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Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Monday, November 27 | 7:30 Pm
MONDAY, NOVEMBER 27 | 7:30 PM ALSO INSIDE This month, artists-in-residence Kontras Quartet explore the folk roots of classical music; on Live from WFMT, Kerry Frumkin welcomes the young string artists of the Dover Quartet and the acclaimed new-music ensemble eighth blackbird. Air Check Dear Member, The Guide Geoffrey Baer’s distinguished on-camera career at WTTW began in 1995 with the very first Chicago The Member Magazine for River Tour. A decade later, he took audiences back to that familiar territory to highlight big changes WTTW and WFMT Renée Crown Public Media Center that had taken place along its banks. Now, 12 years later, Geoffrey returns with an all-new tour that 5400 North Saint Louis Avenue covers more ground – all three branches of the river, in six different vessels, and the development Chicago, Illinois 60625 along the Chicago Riverwalk! Join him on WTTW11 and at wttw.com/river as Geoffrey shows us the incredible transformation that has taken place Main Switchboard (773) 583-5000 over the past decade – not just in the architecture but in how Chicagoans Member and Viewer Services enjoy it. Along the way, he shares fascinating stories about the River’s history, (773) 509-1111 x 6 and introduces some memorable characters who live, work, and play there. WFMT Radio Networks (773) 279-2000 Also this month on WTTW11 and wttw.com/watch, join us for the Chicago Production Center premiere of another exciting new local film and its companion website, (773) 583-5000 Making a New American NUTCRACKER, a collaboration with The Joffrey Websites Ballet that goes behind the scenes of a new interpretation of Tchaikovsky’s wttw.com classic holiday favorite. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
Lydia Tang Thesis.Pdf
THE MULTI-FACETED ARTISTRY OF VIOLIST EMANUEL VARDI BY LYDIA M. TANG THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Rudolf Haken, Chair Associate Professor Katherine Syer, Director of Research Associate Professor Scott Schwartz Professor Stephen Taylor Clinical Assistant Professor Elizabeth Freivogel Abstract As a pioneer viola virtuoso of the 20th century, Emanuel “Manny” Vardi (c. 1915-2011) is most widely recognized as the first violist to record all of Paganini’s Caprices. As a passionate advocate for the viola as a solo instrument, Vardi premiered and championed now-standard repertoire, elevated the technique of violists by his virtuosic example, and inspired composers to write more demanding new repertoire for the instrument. However, the details of his long and diverse career have never to date been explored in depth or in a comprehensive manner. This thesis presents the first full biographical narrative of Vardi’s life: highlighting his work with the NBC Symphony under Arturo Toscanini, his activities as a soloist for the United States Navy Band during World War II, his compositional output, visual artwork, an analysis of his playing and teaching techniques, as well as his performing and recording legacies in classical, jazz, and popular music. Appendices include a chronology of his life, discography, lists of compositions written by and for Vardi, registered copyrights, and a list of interviews conducted by the author with family members, former students, and colleagues. -
In the Shadow of the Cross
THE CHURCH OF SAINT LUKE IN THE FIELDS 487 Hudson Street New York, NY 10014 In the Shadow of the Cross Tomás Luis de Victoria Office for Holy Week – Maundy Thursday – Lamentations of Jeremiah Heinrich Ignaz Franz Biber Rosenkranzsonaten (Rosary Sonatas) The Choir of Saint Luke in the Fields David Shuler, Director of Music Sopranos: Danielle Buonaiuto, Melissa Fogarty, Ava Pine Altos: Catherine Hedberg, Elizabeth Merrill Tenors: Christopher Preston Thompson, David Root Basses: Phillip Cheah, Steven Eddy Leah Gale Nelson, violin in scordatura Daniel Swenberg, theorbo, gallichone/mandora Dongsok Shin, chamber