A Model for Evaluation of Selected Compositions for Unaccompanied
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ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Csoa-Announces-November-2020
For Immediate Release: Press Contacts: October 22, 2020 Eileen Chambers 312-294-3092 Dana Navarro 312-294-3090 CHICAGO SYMPHONY ORCHESTRA ASSOCIATION ANNOUNCES NOVEMBER 2020 DIGITAL PROGRAMS Highlights include Two New Episodes of CSO Sessions, Free Thanksgiving Day Digital Premiere of CSO/Solti Beethoven Fifth Symphony Archival Broadcast, Veteran’s Day Tribute Program from CSO Trumpet John Hagstrom, and More CSO Sessions Episode 7 features Former Solti Conducting Apprentice Erina Yashima Leading Stravinsky’s The Soldier’s Tale with Actor James Earl Jones II New On-Demand Recital from Symphony Center Presents features Pianist Jorge Federico Osorio NOVEMBER 5-29 CHICAGO—The Chicago Symphony Orchestra Association (CSOA) announces details for its November 2020 digital programs that provide audiences both locally and around the world a way to connect with the Chicago Symphony Orchestra online. Highlights include the premiere of two new episodes in the CSO Sessions series, two archival CSO television broadcast programs, a new piano recital from Symphony Center Presents and a Veteran’s Day digital premiere of a tribute to veterans that highlights the trumpet’s key role in military and orchestral music. Programs will be available via CSOtv, the new video portal for free and premium on-demand videos. A chronological list of November 2020 digital programs is available here. CSO Sessions The new digital series of on-demand, high-definition video recordings of chamber music and chamber orchestra concerts feature performances by Chicago Symphony Orchestra musicians filmed in Orchestra Hall at Symphony Center. Programs for the CSO Sessions series are developed with artistic guidance from Music Director Riccardo Muti. -
825646079278.Pdf
CAMILLE SAINT-SAËNS 1835–1921 1 Introduction & Rondo capriccioso, Op.28 9.21 ERNEST CHAUSSON 1855–1899 2 Poème, Op.25 16.38 CAMILLE SAINT-SAËNS 3 Havanaise, Op.83 10.16 MAURICE RAVEL 1875–1937 4 Tzigane (Rapsodie de concert) 9.54 46.10 ITZHAK PERLMAN violin Orchestre de Paris/Jean Martinon 2 Itzhak Perlman Photo: © Gérard Neuvecelle 3 SAINT-SAËNS · CHAUSSON · RAVEL Over the years, Itzhak Perlman has regularly enriched his recorded catalogue with works by French composers. As early as 1968, he set down his first versions of Lalo’s Symphonie espagnole and Ravel’s Tzigane (for RCA), as well as of Franck’s Sonata (for Decca). He later revisited the Symphonie espagnole , this time coupling it with Berlioz’s Rêverie et Caprice (DG, 1980). Next came Chausson’s Concert (1982, CBS), Saint-Saëns’s Third Concerto (DG, 1983) and, a few years later, Debussy’s Sonata and Ravel’s Trio (1994, Decca). In 1974, under the baton of Jean Martinon, he recorded four concertante works inspired by “exotic” music, but reclothed in westernised garb. Combining the concertante genre with the theme of foreign travel became very fashionable in France back in 1834, the year in which Berlioz’s Harold en Italie received its premiere. It appeared to be a recipe for success and other composers, such as Lalo, D’Indy, Chabrier, Saint-Saëns, Debussy and Ravel were to try their hand at it. Certain (non-French) musicologists have noted, slightly tongue-in- cheek, that French composers showed a particular talent for conjuring the musical atmosphere of places they had never actually visited… The works on this album would appear to back up that claim. -
Margaret Bonds (1913-1972), Composer Three Dream Portraits
