DOCSLIB.ORG

The Chapman Orchestra in Concert: "The French Connection"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Chapman Orchestra in Concert: Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-3-2017 The Chapman Orchestra in Concert: "The French Connection" Chapman Orchestra Follow this and additional works at: https://digitalcommons.chapman.edu/music_programs Part of the Music Performance Commons, and the Other Music Commons Recommended Citation Chapman Orchestra, "The Chapman Orchestra in Concert: "The French Connection"" (2017). Printed Performance Programs (PDF Format). 1605. https://digitalcommons.chapman.edu/music_programs/1605 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Hall-Musco Conservatory of Music presents: THE CHAPMAN ORCHESTRA in Concert The French Connection Daniel Alfred Wachs Music Director & Conductor The Chapman Orchestra March 3, 2017 7:30 pm Musco Center for the Arts 3-3-17 TCO Primary BW insert.indd 1 2/21/2017 12:32:19 PM Program Suite from Pelléas et Mélisande Gabriel Fauré (1845-1924) I. Prélude II. Fileuse III. Sicilienne IV. Mort de Melisande Quiet City Aaron Copland (1900-1990) Olivia Gerns (‘18), English horn Matthew LaBelle (‘17), trumpet Daniel Alfred Wachs, conductor 3-3-17 TCO Primary BW insert.indd 2 2/21/2017 12:32:20 PM Program Scène et Air d’Ophélie Ambroise Thomas (1811-1896) Yllary Cajahuaringa ’17, soprano 2016 Vocal Competition Winner Symphony No. 31, Paris W.A. Mozart (1756-1791) I. Allegro Assai II. Andantino III. Allegro David Scott ’18 Andrew King ’17 Jason Liebson ’18 conductors 3-3-17 TCO Primary BW insert.indd 3 2/21/2017 12:32:20 PM Program Notes Suite from Pelléas et Mélisande Gabriel Fauré (1845-1924) Maurice Maeterlinck’s symbolist play Pelléas et Mélisande has been a source of inspiration for a number of composers: in the wake of Debussy’s opera, Schoenberg, Sibelius and Cyril Scott all composed works on the subject. Before any of these eminent modernists turned their attentions to the subject, however, Gabriel Fauré’s score composed for the first performance of the play in English in London in 1898 gained the distinction of being the first music inspired by the drama to be heard in public. Fauré was overworked at the time and so entrusted his pupil Charles Koechlin with the orchestration of the music. Fauré himself subsequently revised three movements for a larger orchestra in 1901, and the addition in 1909 of the famous Sicilienne completed the four movement suite that we hear tonight. The circumstances of the work may seem unlikely, but Fauré made several attempts to establish himself in London. However, he never managed to impress the English as much as did his titled contemporary Dr Edvard Grieg. Indeed, the reception of his music was decidedly lukewarm: “It is scarcely satisfactory, being wanting alike in charm and in dramatic power… its continued absence of tangible form, not to speak of its actual ugliness at many points, is such as to disturb rather than assist the illusion of the scene,” wrote the Times. Such sniffy judgements were not uncommon for a composer who was and often still is dismissed as a purveyor of lightweight salon songs. But this is to misunderstand how his music works. Those looking for lurid expressions of breast-beating despair in the death of Mélisande, for instance, will be disappointed. Fauré’s music eschews melodrama, and prefers to make its point in more undemonstrative, subtly shaded ways. Its exquisitely attractive surface should not blind the listener to its great subtlety and originality, an art that conceals itself. Often seen as a marginal figure of the late nineteenth century, Fauré really deserves to take his place as a farsighted figure of the early twentieth century, whose influence, through such composers as his contemporary Satie and his favourite pupil Ravel, has persisted through a significant strand of the past century; rarely if ever drawing attention to itself, but there nevertheless. — Peter Nagle, writing for the Kensington Symphony Orchestra 3-3-17 TCO Primary BW insert.indd 4 2/21/2017 12:32:20 PM Program Notes Quiet City Aaron Copland (1900-1990) Early in his career, Copland was so eager to write theatrical music that he composed a score for a nonexistent play: Music for the Theatre, originally called “Incidental Music for an Imaginary Play.” But during the 1930s, Copland became involved in the Group Theater, a company founded by Lee Strasberg and Harold Clurman to present socially relevant drama at popular prices. Copland’s studio at Steinway Hall was even one of the group’s first meeting places. Clurman later recalled that Copland’s own efforts to create a distinctly American body