organ Thursday, March 25, 2021 at 8 o’clock p.m. Lamentations of Jeremiah: Lectio I (Incipit lamentatio Jeremiae) Tomás Luis de Victoria (1548-1611) Responsory: Una hora The Agony in the Garden Heinrich Ignaz Franz Biber Lamento/Presto/Adagio – [aria] – Adagio – [echo] (1644-1704) (c minor; tuning: a-flat e-flatI gI dII) Lamentations of Jeremiah: Lectio II (Vau. Et egressus est) Victoria The Carrying of the Cross Biber Sonata – Courante/Double I/Double II – Finale (a minor; tuning: cI eI aI eII) Lamentations of Jeremiah: Lectio III (Jod. Manum suam misit hostis) Victoria Motet: Vere languores The Crucifixion Biber Praeludium – Aria/Variatio (g minor; tuning: g dI aI dII) TEXTS AND TRANSLATIONS Lamentatio I Lamentation I Incipit lamentatio Here begins the lamentation Jeremiae prophetae. of the prophet Jeremiah. ALEPH Quomodo sedet sola civitas ALEPH How desolate lies the city plena populo: that was once full of people: facta est quasi vidua domina gentium; the queen of nations has become as a widow; princeps provinciarum facta est sub tributo. -
Tanglewood, Kripalu Center for Yoga & Health Is the Largest Yoga-Based Retreat Center in North America
summer 2016 boston symphony orchestra andris nelsons music director Explore the power of you. Located just down the road from Tanglewood, Kripalu Center for Yoga & Health is the largest yoga-based retreat center in North America. From our breathtaking views to our renowned cuisine, we invite you to join us to enjoy everything Kripalu has to offer. Stockbridge, MA | 888.893.1957 | kripalu.org MISSION DRIVEN, DONOR SUPPORTED Kripalu® is a registered trademark of Kripalu Center for Yoga & Health. All rights reserved. (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional del Prado, Madrid (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional Saint Sebastian SPLENDOR, Guido Reni, MYTH, AND VISION THROUGH OCTOBER 10 CLARKART.EDU WILLIAMSTOWN, MASSACHUSETTS Splendor, Myth, and Vision is co-organized by the Clark Art Institute and the Museo Nacional del Prado, Madrid. Major underwriting is provided by Denise Littlefield Sobel and Diane and Andreas Halvorsen. Generous contributors include the National Endowment for the Arts and the Malcolm Hewitt Wiener Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate 135th season, 2015–2016 Trustees of the Boston Symphony Orchestra, Inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. -
Teen Strings Don’T Miss Your Opportunity to Submit Your Application to Be Selected We Hope You Enjoy the Latest Issue of Teen As the 2009 Outstanding Student Chapter
AMERICAN STRING TEACHER August 2008 | Volume 58 | Number 3 BACK-TO-SCHOOL ISSUE! August 2008 Guidelines for Successful Orchestra Auditions The Projected Career Plans of String Music Educators Challenging the Middle School Orchestra Musician PLUS: String Industry Council Directory 3 American String Teachers Association www.astaweb.com SAVE THE DATES! 2009 ASTA National Conference March 19-21, 2009 Atlanta, GA * Exhibits * National Orchestra Festival * National Solo Competition * Alternative Styles Awards 2010 ASTA National Conference February 17-20, 2010 Santa Clara, CA * Exhibits * National Orchestra Festival * National High School Honors Orchestra 2 | American String Teacher | August 2008 AMERICAN STRING TEACHER CONTENTS August 2008 | Volume 58 | Number 3 Features and Forums Using a Practice Diary to Promote Self-Regulated Instrumental 34 Practice As a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim Challenging the Middle School Orchestra Musician 38 We want to challenge our students—but, to do what? What kinds of experiences make a lasting impact on a young person, and how can we help our students develop a feeling of ownership that leads to a commitment to music? by Gail V. Barnes Mastering the Unknown: Guidelines for Successful Orchestra 42 Auditions Orchestra auditions and recitals require differing methods of preparation. Read about the most important difference between auditions and recitals. by Garrett Fischbach The Projected Career Plans of String Music Educators: Implications 46 for the Profession Where do string teachers go when they leave the profession, and what are the implications on the profession as a whole? by Joshua Russell Master Class 64 There Are No Secrets—Thoughts on a Career in Music An Interview with Violinist David Nadien David Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affi liation with Dr. -