21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 PROGRAM NOTES Edward Boatner (1898-1981), arranger Didn’t My Lord Deliver Daniel? When I Get Home Edward Hammon Boatner was born on November 13, 1898 in New Orleans, Louisiana to the family of an itinerant minister. Boatner’s father, Dr. Daniel Webster Boatner traveled frequently from church to church, and thus provided his son an introduction to rural church singing. Edward Boatner received his musical education at Western University in Kansas, the Boston Conservatory, New England Conservatory, the Longy School of Music, and the Chicago College of Music. In his lifetime, Boatner arranged and published more than 200 spirituals, with written works including Story of the Spiritual: Thirty Spirituals and Their Origins, and the spiritual musicals, The Man of Nazareth and The Origin of the Spirituals. His arrangements have been recorded by Roland Hayes, Marian Anderson, Paul Robeson, Leontyne Price and Nelson Eddy. Boatner achieved acclaim as a singer and also served as music director of the National Baptist Convention (1925-1933), as music director at Samuel Huston College in Austin and as Dean of Music at Wiley College. He also operated a studio in New York City where he trained choral groups, gave private voice and piano instruction, and trained actors. An avid writer, Boatner published books on music theory and composition. Writings include The Damaging Results of Racism, Black Humor, Great Achievements in Black and White and the novel One Drop of Blood (New York Public Library, Digital Library Collections). Edward Boatner died in New York in 1981, leaving a legacy of developing the concert spiritual genre in which elements of folk song and art song are blended. -
CRI SD 388 Sonorous Explorations Lucia Dlugoszewski Tender Theater Flight Nageire
CRI SD 388 Sonorous Explorations Lucia Dlugoszewski Tender Theater Flight Nageire (18:00) Gerard Schwarz, Edward Carroll, Norman Smith, trumpets; Robert Routch, horn; David Langlitz, tenor trombone; David Taylor, bass trombone; Lucia Dlugoszewski, percussion; Gerard Schwarz, conductor C. Curtis-Smith Unisonics (1976) (16:25) Trent Kynaston, alto saxophone; C. Curtis-Smith, piano Music for Handbells (1976-7) (8:10) Handbell Choir C. Curtis-Smith, conductor Lucia Dlugoszewski (b Detroit, 1931) studied physics and mathematics at Wayne State University and planned to go into medicine before she took up a professional career in music. She studied piano with Grete Sultan, analysis with Felix Salzer, and composition with Edgard Varèse in the early fifties, and during that time was also active writing poetry and collaborating with the philosopher F.S.C. Northrop on aesthetical writings. In her music Dlugoszewski has always been concerned with exploring new sounds—both from conventional instruments, for which she has written highly virtuosic music—and from her own pitched and non-pitched percussion instruments which now number over 100. Jamake Highwater recently wrote “ . even in this era of avant-garde for the masses Lucia Dlugoszewski remains special and separate—the composer of music too eloquent to be called ‘difficult,’ too fragile to be called ‘bold,’ and too significant to be called ‘experimental.’ Dlugoszewski’s music was much admired and supported in the fifties and sixties by New York painters and poets but was generally avoided by the musical establishment. One lone voice, that of Virgil Thomson, described her music in his American Music Since 1910 as “Far-out music of great delicacy, originality, and beauty of sound.” It was only in 1975 that her music began to emerge from relative obscurity when Pierre Boulez commissioned Abyss and Caress for the New York Philharmonic and its soloist Gerard Schwarz. -
Lynn Freeman Olson Collection Cassette
LYNN FREEMAN OLSON COLLECTION CASSETTE RECORDINGS LIST Beethoven 9 Symphonien Ouverturen (6 tape boxed set)- Karajan Berliner Philharmonikar Vivaldi: Two Concertos for Two Violins / Two Sonatas for Two Violins and Continuo - Aston Magna Vivaldi: Concerti E Sinfonie - I Solisti Veneti/Claudio Scimone Mahler: Symphony No. 10 - Philadelphia Orchestra / James Levine (2 cassettes) Mahler: Symphony So, 1 - London Philharmonic - Klaus Tennstedt Debussy: 3 Nocturnes Ravel: Pavane & Bolero - Moscow Radio Large Symphony Orchestra / Yevgeni Svetlanov Debussy: La Mer, Nocturnes - Cleveland Orchestra/ Lorin Maazel Rachmaninoff: Symphony No. 2 - Royal Philharmonic Orchestra / Yuri Temirkanov Rachmaninoff: Symphony Mo. 3 Shostakovich: Symphony No. 6 - London Symphony Orchestra / Andre Previn Rachmaninoff: Second Piano Concerto - Balakirev Islamey, Julius Katchen - London Symphony Orchestra / Sir Georg Solti Rachmaninoff: Piano Concerto No. 3 - Vladimir Ashkenazy - The London Symphony / Anatola Fistoulari Rachmaninoff: Piano Concertos 2 & 4 -Vladimir Ashkenazy - Concertgebouw Orchestra / Bernard Haitink Shostakovich: Symphony No. 11 ("1905") - Houston Symphony Orchestra / Leopold Stokowski Shostakovich: Symphony No. 6 / The Age of Gold (Ballet Suite) - Chicago Symphony / Leopold Stokowski Shostakovich: Symphony No. 7 ("Leningrad") - Bournemouth Symphony Orchestra / Paavo Berglund Shostakovich: Symphony No. 10 e minor Op, 93 - Austrian Broadcast Symphony Orchestra / Milan Horvat (2 cassette set) LYNN FREEMAN OLSON REFERENCE COLLECTION OF RECORDED SOUND -
CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Q4 2017
CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Q4 2017 PROGRAM #: CSO 17-40 RELEASE DATE: October 1, 2017 CSO Resound Showcase Schoenberg: Kol Nidre (Alberto Mizrahi, narrator; Chicago Symphony Chorus) Shostakovich: Suite on Verses of Michelangelo Buonarroti, Op. 145a (Ildar Abdrazakov, bass) Bates: Anthology of Fantastic Zoology Berlioz: Lelio: Fantasy on Shakespeare’s The Tempest (Chicago Symphony Chorus) PROGRAM #: CSO 17-41 RELEASE DATE: October 8, 2017 Riccardo Muti conducts Italian Opera Masterworks Verdi: Overture to Nabucco (Chicago Symphony Chorus) Verdi: Gli arredi festivi from Nabucco (Chicago Symphony Chorus) Verdi: Va, pensiero from Nabucco (Chicago Symphony Chorus) Verdi: Vedi! Le fosche notturne from Il trovatore (Chicago Symphony Chorus) Verdi: Patria oppressa! From Macbeth (Chicago Symphony Chorus) Verdi: Overture to I vespri siciliani Puccini: Intermezzo from Manon Lescaut Mascagni: Intermezzo from Cavalleria rusticana Boito: Prologue to Mefistofele (Riccardo Zanellato, bass; Chicago Symphony Chorus; Chicago Children’s Choir) Beethoven: Symphony No. 8 in F Major, Op. 93 PROGRAM #: CSO 17-42 RELEASE DATE: October 15, 2017 Riccardo Muti conducts Brahms Beethoven: Violin Concerto in D Major, Op. 61 (Julia Fischer, violin) Brahms: Serenade No. 1 in D Major, Op. 11 Prokofiev: Symphony No. 1 in D Major, Op. 25 (Classical) PROGRAM #: CSO 17-43 RELEASE DATE: October 22, 2017 Daniil Trifonov and Semyon Bychkov play Rachmaninov Rachmaninov: Piano Concerto No. 1 (Daniil Trifonov, piano) Shostakovich: Symphony No. 8 in C Minor, Op. 65 Borodin: In the Steppes of Central Asia (Tugan Sokhiev, conductor) PROGRAM #: CSO 17-44 RELEASE DATE: October 29, 2017 Donald Runnicles conducts the “Enigma” Variations Britten: Sinfonia da requiem, Op. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
C Spis Treści / Contents
3 4 10 Od redaktora naczelnego Festiwal Conrada Targi Książki w Krakowie Editorial Conrad Festival Book Fair in Krakow 12 18 22 48 Unsound Sacrum Profanum Wydarzenia Kids in Kraków Events 56 100 106 132 Kalendarium Kluby Wystawy Restauracje Calendar Clubs Exhibitions Restaurants 136 140 c Spis treści Informacje turystyczne Adresy / Contents Information for Tourists Venues Wydawca / Publisher: Skład, opracowanie graficzne / Typesetting: Krakowskie Biuro Festiwalowe Studio graficzne JMP Design | www.jmp.design ul. Wygrana 2, 30-311 Kraków tel. 12 354 25 00, fax 12 354 25 01 Druk / Printed and bound by: Zakład Graficzny Colonel Redakcja / Editors: ul. Dworska 1c, 30-314 Kraków | tel. 12 354 27 30 Reklama / Advertisement: [email protected] Zuzanna Nikiel-Warchoł | tel. 882 167 122 | [email protected] Redaktor Naczelny / Editor-in-Chief: Agnieszka Wyrobek-Kaczor | tel. 515 137 990 | Grzegorz Słącz | [email protected] [email protected] Redagują / Editorial staff: Okładka / Cover: Dorota Dziunikowska | [email protected] Conrad Festival 2019, projekt / design by Przemysław Dębowski Anna Mazur | [email protected] Izabela Osiadły | [email protected] Mapa centrum Krakowa / City map by: Sebastian Rerak | [email protected] Amistad Justyna Skalska | [email protected] Barbara Skowrońska | [email protected] „Karnet” można otrzymać pocztą na terenie Polski pod warunkiem dokonania Bartosz Suchecki | [email protected] przedpłaty na pokrycie kosztów wysyłki: 6 zł (w tym VAT 23%) za egzemplarz. Zamówienia: [email protected]. Korekta / Proofread by: Dorota Bednarska You can receive “Karnet” by post in Poland after pre-payment of p&p costs: PLN 6 (incl. -
Examination of the Evolution of Multi-Percussion
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
THE LIVING THEATRE & SYMBOLIC CAPITAL By
OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre