. This membership has been a natural homecoming to the family of democratic countries of Europe, from which we, together with other countries in the region, had been ripped out as a result of decisi- ons made by others. Our membership in the North Atlantic Treaty Organization is also crucial, providing a prerequisite for our prosperity by sharing responsibility for common security. Today, the European Union is going through a period of difficulties, such as the exit of one of its members, the growth of nationalist and populist tendencies, as well as ne- gotiating the global security challenges we currently face. It is therefore of the utmost importance for the European Union to find a new shared vision, and the Slovak Republic is and continues to be willing to be at the core of the process of shaping EU’s future. A strong EU is based on first-rate bilateral relations. The relations between Slovakia and Germany have both bilateral and European dimensions. During the 14 years of our membership in the EU, Germany has become our most significant political and cultural partner, and our cooperation in political, commercial and cultural areas has been gro- wing intensely. I am delighted that this cooperation has found a fresh manifestation in this concert of an outstanding Slovak musical body, the Slovak Philharmonic. Yours sincerely, Peter Lizák, Ambassador of the Slovak Republic in the Federal Republic of Germany Ján Levoslav Bella (1843 Liptovský Sv. Mikuláš – 1936 Bratislava) 1853 – 1859 Attended secondary school in Levoča: piano, organ, general bass, several stringed and wind instruments, composition and conducting 1859 – 1863 Completed secondary school studies in Banská Bystrica, attended a theological seminary, started music event organization: conducting, composing, and publishing activities 1863 – 1865 Theological studies at the University of Vienna; alumnus of Pasmane- um College; simultaneous music studies under Simon Sechter and court conductor Gottfried Preyer 1865 – 1869 Returned to Slovakia and worked in Banská Bystrica 1866 – 1866 Ordained as a priest and honorary canon of the cathedral; taught sin- ging and music theory at the theological seminary 1869 – 1881 Worked as municipal music director in Kremnica, organizer of music events 1871 & 1873 Visits to Bohemia and Germany 1881 – 1921 Cantor in Sibiu, Transylvania; converted to evangelical faith, got married and worked in Sibiu as a choirmaster of the evangelical church there until 1921; taught music at the secondary school; conducted the local music society and Hermania choir 1921 – 1928; moved to Vienna after the end of WWI 1928 – 1936 Returned to Slovakia and lived in Bratislava (Hudobné centrum) After World War One, quitting his pedagogical and organizational activities, J. L. Bella took shelter with his daughter in Vienna (1921 – 1928), where he was contacted by Slovak cultural luminaries of the time in an effort to revive musical life at home and elevate it to a professional level. Bella spent the last years of his long and fruitful life in Slovakia, making his final achievements in compositions based on original Slovak lyrics (such as cantatas Svadba Jánošíkova and Divný Janko, among others). Koncertná skladba v uhorskom štýle (Concert Piece in Hungarian Style) was written in Sibiu, Romania, probably before 1893. That year, Bella requested the conductor Arthur Nikisch, then musical director of the Budapest Opera House, to stage the overture. This was turned down, due to the allegedly already full concert season that year. Nevertheless, the renowned conductor showed interest in the piece, asking for its score to be sent to him. Nikisch left Budapest two years later, and the contact between the conductor and the composer was never resumed. While both the score and the parts show that there have been several performances and, in fact, a recording for the Radiojournal of the Czechoslovakia Radio in the interbellum years, no musical recording has been preserved. A manuscript of Koncertná skladba was left in the archive of the Musical Department of Slovak National Museum. It was only decades later that the piece resurfaced, owing to the composer Vladimír Godár – under the baton of Alexander Rahbari – and the Slovak Philharmonic at the opening concert of Bratislava Music Festival (BHS) in November 2007. “Bella's long, stormy and productive life, of which almost 70 years were spent composing, saw the onset of Romanticism in Europe, the emergence of national compositional schools, followed by Neo-Romanticism and the early foundations of modern of 20th century music. The mindset of Bella was formed under the influence of revivalist efforts of Slovak nationalists in the 1860s and propelled by the Cecilian revival of church music. Bella's Sibiu work represents a particular stage of his personal development, seeking to modernize the language of music in terms of the ideals of Neo-Romanticism. Bella also devoted a decade (1880 – 1890) to composing the opera Smith Wieland, which marks a true culmination of his compositional efforts, and created dozens of sacred compositions, in which he synthesized his artistic ideas in the field of ecclesiastical composition. Bella's return to Slovakia anticipated the premiere of Smith Wieland in the Slovak National Theatre