DOCSLIB.ORG

New World Symphony Program I, March 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New World Symphony Program I, March 2021 CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 The Irving and Verna Fine Fund in the Library of Congress NEW WORLD SYMPHONY PROGRAM I Friday, March 12, 2021 ~ 8:00 pm The Library of Congress Virtual Event The IRVING AND VERNA FINE FUND in the Library of Congress was established in 2000 through a generous bequest of Verna Rudnick Fine, a well-known arts administrator and the widow of American composer Irving Fine. The Fund promotes and supports modern American music through an ongoing program of concerts, commissions, and research endeavors into the life and works of Irving Fine and other American composers, conductors, and performers whose works are preserved in the Library of Congress. Facebook During-concert Chat Want more? Join other concert goers and Music Division curators during the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Friday, March 12, 2021 — 8:00 pm The Irving and Verna Fine Fund in the Library of Congress NEW WORLD SYMPHONY Program I 1 Program Carlos Simon be still and know (2015) Michael Rau, violin Amy Sunyoung Lee, cello Thomas Steigerwald, piano Charles Wuorinen (1938-2020) Horn Trio (1981) Jessica Elder, horn Katherine Kobylarz, violin Wesley Ducote, piano BÉla BartÓk (1881-1945) Sonata for Two Pianos and Percussion, Sz. 110, BB 115 (1937) I. Assai lento–Allegro molto II. Lento, ma non troppo III. Allegro non troppo Wesley Ducote and Thomas Steigerwald, pianos Matthew Kibort, timpani and percussion Kevin Ritenauer, percussion • About the Program Carlos Simon, be still and know Composer Carlos Simon offers two mutually supportive accounts of the genesis of be still and know; the first is his program note and the second is transcribed from the introduction to this performance of his work by fellows of the New World Symphony. 2 From the composer: This piece was inspired by an interview with Oprah Winfrey in which she quoted: “I have felt the presence of God my whole life. Even when I didn't have a name for it, I could feel the voice bigger than myself speaking to me, and all of us have that same voice. Be still and know it. You can acknowledge it or not. You can worship it or not. You can praise it, you can ignore it or you can know it. Know it. It’s always there speaking to you and waiting for you to hear it in every move, in every decision.”1 From the composer’s video introduction: “This piece is very dear to me. As the son of a preacher, I’ve always known and felt something higher, a higher power. For me it was God; it’s God. And this piece is inspired by the presence of God in my life. I wrote this piece in a very difficult time, during my graduate study. I was dealing with a lot of issues personally and professionally, and I needed some sense of release, a sense of outlet, and music was the vehicle to do that. And so this piece is really meant for me to have some type of outlet, when I was writing it, to have some sense of therapy and using my composition as a… de-stressor of the things that I was going through. And the actual piece is meant to be meditative and solemn. I use the piece now whenever I’m going through something, and some sense of stress is sort of encapsulating my life, I use the piece to listen, and to be mindful of the now, what’s happening now. So I invite you, whether you are a believer or not, just to be mindful as you listen to the piece. Breathe. Relax. Take in the sounds that the performers are playing. Be in the moment, not thinking about the past nor the future, but right now. Thank you.” • 1 Oprah Winfrey, May 25, 2011, source provided by composer. 3 Charles Wuorinen, Horn Trio Charles Wuorinen passed away on March 11, 2020—a year and a day ago from the posting of this performance by fellows of the New World Symphony. The world has undergone tremendous change during that year, and I find myself wondering what Wuorinen’s artistic responses might have been. My hunch is that they would have been both of and beyond the times, a continuation of his confident artistic trajectory that yielded such a rich body of music. The Library of Congress commissioned several works by Wuorinen over the course of his career, including the Concertino for orchestra or 15 solo instruments and the Symphony Six, both commissioned through the Koussevitzky Music Foundation, and the Sonata for Violin and Piano, commissioned by the McKim Fund. The Horn Trio dates from 1981 and was commissioned by the virtuoso horn player Julie Landsman, who