DOCSLIB.ORG

Season 2019-2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Season 2019-2020 23 Season 2019-2020 Thursday, December 12, at 7:30 The Philadelphia Orchestra Friday, December 13, at 2:00 Saturday, December 14, Cristian Măcelaru Conductor at 8:00 Leonidas Kavakos Violin Shostakovich Violin Concerto No. 1 in A minor, Op. 77 I. Nocturne: Moderato II. Scherzo: Allegro III. Passacaglia: Andante— IV. Burlesque: Allegro con brio Intermission Marsalis Blues Symphony I. Born in Hope II. Swimming in Sorrow III. Reconstruction Rag IV. Southwestern Showdown V. Big City Breaks VI. Danzon y Mambo, Choro y Samba VII. Dialog in Democracy First Philadelphia Orchestra performances This program runs approximately 2 hours, 10 minutes. These concerts are sponsored by Neal Krouse. The December 12 concert is also sponsored by Lyn M. Ross. The December 14 concert is also sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons. Vail Music Festival. The excitement through music The Philadelphia Orchestra Orchestra also has a rich in the Philadelphia region, continues the tradition of history of touring, having across the country, and educational and community first performed outside around the world. Through engagement for listeners Philadelphia in the earliest innovative programming, of all ages. It launched its days of its founding. It was robust educational initiatives, HEAR initiative in 2016 to the first American orchestra and an ongoing commitment become a major force for to perform in the People’s to the communities that it good in every community that Republic of China in 1973, serves, the ensemble is on a it serves. HEAR is a portfolio launching a now-five-decade path to create an expansive of integrated initiatives commitment of people-to- future for classical music, that promotes Health, people exchange. and to further the place champions music Education, The Orchestra also makes of the arts in an open and enables broad Access to live recordings available on democratic society. Orchestra performances, and popular digital music services Yannick Nézet-Séguin is now maximizes impact through and as part of the Orchestra in his eighth season as the Research. The Orchestra’s on Demand section of its eighth music director of The award-winning education and website. Under Yannick’s Philadelphia Orchestra. His community initiatives engage leadership, the Orchestra connection to the ensemble’s over 50,000 students, returned to recording, with musicians has been praised families, and community five celebrated CDs on by both concertgoers and members through programs the prestigious Deutsche critics, and he is embraced such as PlayINs, side-by- Grammophon label. The by the musicians of the sides, PopUP concerts, Free Orchestra also reaches Orchestra, audiences, and Neighborhood Concerts, thousands of radio listeners the community. School Concerts, sensory- with weekly broadcasts on Your Philadelphia Orchestra friendly concerts, the School WRTI-FM and SiriusXM. For takes great pride in its Partnership Program and more information, please visit hometown, performing for the School Ensemble Program, www.philorch.org. people of Philadelphia year- and All City Orchestra round, from Verizon Hall to Fellowships. 25 26 Conductor Adriane White Cristian Măcelaru has established himself as one of the fast-rising stars of the conducting world. He is chief conductor of the WDR Symphony in Cologne and music director and conductor of the Cabrillo Festival of Contemporary Music, the world’s leading festival dedicated to contemporary symphonic repertoire. He was recently named music director of the Orchestre National de France (beginning with the 2021–22 season) and the inaugural artistic director and principal conductor of the Interlochen Center for the Arts’ World Youth Symphony (effective immediately). He has performed regularly on the podium of the world’s great orchestras, including the Chicago, St. Louis, National, Bavarian Radio, City of Birmingham, and Danish National symphonies; the New York, Rotterdam, and Los Angeles philharmonics; the Cleveland, Royal Concertgebouw, and Scottish Chamber orchestras; and the Deutsches Symphonie-Orchester Berlin. Mr. Măcelaru recently completed his tenure with The Philadelphia Orchestra as conductor-in-residence, a title he held for three seasons until August 2017. Prior to that he was the Orchestra’s associate conductor for two seasons and assistant conductor for one season. He made his Philadelphia Orchestra subscription debut in April 2013 and continues a close relationship with the ensemble, leading annual subscription programs and other special concerts. In addition to these current performances, highlights of his 2019–20 