on 28 April 1926. Bella's work stayed in the vein of the ever-expanding ideal of universalism. The sharp contrast between his designated personal goals and the then local artistic and social environment resulted in several conflicts and crises, but these always created a new synthetic quality. Since Bella's work affected all of the musical genres of his time, it can be considered foundational for Slovak national music itself.” (From GODÁR, Vladimír: Ján Levoslav Bella, in „100 slovenských skladateľov“, Národné hudobné centrum, 1998) Jana Kmit´ová (1976) studied composition at the conservatory in Košice, at the Aca- demy of Performing Arts in Bratislava (with Dušan Martinček) and with Michael Jarrell at Universität für Musik und darstellende Kunst in Vienna. A participant at various in- ternational courses and musical composition projects in France, Germany, Austria, Swit- zerland and Japan, among others, she was recipient of a government scholarship of Austria’s Federal Ministry of Education, Arts and Culture in 2014. She lives in Vienna, and her works are presented at festivals in Slovakia and abroad. The most recent presen- tation in Slovakia was in 2014, of Tri žalmové fragmenty (Three Fragments of Psalms) for a large orchestra, a piece presented at the 2013 ISCM World Music Days. She describes her newest orchestral piece as follows: “I started writing Postranné myšlienky (Second Thoughts) over the year’s course of the government scholar- ship I was awarded by Austria’s Ministry of Culture in 2014, and finished it at the behest of Slovak Philharmonics in 2015. It is a three-piece, posing a considerable degree of difficulty for the musicians and the conductor. The idea to write this has been on my mind for years, very much like a “second thought“ itself, constantly present while I was busy writing other works, which is ultimately reflected in the name of the piece. The ideas and their renditions in the piece are experimental to such an extent that I had been long hesitant to put them down on paper, keeping them unrevealed as second thoughts on my mind. But then, here you are … Part one, called Sóla (Solos) brings out the aspect of a musical solo performance, which is, within an orches- tra, reduced to absurdity – there are exclusive solo parts of various instruments without a single instrumental accompaniment or percussive support. Part two, Tiene (Shadows) could be called a “harmonic survey” and is an elaboration of the idea that originates in my Fragment for accordion, a piece I wrote in 1997. It involves a play on tonality and atonality by combining tonal chords that are rendered minus several of their tones, to have atonal chords as a result, and vice versa. By carrying this idea from a solo instrument on to the orchestra, these possibilities have assumed enormous potential. Part three, Vrstvy (Strata), is a tone-by-tone repetition of part one except each solo motive remains “hanging” in space, creating, at least
Load more

Recommended publications
  • Alshire Records Discography
    Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M.
    [Show full text]
  • The St. Petersburg Chamber Philharmonic Innovative Dynamic
    Innovative Dynamic Progressive Unique TheJeffery St. Meyer, Petersburg Artistic Director Chamber & Principal Philharmonic Conductor The St. Petersburg Chamber Philharmonic was founded in 2002 to St.create Petersburg and encourage cultural exchange Chamber between the United Philharmonic States and Russia and has become St. Petersburg’s most exciting and in- “The St. Petersburg novative chamber orchestra. Since its inception, the St. PCP has performed in the major concert halls of the city and has been pre- sentedAbout in its most important festivals. The orchestra’s unique and Chamber Philharmonic progressive programming has distinguished it from the many orches- tras of the city. It has performed over 130 works, including over has become an integral a dozen world premieres, introduced St. Petersburg audiences to more than 30 young performers, conductors and composers from part of the city’s culture” 15 different countries (such up-and-coming stars as Alisa Weilerstein, cello), and performed works by nearly 20 living American compos- ers, including Russian premieres of works by Pulitzer Prize-winning American composers Steve Riech, Steven Stucky and John Adams. Festival Appearances: Symphony Space, Wall-to-Wall Festival, “Behind the Wall”, 2010 “The orchestra 14th International Musical Olympus Festival, 2009 & 2010 International New Music Festival “Sound Ways”, 2005, 2006, 2007, 2008 demonstrates splendid 43rd International Festival St. Petersburg “Musical Spring”, 2006 5th Annual Festival “Japanese Spring in St. Petersburg”, 2005 virtuosity” “Avant-garde in our Days” Music Festival, 2003 Halls: Symphony Space, New York City Academic Capella Hall of Mirrors, Beloselsky-Belozersky Palace Hermitage Theatre “Magnificent” Maly Sal (Glinka) of the Philharmonic Shuvalovksy Palace Hall, Fontanka River St.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Premio Corso Salani 2015
    il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica-
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Kunstbericht 2011 Kunstbericht
    Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus.