of music had inspired the Group in the beginning. Copland often attended rehearsals, and he became friendly with several of the Group’s members, including Elia Kazan, Clifford Odets—whose 1937 play, The Golden Boy, was one of the troupe’s biggest hits—and Irwin Shaw. Although Irwin Shaw is remembered today as the bestselling author of the 1970 novel Rich Man, Poor Man, which became a successful TV miniseries, he began his career working in radio and writing film scripts and plays. In 1939, after the Group had successfully staged Shaw’s The Gentle People, Copland agreed to write incidental music for a production of Shaw’s Quiet City later that year. “The script,” Copland recalled, “was about a young trumpet player who imagined the night thoughts of many different people in a great city and played trumpet to express his emotions and to arouse the consciences of the other characters and of the audience.” But the story of Gabe Mellon, who had changed his name in rejection of his Jewish background and became a wealthy businessman, and his struggling brother, trumpet player David Mellnikoff, obviously resonated strongly with Copland at the time, and he wrote music of unexpected depth and beauty. When the Group Theater production of Quiet City never made it beyond a couple of tryout performances, Copland decided to salvage parts of his score. During the summer of 1940, while he was teaching at the first season of the Berkshire Music Center at Tanglewood, he fashioned a short “suite” for trumpet and string orchestra from the incidental music, adding a solo english horn “for contrast and to give the trumpeter breathing spaces.” (Copland recycled other music from the complete score for parts of Appalachian Spring.) From the soft, gauzy opening to the haunted, nostalgic trumpet melodies, the piece is a pitch-perfect city scene from the 1930s. Copland was amused when reviewers noted its affinity to Whitman’s “mystic trumpeter” and Ives’s The Unanswered Question, with its yearning trumpet solos. To him, it was simply a portrait 3-3-17 TCO Primary BW insert.indd 5 2/21/2017 12:32:20 PM Program Notes of Shaw’s restless and troubled trumpet player (Copland marks the opening trumpet solo “nervous, mysterious”). Copland’s short, atmospheric piece has become one of his most performed works, and as Copland pointed out, “David Mellnikoff has long since been forgotten!” — Phillip Huscher, writing for the Chicago Symphony Orchestra Scène et Air d’Ophélie Ambroise Thomas (1811-1896) A vos jeux, mes amis, permettez-moi de grâce My friends, please allow me to join De prendre part! Nul n’a suivi ma trace. In your revels! No one has followed me. J’ai quitté le palais aux premiers feux du jour. I left the castle at the first light of dat. Des larmes de la nuit la terre était mouillée, The earth was wet with the tears of night Et l’alouette, avant l’aube éveillée, And the skylark, waking earlier than the sun, Planait dans l’air, ah!... Was soaring through the air, ah!... Mais vous, pourquoi vous parlez bas? But why do you whisper among yourselves? Ne me reconnaissez-vous pas? Do you not recognize me? Hamlet est mon époux, et je suis Ophélie. Hamlet is my husband, and I am Ophelia! Un doux serment nous lie, A tender promise binds us to each other; Il m’a donné son cœur He gave me his heart En échange du mien. In exchange for mine, Et si quelqu’un vous dit And should you ever hear Qu’il me fuit et m’oublie, That he has left me and forgotten me, N’en croyez rien! Do not believe a word of it! Non, Hamlet est mon époux, No, Hamlet is my husband, Et moi, je suis Ophélie! And I, I am Ophelia. S’il trahissait sa foi, If he should be disloyal, J’en perdrais la raison! It would drive me mad! Partegez-vous mes fleurs! Let me share my flowers with you! A toi cette humble branche For you a humble sprig 3-3-17 TCO Primary BW insert.indd 6 2/21/2017 12:32:20 PM Program Notes De romarin sauvage! Of wind rosemary. Ah!... Ah!... A toi cette pervenche. Here’s a periwinkle for you. Ah!... Ah!... Et maintenant écoutez ma chanson! And now listen to my song! Pâle et blonde Pale and fair Dort sous l’eau profonde She sleeps beneath the deep waters, La Willis au regard de feu! The Wili with eyes of flame. Que Dieu garde God keep he traveler Celui qui s’attarde Who tarries late at night Dans la nuit, au bord du flot bleu! On the shores of the blue lake! Heureuse l’épouse Happy the young bride Aux bras de l’époux! In her husband’s arms! Mon âme est jalousie My heart is envious D’un Bonheur si doux! Of such tender joy! Nymphe au regard de feu, Nymph with your eyes of flame, Hélas! Tu does sous les eaux du lac bleu! Alas, you sleep beneath the waters of the lake! Ah!..