season include the gala opening at the WDR Symphony with Mahler’s Fourth Symphony and Dvořák’s Te Deum, his BBC Proms debut conducting the BBC Symphony, and collaborations with the Barcelona, Swedish Radio, San Francisco, and Seattle symphonies; the Orchestre National de Lyon; the Orchestre de Paris; the Leipzig Gewandhaus Orchestra; and the Dresden Philharmonic. Mr. Măcelaru was born in Timișoara, Romania, and comes from a musical family. An accomplished violinist from an early age, he was the youngest concertmaster in the history of the Miami Symphony and made his Carnegie Hall debut with that orchestra at the age of 19. He also played in the first violin section of the Houston Symphony for two seasons. In 2012 he received the Solti Emerging Conductor Award, followed in 2014 by the Solti Conducting Award. He resides in Bonn with his wife, Cheryl, and children, Beni and Maria. 27 Soloist Marco Borggreve Violinist Leonidas Kavakos is known for his virtuosity, superb musicianship, and the integrity of his playing. By age 21 he had won three major competitions: the Sibelius (1985), Paganini (1988), and Naumburg (1988). This success led to his recording the original version of the Sibelius Violin Concerto, the first recording of this work in history, which won the Gramophone Concerto of the Year Award in 1991. Mr. Kavakos was Gramophone’s Artist of the Year in 2014, and he is the 2017 winner of the Léonie Sonning Music Prize, Denmark’s most prestigious musical honor. Mr. Kavakos has been a regular guest of The Philadelphia Orchestra since making his debut in 1999 at the Mann Center and has appeared with the ensemble on a European tour. In addition to these current performances, highlights of his 2019–20 season include the Sony release of his recording of the Beethoven Concerto as soloist/conductor with the Bavarian Radio Symphony and a US tour with pianist Emanuel Ax and cellist Yo-Yo Ma performing Beethoven trios, concluding with three concerts at Carnegie Hall. In North America Mr. Kavakos performs with the Chicago, Houston, and Montreal symphonies, as well as with the Munich Philharmonic at Carnegie Hall and the Leipzig Gewandhaus Orchestra in Boston. In Europe he performs with the Vienna Philharmonic, the London Symphony, the Royal Concertgebouw and Mariinsky orchestras, and the Orchestre de Paris, among others. He performs in Asia with the Singapore Symphony and the Hong Kong, Seoul, and Taiwan philharmonics, and he gives recitals in Shanghai and Xinghai. He has also built a strong profile as a conductor and this season leads the Orchestre Philharmonique de Radio France, the Deutsches Symphonie-Orchester Berlin, the Czech Philharmonic, and the RAI National Symphony in Turin. Mr. Kavakos has an exclusive recording contract with Sony Classical. His previous releases include the Mendelssohn Concerto and the Mozart concertos playing and conducting with the Camerata Salzburg. In 2017 he joined Mr. Ma and Mr. Ax for a recording of the Brahms piano trios. Upcoming projects include the complete Bach solo sonatas and partitas. Mr. Kavakos plays the “Willemotte” Stradivarius violin of 1734. 28 Framing the Program During the rollercoaster ride that characterized Dmitri Parallel Events Shostakovich’s career he could never be entirely 1948 Music sure when he would be in good favor with the Soviet Shostakovich Messiaen authorities. He was most forcefully denounced in 1936 Violin Concerto Turangalîla and 1948. At the time of the latter rebuke, he was No. 1 Symphony composing his First Violin Concerto and felt it best to keep Literature the work hidden until times were calmer—he had to wait Auden seven years, until after Joseph Stalin’s death. Age of Anxiety Art As trumpeter, composer, bandleader, educator, impresario, Moore and tireless advocate, Wynton Marsalis has emerged Family Group as the preeminent figure in jazz today. He continually History searches for ways to challenge himself and to reach Gandhi new audiences. Following in the illustrious tradition of assassinated Gershwin, Ellington, Bernstein, and others, Marsalis has found imaginative paths to connect jazz and classical idioms, as in his Blues Symphony. Marsalis combines his gifts as composer, historian, and educator in this seven- movement work that explores jazz’s evolution. The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 29 30 The Music Violin Concerto No. 1 The career of Dmitri Shostakovich, perhaps the greatest artistic figure that the Soviet Union produced, proved to be a roller-coaster ride of triumph and condemnation. He had just turned 11 in 1917 when the October Revolution ended the three-century reign of the Romanovs and Russia headed into the brave new world of Communism.