    [Show full text]
  • Slovenské Divadlo V Prostredí Spoločnosti – Od 80
    Revue dramatických umení Vydáva Ústav divadelnej a filmovej vedy Slovenskej akadémie vied 3 Ročník 59 – 2011 – Číslo 3 OBSAH ŠTÚDIE Martin Palúch: České a slovenské prieniky v dokumentárnom filme po roku 1993 ................................................................................ 195 Dagmar Podmaková: Slovenské divadlo v prostredí spoločnosti – od 80. rokov 20. storočia po dnešok ................................................... 208 Miloš Mistrík: Miloš Karásek – človek manifestov ................................ 218 Miroslav Ballay: Modality autorských recepčných vplyvov ................ 235 Anna Hlaváčová: Vplyv zahraničných impulzov na zmenu divadelnej paradigmy .......................................................................... 245 Michaela Mojžišová: Zahraniční režiséri v Opere Slovenského národného divadla ............................................................................... 256 Nadežda Lindovská: Feministická výzva slovenskej dráme. Jana Juráňová: Misky strieborné, nádoby výborné ............................... 272 ROZHĽADY Ladislav Čavojský: Premena opery na hudobné divadlo ..................... 288 Oleg Dlouhý: O netransformovanej divadelnej kultúre ........................ 295 Slovenské divadlo KRITIKA Ladislav Čavojský: Matrika Slovenského národného divadla (BLAHOVÁ-MARTIŠOVÁ, Elena (zost.). Súpis repertoáru Slovenského národného divadla 1920 – 2010, 2010; Súpis repertoáru Slovenského národného divadla 1920 – 2010. Registre a prehľady, 2011) .....................................................................
    [Show full text]
  • Cultural Policy in Czechoslovakia
    Cultural policy in Czechoslovakia, Miroslav Marek with the co-operation of Milan HromAdka and Josef Chroust Unesco Published in 1970 by the United Nations Educational, Scientific and Cultural Organization Place de Fontenoy, 75 Paris-70 Printed by Imprimerie Blanchard, 92 Le Plessis-Robinson 0 Unesco 1970 Printed in France SHC.69/XIXS/A ..,_ “, ._-“. _^_I --..--,,-. ^-I_ - .“. ..-..._ Studies and documents on .I:ural policies 3 In this series 1. Cultural policy: a preliminary study 2. Cultural policy in the United States by Charles C. Mark 3. Cultural rights as human rights 4. Cultural policy in Japan by Nobuya Shikaumi 5. Some aspects of French cultural policy by the Studies and Research Department of the French Ministry of Culture 6. Cultural policy in Tunisia by Rafik Said 7. Cultural policy in Great Britain by Michael Green and Michael Wilding, in consultation with Richard Hoggart 8. Cultural policy in the Union of Soviet Socialist Republics by A. A. Zvorykin with the assistance of N. I. Golubtsova and E. I. Rabinovich 9. Cultural policy in Czechoslovakia by Miroslav Marek, Milan Hromadka and Josef Chroust Preface The publication of this series has been undertaken as part the programme adopted by the General Conference of Unesco at its fifteenth session for the study of cultural policies. In this context, ‘cultural policy’ is taken to mean a body of operational principles, administrative and budgetary practices and procedures which provide a basis for cultural action by the State. Obviously, there cannot be one cultural policy suited to all countries; each Member State determines its own cultural policy according to the cultural values, aims and choices it sets for itself.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 114, 1994-1995
    osion 5«/V Ozawa J MIMC TiTltT.CTnil y> '(Ctln S/ 1994. eason When you know your worth Omega Constellation 18K gold and stainless steel ladies' watch*with diamond bezel. Scratch-resistant sapphire crystal. Water resistant. Swiss made since 1848. OMEGA (fo ALPHA OMEGA S?m& cWatcAe& sign excellence The of AMERICA'S WATCH SPECIALISTS Harvard Square-57 J.F.K. Street ©1994 Omega? a division of BED (US) Inc. Cambridge, MA 02138 1-800-447-4367 (617) 864-1227 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader F Darehshori Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Edna S. Kalman Mrs. Robert B. Newman James F Cleary Nina L. Doggett Allen Z. Kluchman Peter C. Read John F Cogan, Jr. Dean W. Freed Harvey Chet Krentzman Carol Scheifele-Holmes Julian Cohen Avram J. Goldberg George Krupp Richard A. Smith William F Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Trustees Emeriti Vernon R. Alden AbramT. Collier Mrs. George I. Kaplan Mrs. George Lee Sargent Philip K. Allen Nelson J. Darling, Jr. George H. Kidder Sidney Stoneman David B. Arnold, Jr. Archie C. Epps Thomas D. Perry, Jr. John Hoyt Stookey Allen G. Barry Mrs. Harris Fahnestock Irving W. Rabb John L. Thorndike Leo L. Beranek Mrs. John L.
    [Show full text]
  • 2016-17 Winter Program Book 138Th
    2016-17 WINTER PROGRAM BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play. Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. UMS wants anyone and everyone, students and community alike, to experience the transformative power of the performing arts. We seek generous partners who want to help us achieve our goal. UMS.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT Be Present UMS unleashes the power of the WINTER 2017 performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The Winter 2017 season is full of exceptional, world-class, and truly inspiring performances. Welcome to the UMS experience. We’re glad you’re present. Enjoy the performance. 1 When you attend a UMS performance, you’re part of a larger equation: nonprofit ARTS +CULTURE = ECONOMIC PROSPERITYin the greater Ann Arbor Area $100 million annually Together, we invest in our local community’s vibrancy.
    [Show full text]
  • Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion
    Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion January 7 – January 31, 2016 Hosted by Dr. Scott Johnson, Jayna Gearhart Fitzsimmons and Brad Heegel Program Inclusions v Experience the musical enrichment and fellowship traveling as part of a community under the leadership of Dr. Scott Johnson, Co-Chair of the College Department of Music who is both an accomplished musician and mentor; Jayna Gearhart Fitzsimmons, artistic director and experienced director of theater and Brad Heegel, Administrative Director of Performing and Visual Arts at Augustana who is both a seasoned traveler and energetic lead organizer for this program. v Be inspired by the culture and art of the Czech Republic with Prague’s royal palaces and museums; the beauty and music of Austria with the Vienna Boys Choir and Opera Houses; the grace and history of Slovakia with it’s amazing Slovak National Theatre; the vibrancy and heritage of Hungary in Budapest with collections of Art Nouveau and gypsy music; and lastly the history and open arms of Croatia in the town of Zagreb. v Attend eight concerts/performances and visit over forty famous sights and theatres in Europe. v Travel from Sioux Falls with connecting service into Prague and from Zagreb via United Airlines, Lufthansa Airlines and Croatian Airlines. v Stay for twenty-three nights in select Moderate First Class hotels described in the itinerary or similar, based on sharing a room. v Journey throughout Europe by private, deluxe motorcoach for all transfers and touring or by 2nd class rail. v Enjoy included daily buffet breakfast and six dinners.
    [Show full text]
  • Fest/Spiel/Haus/ St/Poelten/ 15 April 2019 Schelomo
    FEST/SPIEL/HAUS/ ST/POELTEN/ 15 APRIL 2019 SCHELOMO Tonkünstler-Orchester Niederösterreich © Nancy Horowitz © Nancy Niederösterreich Tonkünstler-Orchester TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 Tonkünstler-Orchester Niederösterreich Alisa Weilerstein . Fabien Gabel Montag, 15. April 2019, 19.30 Uhr Festspielhaus St. Pölten, Großer Saal Gesamtdauer: ca. 2 Std. (inkl. Pause) Einführung mit Walter Weidringer 18.30 Uhr, Kleiner Saal Künstlerische Leiterin Festspielhaus St. Pölten: Brigitte Fürle TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 von Elfriede Jelinek Inszenierung: Nikolaus Habjan ab 16.03.2019 Österreichische Erstaufführung www.landestheater.net PROGRAMM Violoncello ALISA WEILERSTEIN Dirigent FABIEN GABEL RICHARD STRAUSS (1864 – 1949) Liebesszene aus der Oper «Feuersnot» op. 50 (1900/01) 7 ’ ERNEST BLOCH (1880 – 1959) «Schelomo» Hebräische Rhapsodie für Violoncello und Orchester (1915/16) 23’ PAUSE ERICH WOLFGANG KORNGOLD (1897 – 1957) Sinfonietta für großes Orchester op. 5 (1911-13) Fließend, mit heiterem Schwunge Scherzo. Molto agitato, rasch und feurig Molto andante (träumerisch) Finale. Patetico – Allegro giocoso 44’ Bitte beachten Sie, dass die tatsächliche Spieldauer von diesen Angaben geringfügig abweichen kann. Das Konzertprogramm wird vom ORF aufgezeichnet und am Dienstag, 23. April 2019, ab 14.05 Uhr in der Sendung «Das Ö1 Konzert» im Programm von Radio Österreich 1 in Dolby Digital 5.1 Surround Sound ausgestrahlt. «Radio OE 1 DD», abgespielt über einen digitalen Satelliten-Receiver und eine mehrkanalfähige Audioanlage, ermöglicht die volle Surround-Qualität. RICHARD STRAUSS Liebesszene aus der Oper «Feuersnot» op. 50 Nachdem «Guntram», Richard Strauss’ erste Oper, bei der Uraufführung in Weimar eine freundliche Aufnahme gefunden hatte, sah der Komponist voll Optimismus der Premiere in seiner Geburtsstadt München am 16.
    [Show full text]