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule — Spring 2018 PROGRAM#: NYP 18-27 RELEASE: March 28, 2018 HAIL, BRITTA
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule — Spring 2018 PROGRAM#: NYP 18-27 RELEASE: March 28, 2018 HAIL, BRITTANIA! ELGAR: Cockaigne Overture Leonard Bernstein, conductor VAUGHAN-WILLIAMS: Fantasia on a Theme by Thomas Tallis Dimitri Mitropoulos, conductor BRITTEN: Excerpts from the War Requiem Kurt Masur, conductor HOLST: The Planets Zubin Mehta, conductor PROGRAM#: NYP 18-28 RELEASE: April 4, 2018 MUSIC DIRECTOR PROFILES #1: PIERRE BOULEZ (* indicates complete selection) RAVEL: Rigaudon from Le Tombeau de Couperin (excerpt) *DEBUSSY: La Mer (From the NYP Archives) DEBUSSY: Jeux (excerpt) BERG: Rondo from Lulu Suite (excerpt) BOULEZ: Polyphonie X (excerpt) (From the NYP Archives) BARTOK: Music for Strings, Percussion, & Celesta (excerpt) STRAVINSKY: Harbingers of Spring from The Rite of Spring (excerpt) RAVEL: Une Barque sur l’ocean (excerpt) *CARTER: Symphony of Three Orchestras (NYP Premiere) VARESE: Deserts (excerpt) BERG: Variations from Lulu Suite (excerpt) *STRAVINSKY: Petrushka’s Room (second tableau) from Petrushka *BERG: Lyric Suite *MAHLER: Symphony No. 3: III *BOULEZ: Improvisation I from Pli selon Pli (From the NYP Archives) WAGNER: Siegfried-Idyll *WAGNER: Overture to Tannhauser BOULEZ: Explosante-fixe (excerpt) PROGRAM#: NYP 18-29 RELEASE: April 11, 2018 A NIGHT AT THE OPERA BEETHOVEN: Leonore Overture No. 3 Leonard Bernstein, conductor WAGNER: Immolation Scene from Gotterdammerung Montserrat Caballé, soprano and Zubin Mehta, conductor MASCAGNI: Cherry Duet from L’Amico Fritz Plácido Domingo, tenor, Adriana Morelli, soprano and Zubin Mehta, conductor Special feature: Continuing In Their Footseps: Celebrating African-Americans in Opera & Song BARTOK: Bluebeard’s Castle Siegmund Nimsgern, baritone, Tatiana Troyanos, mezzo and Rafael Kubelik conductor PROGRAM#: NYP 18-30 RELEASE: April 18, 2018 PHIL FIRSTS DVORAK: Symphony No. -
Julius Watkins and the Evolution of the Jazz French Horn Genre
JULIUS WATKINS AND THE EVOLUTION OF THE JAZZ FRENCH HORN GENRE By PATRICK GREGORY SMITH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Patrick Gregory Smith This dissertation is dedicated to the memory of Donald A. Carlson (1948-2001). ACKNOWLEDGMENTS In my efforts to “channel Julius” I have had support and guidance from numerous individuals who deserve my heartfelt thanks and personal gratitude. I cannot overstate my appreciation for my degree supervisor, Dr. David Z. Kushner. With his enthusiasm, teachings, and inspiration, he has helped to increase my passion for music history and, in turn, made me a more competent educator. Throughout my dissertation writing period, he provided support, sound advice, good company and plentiful commentary. I would have been lost without him. I would like to thank Dr. Paul Basler for his guidance, mentorship, empathy and musicality. His encouragement for the performance of non-traditional repertoire for our instrument has caused a significant broadening in my own musical tastes. He has been a teacher and a colleague, and because of him, I am a better horn player and, ultimately, a better person. I would like to thank the other members of my supervisory committee, Dr. Art Jennings, Dr. Leslie Odom, and Dr. Eldon Turner, for their individual help and insightful teachings over the previous semesters. I am grateful to Dr. John Duff whose endless encouragement and generosity in supporting my musicological endeavors has been most appreciated. -
JASCHA HEIFETZ SYMPOSIUM of Individual Style Celebrates 23 Years!!