also commissioned a follow-up piece that Wuorinen called Horn Trio Continued (a title that channels his inner Babbitt). According to a review of the premiere performance posted on Wuorinen’s website, Wuorinen declined to offer program notes, stating in the program “…that the listener should simply listen.”2 With deference to Wuorinen’s wishes we urge you to simply listen, much as Carlos Simon compelled us in his introduction above. In this work, one of the great horn trios of the 20th century, Wuorinen exhibits the versatility of the ensemble and its capacity at times to ring with a single voice. David Plylar Senior Music Specialist Library of Congress, Music Division • 2 Porter, Andrew of The New Yorker, review from May 2, 1983, as quoted on https://www.charleswuorinen.com/compositions/horn-trio/ 4 BÉla BartÓk, Sonata for Two Pianos and Percussion After the turmoil of World War I there were efforts on different fronts to heal the rifts between former adversaries. The arts in general, music specifically, have been a valuable means for cultural bridge-building and détente. One such effort resulted in the formation in Salzburg of the International Society for New Music (Internationale Gesellschaft für Neue Musik) on August 11, 1922, following the International Chamber Music Performances (Internationale Kammermusikaufführungen), which took place after the Salzburg Festival. After 1922 the organization was known as the International Society for Contemporary Music (ISCM). The festival in 1923 was devoted to chamber music; subsequently, orchestral music and various other genres were included. The ISCM eventually attracted members from countries all over the world, some with individual subsections. The Basel subsection of the Swiss section of the ISCM, at the suggestion of Swiss conductor and patron Paul Sacher, commissioned Bartók in mid- 1937 to write a work on the occasion of the group's jubilee in 1938. Wisely, the commission was stated in general terms and the decisions concerning instrumentation and genre were left up to Bartók. As Bartók himself explained in an essay he wrote, "I already had the intention years ago to compose a work for piano and percussion. Gradually the conviction grew stronger in me that one piano would not be in satisfactory balance in relation to the often rather penetrating timbre of the percussion instruments. The plan was therefore altered to the extent that two pianos instead of one would oppose the percussion instruments. When the I.S.C.M. of Basel requested last summer that I compose a work for their Jubilee Concert on January 16, 1938, I gladly accepted the opportunity to realize my plan."3 In July and August of 1937 he composed the Sonata for Two Pianos and Percussion (BB 115). It has become one of Bartók's most performed works, almost as popular as the famous Music for Strings, Percussion, and Celesta (BB 114), composed in 1936, just before this commission. The sonata is scored for two pianos, three timpani, xylophone, snare drum, cymbals, bass drum, triangle, and tam-tam. This is the only piece of chamber music of Bartók's that includes percussion instruments. One percussionist plays the timpani and the other percussionist plays the xylophone. The rest of the percussion instruments are covered by 3 Bartók, Béla, "About the Sonata for Two Pianos and Percussion," in Béla Bartók Essays, ed. Benjamin Suchoff (Lincoln: University of Nebraska Press, 1976), 417. 5 both percussionists. In the printed score, Bartók carefully provided instructions for the placement of the instruments on stage during performance and wrote explicit, detailed instructions about elements critical for performance, such as dynamics, phrasing, accents, which mallets to use for which instrument, and the quality of articulations, including specifying when the cymbals should be played with the edge of a pocket knife blade. Elements of performance such as balance and timbre are always important, but especially so in this work. Bartók and his wife, Ditta Pásztory-Bartók, and percussionists Fritz Schiesser and Philipp Rühlig, performed at the première, where the sonata was enthusiastically received. Shortly after the première, Hans Heinsheimer, music publisher, convinced Bartók to arrange it as a concerto with orchestra, which he did in 1940, as Concerto for Two Pianos with Orchestra (BB 121). The concerto uses the original instrumentation (two pianos and battery of percussion) as the solo group with the addition of orchestral accompaniment scored for flutes, oboes, bassoons, horns, trumpets, trombones, celesta, and strings.
Load more

Recommended publications
  • Msm Camerata Nova
    Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [Show full text]
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • Interview with Charles Wuorinen Международный Отдел
    Международный отдел • International Division ISSN 1997-0854 (Print), 2587-6341 (Online) DOI: 10.17674/1997-0854.2019.4.046-056 Interview with Charles Wuorinen Dear readers of the journal “Problemy muzykal’noj nauki / Music Scholarship”! he editorial board of the journal with composer and performer Harvey T“Problemy muzykalnoj nauki / Music Solberger, he was one of the leaders of the Scholarship” is happy to concert series, the Group present an interview with the for Contemporary Music, famous American composer devoted to performance Charles Wuorinen. At the of works by contemporary present time Wuorinen is the composers. In the 1970s most well-known composer Wuorinen wrote an orchestral of twelve-tone music in the composition A Reliquary for USA. He was born in New Igor Stravinsky, in which he York City in 1938, studied incorporated the last musical at Columbia University in sketches of the great master. New York, and subsequently Wuorinen is the author of taught at many universities Charles Wuorinen. a book on serial music, and conservatories in the Photo by Nina Roberts titled Simple Composition, USA, including Columbia which he characterizes as a University, Manhattan School of Music (New manual for composers, meant to teach them York), Princeton University and Rutgers how to compose music, and not a music University (New Jersey), New England theory book analyzing already composed Conservatory (Massachussetts), etc. In 1970 works. Wuorinen’s music is well-known he was awarded the Pulitzer Prize for his in the USA and in the countries of Western electronic composition Time’s Encomium, Europe, where there are frequent premiere composed with the use of the RCA Synthesizer performances of his new compositions, at the Columbia-Princeton Electronic Music among which it becomes proper to name Center.
    [Show full text]
  • Brentano String Quartet
    “Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.
    [Show full text]
  • Music Resources – Library Update – March, 2014
    Music Resources – Library Update – March, 2014 This music collection’s update is dedicated to the great Canadian music personality Charles Thomas “Stompin’ Tom” Connors who died one year ago this month. “Stompin’ Tom” is widely known for his songs Bud the Spud and The Hockey Song…the latter frequently performed at games throughout the NHL. Within the music business, Tom is greatly admired for his unswerving support for Canadian musicians – including promoting their work through the record labels he founded. Tom, this one’s for you! UBC Library’s music collection receives new materials regularly. The following are highlights from recent acquisitions. A quick way to make your way through the lists below is to use the ‘Control F’ function on your keyboard and search by composer or instrument of interest. Otherwise, the materials are grouped by books, e-books and scores. Call numbers link to catalogue records for more information. “Click here” links to text or performance. Books Britten: Essays, Letters and Opera Guides Keller, Hans, Christopher Wintle, A. M. Garnham, Ines Schlenker, Kate Hopkins, Milein Cosman, and Cosman Keller Art and Music Trust. 2013. Woodbridge, Suffolk: Cosman Keller Art and Music Trust in association with Plumbago Books. Call Number: ML410 B853 K455 2013 Location: I.K. BARBER LIBRARY stacks Mapping Canada's Music: Selected Writings of Helmut Kallmann Kallmann, Helmut, John Beckwith, and Robin Elliott. 2013. Waterloo, Ont: Wilfrid Laurier University Press. Call Number: ML205 K35 2013 Location: I.K. BARBER LIBRARY stacks Fandom, Authenticity, and Opera: Mad Act n tt S n in in- -Si i Fishzon, Anna.
    [Show full text]
  • Han Chen / Piano
    HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young.