Load more

Recommended publications
  • FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E
    FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC WORLD PREMIERE–NEW YORK PHILHARMONIC COMMISSION of Wynton MARSALIS’s The Jungle (Symphony No. 4) With the Jazz at Lincoln Center Orchestra with Wynton Marsalis First of THE NEW YORK COMMISSIONS William BOLCOM’s Trombone Concerto with Principal Trombone JOSEPH ALESSI COPLAND’s Quiet City with Principal Trumpet CHRISTOPHER MARTIN and English Horn Player GRACE SHRYOCK in Her Philharmonic Solo Debut December 28, 2016–January 3, 2017 Music Director Alan Gilbert will conduct the New York Philharmonic in the World Premiere of Pulitzer Prize winner Wynton Marsalis’s The Jungle (Symphony No. 4), commissioned by the Philharmonic as the first of The New York Commissions, with the Jazz at Lincoln Center Orchestra with Wynton Marsalis; William Bolcom’s Trombone Concerto with Principal Trombone Joseph Alessi as soloist; and Copland’s Quiet City, featuring Principal Trumpet Christopher Martin and English horn player Grace Shryock in her Philharmonic solo debut. The performances take place Wednesday, December 28, 2016, at 7:30 p.m.; Thursday, December 29 at 7:30 p.m.; Friday, December 30 at 8:00 p.m.; and Tuesday, January 3 at 7:30 p.m. Wynton Marsalis’s The Jungle is the first of The New York Commissions, in which the Philharmonic is celebrating its long history as an active commissioner and New York City cultural institution by commissioning works on New York–inspired themes from New York– based composers with strong ties to the Orchestra, on the occasion of the Philharmonic’s 175th anniversary season.
    [Show full text]
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • The Structure and Genesis of Copland's <I>Quiet City</I>
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2011 The trS ucture and Genesis of Copland's Quiet City Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Musicology Commons, and the Music Theory Commons Kleppinger, Stanley V., "The trS ucture and Genesis of Copland's Quiet City" (2011). Faculty Publications: School of Music. 49. http://digitalcommons.unl.edu/musicfacpub/49 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. twentieth-century music 7/1, 29–59 © Cambridge University Press, 2011 doi:10.1017/S1478572211000041 The Structure and Genesis of Copland’s Quiet City STANLEY V. KLEPPINGER Abstract Aaron Copland’s Quiet City (1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw’s play. The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music’s first and last bars. Both this principle and the exceptions to it suggest a correspondence to the internal struggles of Shaw’s protagonist, Gabriel Mellon.
    [Show full text]
  • Item More Personal, More Unique, And, Therefore More Representative of the Experience of the Book Itself
    Q&B Quill & Brush (301) 874-3200 Fax: (301)874-0824 E-mail: [email protected] Home Page: http://www.qbbooks.com A dear friend of ours, who is herself an author, once asked, “But why do these people want me to sign their books?” I didn’t have a ready answer, but have reflected on the question ever since. Why Signed Books? Reading is pure pleasure, and we tend to develop affection for the people who bring us such pleasure. Even when we discuss books for a living, or in a book club, or with our spouses or co- workers, reading is still a very personal, solo pursuit. For most collectors, a signature in a book is one way to make a mass-produced item more personal, more unique, and, therefore more representative of the experience of the book itself. Few of us have the opportunity to meet the authors we love face-to-face, but a book signed by an author is often the next best thing—it brings us that much closer to the author, proof positive that they have held it in their own hands. Of course, for others, there is a cost analysis, a running thought-process that goes something like this: “If I’m going to invest in a book, I might as well buy a first edition, and if I’m going to invest in a first edition, I might as well buy a signed copy.” In other words we want the best possible copy—if nothing else, it is at least one way to hedge the bet that the book will go up in value, or, nowadays, retain its value.