Load more

Recommended publications
  • Fact Sheet 2009
    Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year .
    [Show full text]
  • Juilliard Jazz Orchestra Wynton Marsalis , Conductor
    Tuesday Evening, April 3, 2018, at 7:30 The Juilliard School presents Juilliard Jazz Orchestra Wynton Marsalis , Conductor A Tribute to Blue Note Records JACKIE MCLEAN , arr. Wynton Marsalis Appointment in Ghana MCCOY TYNER , arr. Chris Crenshaw Search for Peace WOODY SHAW , arr. Victor Goines The Moontrane HORACE SILVER , arr. Carlos Henriquez Señor Blues Intermission JOE HENDERSON , arr. Ted Nash Inner Urge HORACE SILVER , arr. David Berger Peace WAYNE SHORTER , arr. Ted Nash Fee-Fi-Fo-Fum DEXTER GORDON , arr. Sherman Irby Ernie’s Tune WAYNER SHORTER , arr. Wynton Marsalis Free for All Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Meet the Artist more than 25 of America’s top academic institutions including Columbia, Harvard, Howard, Princeton, and Yale. His creativity has been celebrated the world over. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in Music for his Z E N I oratorio Blood on the Fields . In 2001 he T R A was appointed Messenger of Peace by M E O Kofi Annan, secretary-general of the J Wynton Marsalis United Nations, and in 2005 Mr.
    [Show full text]
  • Short Version
    Wynton Marsalis Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Students of Marsalis’ workshops include: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career At the age of 20, Wynton recorded the Haydn, Hummel and Leopold Mozart trumpet concertos. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, ynton Marsalis is an internationally acclaimed English Chamber Orchestra, Toronto Symphony Orchestra and musician, composer, bandleader, educator and a London’s Royal Philharmonic, working with an eminent group of Wleading advocate of American culture. He is the conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen world’s first jazz artist to perform and compose across the full and Tilson-Thomas. Famed classical trumpeter Maurice André jazz spectrum from its New Orleans roots to bebop to modern praised Wynton as “potentially the greatest trumpeter of all jazz. By creating and performing an expansive range of brilliant time.” new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has The Composer expanded the vocabulary for jazz and created a vital body of To date Wynton has produced over 70 records which have work that places him among the world’s finest musicians and sold over seven million copies worldwide including three Gold composers.
    [Show full text]
  • Disco Reed Détaillée
    20-21 décembre 2000, New York graphie disco HAPPINESS Plenty Swing, Plenty Soul Eric Reed (p) Marcus Printup (tp) Wycliffe Gordon (tb) Eric REDD Guy Reynard et Yves Sportis Wes Anderson (as) Walter Blanding (cl) OUS FAISONS ici état des enregistrements d’Eric Reed en leader et coleader. L’index en Rodney Green (dm) sideman permet de rendre compte de la grande curiosité d’Eric Reed. Il est un 1. Overture Renato Thomas (perc) Nsolide leader mais également un grand accompagnateur prisé par ses pairs. Eric 2. Maria Reed possède un univers très large dans le jazz, dans son sens culturel, la musique 3.Hello, Young Lovers d’inspiration religieuse et le blues étant également omniprésent dans son expression. 4. Pure Imagination Rappelons qu’une discographie présente l’état des publications sur disque. Chaque 5. 42nd Street session est classée chronologiquement, présente la date et le lieu d’enregistrement, le(s) 6.Send in the Clowns titre(s) des albums où elle se trouve gravée, énumère les musiciens, les titres des morceaux, 7. My Man's Gone Now/Gone, enfin la référence des albums en LP ou CD. Nous avons retenu en priorité les éditions Gone, Gone cohérentes. Les livrets/couvertures en illustration constituent de bons repères. Rappelons que 8. Nice Work If You Can Get It 9. You'll Never Walk Alone l’index n’est pas une totalisation de toutes les éditions, mais le fil continu, en CD ou à défaut 10. I Got Rhythm en LP. 1. Happiness 11. Finale (Last Trip) 2. Three Dances: Island Grind- Pour cette discographie (méthode Jazz Hot), nous avons consulté d’excellentes sources ❚■● Impulse! 12592 discographiques, comme la Jazz Discography de Walter Bruyninckx, sur internet Latin Bump-Boogie www.jazzdisco.org/eric-reed/discography et bien sûr les disques eux-mêmes.
    [Show full text]
  • Landrieu Marsalis
    LANDRIEU MARSALIS Voices of New Orleans Wednesday, October 24, 2018 7:30pm • Paul Hall The Juilliard School presents LANDRIEU MARSALIS Voices of New Orleans A conversation with Mitch Landrieu and Wynton Marsalis, moderated by Damian Woetzel A selection from The Wind in the Reeds: A Storm, a Play, and the City That Would Not Be Broken by Wendell Pierce, accompanied by “Wade in the Water” (arr. Eric Reed) Brandon Mendez Homer, Wendell Pierce Jeffery Miller, Trombone Felix Mads Moseholm, Bass Joel Wenhardt, Piano John Steele, Drums A selection from The Play About My Dad by Boo Killebrew Anya Whelan-Smith, Essie Watson Keshav Moodliar, Larry Killebrew “Do You Know What It Means To Miss New Orleans?” by Eddie DeLange and Louis Alter “Li’l Liza Jane” by Countess Ada de Lachau Jeffery Miller, Trombone Felix Mads Moseholm, Bass Joel Wenhardt, Piano John Steele, Drums Please turn off all electronic devices. Taking photographs and using recording equipment are not permitted. Large Print programs are available for select Juilliard performances. Please ask an usher of a house manager for assistance. Meet the Panelists Mitch Landrieu Mitch Landrieu was the 61st mayor of New Orleans (2010-2018), a city still recovering from Hurricane Katrina and in the midst of the BP oil spill when he took office. Under his leadership, New Orleans was one of the nation’s great comeback stories. In 2015, Landrieu was named Public Official of the Year by Governing magazine, and in 2016 was voted “America’s top turnaround mayor” in a Politico survey of mayors. His 2018 decision to remove four Confederate monuments in New Orleans earned him the John F.
    [Show full text]
  • National Endowment for the Arts Announces 2022 NEA Jazz Masters
    July 20, 2021 Contacts: Liz Auclair (NEA), [email protected], 202-682-5744 Marshall Lamm (SFJAZZ), [email protected], 510-928-1410 National Endowment for the Arts Announces 2022 NEA Jazz Masters Recipients to be Honored on March 31, 2022, at SFJAZZ Center in San Francisco Washington, DC—For 40 years, the National Endowment for the Arts has honored individuals for their lifetime contributions to jazz, an art form that continues to expand and find new audiences through the contributions of individuals such as the 2022 NEA Jazz Masters honorees—Stanley Clarke, Billy Hart, Cassandra Wilson, and Donald Harrison Jr., recipient of the 2022 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. In addition to receiving a $25,000 award, the recipients will be honored in a concert on Thursday, March 31, 2022, held in collaboration with and produced by SFJAZZ. The 2022 tribute concert will take place at the SFJAZZ Center in San Francisco, California, with free tickets available for the public to reserve in February 2022. The concert will also be live streamed. More details will be available in early 2022. This will be the third year the NEA and SFJAZZ have collaborated on the tribute concert, which in 2020 and 2021 took place virtually due to the COVID-19 pandemic. “The National Endowment for the Arts is proud to celebrate the 40th anniversary of honoring exceptional individuals in jazz with the NEA Jazz Masters class of 2022,” said Ann Eilers, acting chairman for the National Endowment of the Arts. “Jazz continues to play a significant role in American culture thanks to the dedication and artistry of individuals such as these and we look forward to working with SFJAZZ on a concert that will share their music and stories with a wide audience next spring.” Stanley Clarke (Topanga, CA)—Bassist, composer, arranger, producer Clarke’s bass-playing, showing exceptional skill on both acoustic and electric bass, has made him one of the most influential players in modern jazz history.