    [Show full text]
  • Charles Wuorinen's Reliquary for Stravinsky
    From Contemporary Music Review, 2001, Vol 20, Part 4, pp 9-27 ©2001 OPA (Overseas Publishers Association) N.V. —————————————————————————————————- Charles Wuorinen's Reliquary for Stravinsky Louis Karchin New York University Wuorinen's Reliquary for Igor Stravinsky is based on the Russian composer's final sketches; Wuorinen used these as the basis for a symphonic work of great depth and intensity. In the work's opening section, the younger composer fashioned a musical continuity by forging together some of the sketches and elaborating others. In certain cases, notes were added to complete the underlying tone-rows; usually fragments had to be orchestrated. This article describes some of Wuorinen's far-reaching transformations of Stravinsky's serial procedures, and his exploration of some new 12- tone operations. There is a consideration of the work's formal dimensions, and its subtle use of pitch centricity. KEYWORDS: Reliquary, Igor Stravinsky, sketches, serialism, rotational technique, pitch centricity ______________________________________________ A little less than a third way through Wuorinen's Reliquary for Igor Stravinsky, there is an extraordinary series of events; the music seems to veer off into uncharted realms conjuring up startling shapes and colors, seeming to push the limits of what might be imagined. A trumpet motive - Db—A—C—F# — ushers in a sustained brass chord, a high piccolo trill pierces through xylophone and flute attacks, timpani accentuate a brief march-like passage for basses, cellos and tuba, and a tam-tam begins to amplify yet a new series of bold harmonies and tantalizing contours. How was such a passage inspired and how was it composed? It occurs between measures 132 and 142 of the Reliquary; it may likewise be found about midway through program number 22 on the magnificent recording of this work by Oliver Knussen and the London Sinfonietta (Deutsche Grammophon 447-068-2).
    [Show full text]
  • Charles Wuorinen
    NWCR744 Charles Wuorinen 3. I ........................................................... (7:42) 4. II ........................................................... (6:36) 5. III ........................................................... (4:42) David Braynard, tuba solo; The Group for Contemporary Music: Patricia Spencer, Harvey Sollberger, Sophie Sollberger, Karl Kraber, flutes; Josef Marx, Susan Barrett, oboes; Donald MacCourt, Leonard Hindell, bassoons; David Jolley, Edward Birdwell, Ronald Sell, Barry Benjamin, horns; Raymond DesRoches, percussion; Charles Wuorinen, conductor 6. Piano Concerto (1966) ......................................... (19:47) Charles Wuorinen, piano; Royal Philharmonic Orchestra; James Dixon, conductor 7. Chamber Concerto for Flute and Ten Players (1964) ........................................ (14:48) Harvey Sollberger, flute; The Group for Contemporary Music: Stanley Silverman, guitar; Susan Jolles, harp; Cheryl Seltzer, harpsichord; Joan Tower, celeste; Robert Miller, piano; Raymond DesRoches, John Bergamo, Richard Fitz, George Boberg, percussion; Two Part Symphony (1977-78) ................................ (23:30) Kenneth Fricker, contrabass; Charles Wuorinen, 1. I ...........................................................(12:27) conductor 2. II ...........................................................(11:03) Total playing time: 77:27 American Composers Orchestra; Dennis Russell Davies, conductor; Chamber Concerto for Tuba Ê 1979, 1983, 1997 © 1997 Composers Recordings, Inc. with 12 Winds and 12 Drums
    [Show full text]
  • Biographies Creative Team George Manahan Eve Summer Conductor Stage Director
    Biographies Creative Team George Manahan Eve Summer Conductor Stage Director George Manahan has had an esteemed career Eve Summer is a director, producer, and embracing opera and the concert stage, from the choreographer whose recent directing credits traditional to the contemporary. He is the music include Trouble in Tahiti at the Glimmerglass director of the American Composers Orchestra Festival, The Pearl Fishers at Opera Tampa, The and Portland Opera, and previously served as Little Prince at Tulsa Opera, The Tales of Hoffmann music director of New York City Opera for at Opera Orlando, Xerxes for Connecticut Early fourteen seasons. He has appeared as guest Music Festival, Aïda and Lucia di Lammermoor conductor with the opera companies of Seattle, at Boheme Opera New Jersey, Suor Angelica in Santa Fe, San Francisco, Chicago, Opera Theatre concert with the Boston Symphony Orchestra, of St. Louis, Opera National du Paris and Teatro Così fan tutte for Connecticut Lyric Opera, de Communale de Bologna; as well as the Lucia di Lammermoor for Commonwealth National, New Jersey, Atlanta, San Francisco, Opera, Carmen for MassOpera, and the world Milwaukee, and Indianapolis symphonies and premiere of Larry Bell’s Holy Ghosts at the the Hollywood Bowl Orchestra. Berklee Performance Center. Dedicated to the music of our time, This season Ms. Summer also directs Mr. Manahan has led premieres of Tobias The Pirates of Penzance at Opera Saratoga, Picker’s Dolores Claiborne, Charles Wuorinen’s John Musto’s Later The Same Evening at Boston Haroun and the Sea of Stories, David Lang’s University, The Mikado at Opera Grand Rapids, Modern Painters, Hans Werner Henze’s The The Pearl Fishers at Opera in Williamsburg, English Cat, Terence Blanchard’s Champion, Bluebeard’s Castle at Mid-Ohio Opera, and the New York premiere of Richard Danielpour’s Il Tabarro and Gianni Schicchi at Yale Opera.