    [Show full text]
  • A Reflection of the Theatre in the Thirties
    THE GROUP THEATRE: A REFLECTION OF THE THEATRE IN THE THIRTIES Abby Ruth Eiferman April 29, 1972 S~ng us a song of social significance Or you can sing until you're blue Let meaning shine in every line Or we wonat love you. 1 This snatch of. lyrics, sung in the International Ladies Garment Workers. Union revue Pins and Needles of 1937 captures an<~ important aspect of the literary spirit of the 1930' s. This decade was marked by a tendency of artists towards political and social commitment, a time when the reconstruction of American .. socie~y,~nq. the menace of Fascism was a cause celebre to which artists 90u1.d rally. American artists had always been interested in chang!!lgsociety, or at least exposing the evils they perceived. "but the 1930' s saw a new kind of commitment and dedication. The economic breakdown caused by the depression had invo~ed a search for social alternatives much more intense than the .complaoency of the prosperou;, 1920' s had witnessed. -, . " ' .. "" ,;; To many writers of the twenties, the sooial enemies were straw ~ '. ; -., men, the Puritans and the Philistines, and not, significantly, the SystemWhieh had nurtured them. To those writers who were - disgusted by the emptiness they perceived in American during- , ' I this decade~ escape lay simply in flight to the bohemianism of Greenwich Village or the cultural richness of Pari~. The only time the twenties had witnessed a consolidation of the artistic-intellectual community was the rally to defend Sacco and Venzettl. But the disparate elements brought together were -2 ... dispersed after the execution of the anarchists, not ,to converge again until the middle of the next decade.
    [Show full text]
  • Arts and Humanities References
    ARTS AND HUMANITIES REFERENCES CIVIL WAR History, Memoirs, Fiction, and Poetry Louisa May Alcott. Civil War Hospital Sketches . 1863; reprint, Mineola, N.Y.: Dover Publications, 2006. Alcott’s sketches are based on her experiences as a Civil War nurse. Ambrose Bierce. Civil War Stories. Mineola, N.Y.: Dover Publications, 1994. The volume includes Bierce’s classic stories “An Occurrence at Owl Creek Bridge,” “Four Days in Dixie,” and “What I Saw of Shiloh,” originally published in Tales of Soldiers and Civilians, 1891. Claudius Meade Capps, ed. The Blue and the Gray: The Best Poems of the Civil War . Freeport, N.Y.: Books for Libraries Press, 1943. The anthology includes works by John Greenleaf Whittier, Walt Whitman, Julia Ward Howe, Herman Melville, William Cullen Bryant, Francis Scott Key, and Bret Harte, among others. Stephen Crane. The Red Badge of Courage . 1894. Many editions are currently available. Kathleen Diffley, ed. To Live and Die: Collected Stories of the Civil War, 1861–1876 . Durham, N.C.: Duke University Press, 2002. Shelby Foote, ed. Chickamauga, and Other Civil War Stories . New York: Delta, 1993. Ellen Glasgow. The Battleground. New York: Doubleday Page, 1902. Long out of print, the book is available through online secondhand book sellers. Mary Johnston. Cease Firing . 1912; reprint, Baltimore: Johns Hopkins University Press, 1996. Mary Johnston. The Long Roll. 1911; reprint, Baltimore: Johns Hopkins University Press, 1996. Sidney Lanier. Tiger-Lilies: A Novel , 1866; reprint, Chapel Hill, N.C.: University of North Carolina Press, 1969. The entire text of the novel can be found on line, at http://etext.lib.virginia.edu/etcbin/eafbin2/toccer-eaf?id=Leaf629&tag=public&data=/www/ data/eaf2/private/texts&part=0.
    [Show full text]
  • Musical Journeys WEEKLY STREAMING PROGRAMS Episode 1 Notes
    Milwaukee Symphony Musical Journeys WEEKLY STREAMING PROGRAMS Episode 1 Notes AARON COPLAND Born 14 November 1900; Brooklyn, New York Died 2 December 1990; New York, New York Quiet City Composed: 1939; revised 1940 First performance: 28 January 1941; New York, New York In 1939, Aaron Copland was called upon to provide incidental music to Irwin Shaw’s Quiet City—for his cash-strapped friends in the Group Theatre. The play’s leftist political leanings—and the opportunity to work with talented, cutting-edge artists on socially relevant issues—drew Copland to the project. Though the production failed, the following year the composer fashioned portions of the score into a ten-minute orchestral piece. Decades later, in conversation with oral historian Vivian Perlis, the composer recalled: Quiet City was billed as a “realistic fantasy,” a contradiction in terms that only meant the stylistic difference made for difficulties in production. The script was about a young trumpet player who imagined the night thoughts of many different people in a great city and played trumpet to express his emotions and to arouse the consciences of the other characters and of the audience. After reading the play, I composed music that I hoped would evoke the inner distress of the central character. [Group Theatre co-founder Harold] Clurman and Elia Kazan, the director, agreed that Quiet City needed a free and imaginative treatment. They and the cast… struggled valiantly to make the play convincing, but after two try-out performances in April [1939], Quiet City was dropped. From its 1941 premiere, Copland’s nighttime urban pastorale has needed no programmatic context, except perhaps its title, to make it one of his most popular scores.