JASCHA HEIFETZ SYMPOSIUM of Individual Style Celebrates 23 years!! H CLA HA EIF SS SS C E O I S T L C A Z S J K S S y e h y l c m a y a t r p i g S n e o g l L s a a e iu u n h m id d t Legacy of of Indiv Preserving Individual Style Final Participants Concert - 2 Tuesday, June 28, 2016, 3:00 p.m. Palmer Auditorium, Connecticut College Please save the dates for JHSymposium 2017: OPEN TO PUBLIC June 18 – 28, 2017 Sherry Kloss, Founder & Director P R O G R A M CONTRIBUTE TO JASCHA HEIFETZ SYMPOSIUM Final Participants Concert - 2 Jascha Heifetz Symposium Tuesday, June 28, 2016, 3:00 p.m. Become a Player with our Educational Mission of Excellence! Edward Yudolevich, piano Prelude No. 12, Op. 32 Rachmaninoff Heifetz – $10,000+ Richard Chen, violin Stradivarius – $5,000 Mouvements Perpetuel No. 1 Poulenc/arr. Heifetz Li-Pi Hsieh, piano Guarnerius – $2,500 Tononi – $1,000 Laura Evans, violin Menuet Mozart/arr. Heifetz Violin-Piano-Chamber-Music Friend – $500 Noah Shafner, piano Other: $_________ Richard Chen, piano Prelude in B-flat Major (from Well Tempered Klavier) Bach Checks should be made out to: Dance (Juba) (from “In The Bottoms”) Nathaniel Dett Jascha Heifetz Symposium Yoshino Futai, violin Praeludium and Allegro Kreisler Mail to: Sonata No. 25 in G Major, K301 Mozart Connecticut College Box 5244 Allegro con Spirito Jascha Heifetz Symposium Edward Yudolevich, piano 270 Mohegan Avenue, New London, CT 06230 Noah Shafner, piano Three Pieces Anton Webern or visit: www.klossclassics.com Etude No. -
Support May Prevent NEA Cutbacks As Most of the Arts Community ; Appropriations Committee, Which Is Years
A \I Official Journal of the AMERICAN FEDERATION OF MUSICIANS of the United States & Canada SEPTEMBER, 1981 MUSICIAN Support May Prevent NEA Cutbacks As most of the arts community ; Appropriations Committee, which is years. looks on in what could be called 1headed by Representative Sidney R. Meanwhile, in a somewhat con- hopeful anticipation, the tussle over IYates, a Democrat from Illinois, flicting development, a recon- the Federal budget for the Na- Iand astaunch supporter for the arts. ciliation conference between House tional Endowment for the Arts As repotted in the International and Senate budget committees and Humanities goes on. Since Musician last month, that sub- came up with its own funding rec- President Ronald Reagan's an- committee has proposed a funding ommendations. These recommen- nouncement on February 18 of his package for the NEA and NEH that dations represent a considerably Administration's intention to cut would cut previous figures by only more ample package for the En- funds for the NEA and NEH by as 10 to 15 percent over the next two (Continued on page thirty-nine) much as 50 percent, there has been no lack of vocal outcry from artists and their patrons. Arts Endowment Announces Its In Washington, D.C., those patrons who happen to hold Congressional seats have been U.S./Japan Fellowship Program among the most vocal, and Livingston Biddle, Chairman of writing to the: International Ac- movement has been fast and fu- the National Endowment for the tivities Office, National Endowment rious. In fact, at least one observer Arts, has announced that the En- for the Arts, Washington, D.C.