    [Show full text]
  • The Percussive Character and the Lyrical Quality in Bartók's Piano Music
    The Percussive Character and the Lyrical Quality in Bartók’s Piano Music By © 2018 Chieh-An Lin Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Jack Winerock Scott McBride Smith Michael Kirkendoll Scott Murphy Jerel Hilding Date Defended: 9 May 2018 ii The dissertation committee for Chieh-An Lin certifies that this is the approved version of the following doctoral document: The Percussive Character and the Lyrical Quality in Bartók’s Piano Music Chair: Jack Winerock Date Approved: 9 May 2018 iii Abstract The purpose of this study is to explore the percussive character and the lyrical quality in Bartók’s piano works. Bartók realized the nature of the piano as a percussion instrument. He used this idea in his piano works, and through different accents, accent displacement, various rhythmic patterns, and metrical shifts the percussive character emerged as one of the prevalent features of his piano works. The percussive character emphasizes vertical aspects of a phrase. Bartók’s recordings of his own pieces display a lyrical quality in addition to the percussive character. His performances are not completely consistent with the detailed indications that he marked on the score. Bartók believed that composers’ recordings of their own work could supplement the notated scores, which might not completely convey the ideas of the composer. Therefore, I argue that Bartók’s lyrical performances are another presentation of his musical ideas alongside his scores, and it is worthwhile to explore the lyrical quality and percussive character in his piano music.
    [Show full text]
  • Bartok Cover 6/6/07 4:12 Pm Page 1
    Bartok Cover 6/6/07 4:12 pm Page 1 CD IO D U A H T I BARTÓK W Connections A guide for performers and programmers by Malcolm Gillies www.boosey.com Bartok Cover 6/6/07 4:12 pm Page 3 BARTÓK Reading & Listening Photo: Ernest Nash / courtesy of Peter Bartók with Ditta in New York (1940) Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók with his phonograph machine in Bucharest at his Bösendorfer piano This handbook brings together key information about Bartók and Malcolm Gillies his works. Malcolm Gillies is Vice-President (Development) of the Further reading is listed in the on-line Bartók articles of The New Australian National University and Chair of the Australian Grove Dictionary of Music and Musicians (www.grovemusic.com) Youth Orchestra. As a musicologist he has written half a and Die Musik in Geschichte und Gegenwart (www.mgg- dozen studies of the life and works of Béla Bartók, online.com). including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s For more detailed studies of Bartók’s works see: extended article on Bartók. As a musician he has György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) associated with the Emerson, Belcea, New Zealand, and Elliott Antokoletz, The Music of Béla Bartók Australian quartets in presentations of Bartók’s cycle of (Berkeley: University of California Press, 1984). quartets, and co-curated a Bartók festival at Wigmore Hall, David Yeomans, Bartók for Piano London, in 2006. In 2007 he becomes the President of City (Bloomington: Indiana University Press, 1988) Photo: courtesy Bartók Archive Budapest University London.
    [Show full text]