    [Show full text]
  • Michael Tilson Thomas Conductor Scott Hostetler English Horn Christopher Martin Trumpet Paul Jacobs Organ Music by Aaron Copland
    Program ONE HuNdrEd TwENTiETH SEaSON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, November 4, 2010, at 8:00 Friday, November 5, 2010, at 8:00 Saturday, November 6, 2010, at 8:00 michael Tilson Thomas Conductor Scott Hostetler English Horn Christopher martin Trumpet Paul Jacobs Organ music by aaron Copland Quiet City SCOTT HOSTETlEr CHriSTOpHEr MarTiN Symphony for Organ and Orchestra prelude: andante Scherzo: allegro molto—Moderato Finale: lento—allegro moderato paul JaCObS First Chicago Symphony subscription concert performances InTermISSIon Orchestral Variations First Chicago Symphony subscription concert performances Appalachian Spring Friday evening’s concert is generously sponsored by Audrey Love Charitable Foundation. Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommenTS by pHillip HuSCHEr aron Copland, the “president of American music” (Virgil AThomson’s phrase) grew up in Brooklyn, lived most of his life in New York, and knew the rest of this country largely by hearsay. His music for Agnes de Mille’s Wild West ballet Rodeo, his first great success, was composed on the rue de Rennes in Paris (he had packed a book of cowboy songs), and the only real live cow he ever encountered was the one that hit his car one summer night on a coun- try road near Tanglewood. Even his “home- town” piano concerto, a jazz-saturated New York cityscape, wasn’t composed at home, but in a villa in the French countryside.
    [Show full text]
  • The Group Theatre: an Evaluation
    The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:29:25 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962, Trip
    ^Jke L^enlrat ^J\enlucnu Concert and cJLeclure +^erie5y ^rnc. A United Concert Association sponsored jointly by THE UNIVERSITY OF KENTUCKY THE LEXINGTON PUBLIC FORUM THE CENTRAL KENTUCKY CONCERT ASSOCIATION presents BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor PROGRAM Quiet City, for Strings, Trumpet and English Horn . Aaron Copland Trumpet: ROGER VOISIN English Horn: LOUIS SPEYER Composed as an orchestral piece in the autumn of 1940, "Quiet City" had its first performance by the Saidenberg Little Symphony, Daniel Saidenberg conductor, at Town Hall, New York, January 28, 1941. "In the Spring of 1939," writes Mr. Copland, "I was asked by my friend Harold Clurman, Director of the Group Theatre, to supply the incidental musical score for a new play by Irwin Shaw, author of 'Bury the Dead,' 'The Gentle 9 People' and other dramas. His new opus was entitled 'Quiet City, and was a realistic fantasy concerning the night-thoughts of many different kinds of people in a great city. It called for music evocative of the nostalgia and inner distress (Continued on next page) \SJ ' XJZW &V A DIVISION OF United Audience Service &/.,,<&* • €>/• t ~s s U COLISEUM TOWER • 10 COLUMBUS CIRCLE NEW YORK 19. N. Y. of a society profoundly aware of its own insecurity. The author's mouthpiece was a young trumpet player called David Mellnikoff, whose trumpet playing helped to arouse the conscience of his fellow-players and of the audience. The play was given two 'try-out' performances in New York on successive Sunday evenings in April of 1939, then withdrawn for revisions.
    [Show full text]
  • Bleasco Theater
    Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1317 BELASCO THEATER, 111-121 West 44th Street, Manhattan. Built 1906-1907; architect George Keister. Landmark Site: Borough of Manhattan Tax Map Block 997, Lot 23. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Belasco Theater and the proposed designation of the related Landmark Site (Item No. 13). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indica ted that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Belasco Theater (originally Belasco's Stuyvesant) was built in 1906-07 as the ideal playhouse of David Belasco. Actor, dramatist, manager and director , he was one of the most important personalities in the history of American stage. Belasco was a pioneer in the development of the American 1 itt le theater movement where dramatic experience depended on close contact between actors and audience. He conceived of his house as a "living room" and consciously attempted its domestication with a facade in the neo-Georgian style. Home of all Belasco's theatrical operations (and after 1909 his personal home as well), it was executed by some of the finest talents of the day.
    [Show full text]