    [Show full text]
  • Download the Blood on the Fields Playbill And
    Thursday–Saturday Evening, February 21 –23, 2013, at 8:00 Wynton Marsalis, Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance. BLOOD ON THE FIELDS JAZZ AT LINCOLN CENTER ORCHESTRA WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto & Soprano Saxophones TED NASH, Alto & Soprano Saxophones VICTOR GOINES, Tenor & Soprano Saxophones, Clarinet, Bass Clarinet WALTER BLANDING, Tenor & Soprano Saxophones CARL MARAGHI, Baritone Saxophone, Clarinet, Bass Clarinet ELI BISHOP, Guest Soloist, Violin ERIC REED, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums Featuring GREGORY PORTER, Vocals KENNY WASHINGTON, Vocals PAULA WEST, Vocals There will be a 15-minute intermission for this performance. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center. This concert is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz.
    [Show full text]
  • Artists & Music NO'i'es
    Billboard ,. DECEMBER 11, 1999 Artists & Music Top JázzAthums.... COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE, MASS MERCHANT, AND INTERNET ww ZO (r SALES REPORTS COLLECTED, COMPILED, AND PROVIDED BY SoundScana z`=' Ñ w¢ ARTIST u lu li TITLE J43/3/ _ >Ú IMPRINT & NUMBER /DISTRIBUTING LAPP while preparing the boxed set. "Then we started play- --- No. 1 I- ing shorter, and the music got a lot better. DIANA KRALL 13 weeks at No. 1 1 25 "A lot of times, you spend so much time listening to the VERVE 050304NG WHEN I LOOK IN YOUR EYES 0 BLUE cats who left that you don't listen enough to the ones who TONY BENNETT 2 2 9 RPM /COLUMBIA 63668/CRG BENNETT SINGS ELLINGTON HOT & COOL are there," Marsalis continues. "On some of the songs, I HARRY CONNICK, JR. NO'I'ES 3 26 was surprised by what someone was playing. You have ® COLUMBIA 69618/CRG COME BY ME to hear stuff for what it is, not what you think it is or want KEITH JARRETT 4 4 6 ECM 547949 THE MELODY AT NIGHT, WITH YOU by Steve Graybow it to be. We played a wide range of music, and we had a VARIOUS ARTISTS 6 76 great time playing together. We developed our own musi- Q5 32 JAZZ 32061 JAll FOR A RAINY AFTERNOON MICHAEL BRECKER cal vocabulary based upon the jazz tradition." 6 5 4 VERVE 547844NG TIME IS OF THE ESSENCE SWINGING THROUGH THE YEARS: As the year Encompassing original material, standards, blues, O 7 7 MICHAEL FEINSTEIN WITH THE MAYNARD FERGUSON BIG BAND so does ambitious longer pieces foreshadow such extended CONCORD 4869 BIG CITY RHYTHMS comes to a close, Wynton Marsalis' and that 8 9 VARIOUS ARTISTS "Swinging Into The 21st" series.
    [Show full text]
  • Finding the Rhythm of Blues in Children's Poetry, Art, and Music
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1997 Volume V: The Blues Impulse Finding the Rhythm of Blues in Children’s Poetry, Art, and Music Curriculum Unit 97.05.04 by Jennifer Blue My teaching career is often highlighted by the actions and comments of my students. It is always a great experience when a student says or does something that leads into a perfect pedagogical period. It is crucial for a teacher to act on her feet and take advantage of every teachable moment. I can reflect on an instance where students in my first grade class underwent a stage of whining about their problems as opposed to finding appropriate solutions. Seemingly students would complain about every minor detail in their lives. For example, I recall when a student of mine was crying because her crayons were misplaced. She told me “I lost my crayons and my pencil too. And teacher I don’t know what to do.” Her tears stopped immediately when I exclaimed “sweetheart sounds like you have the blues”. For days my class engaged in creating and singing their own blues as well as listening to compositions by such artists as BB King and Billie Holiday. I was surprised to discover that my class of six year olds knew a great deal about the blues. I was so surprised that I felt compelled to explore the blues ideology a bit further. The blues had their origins in early slave laments. These blues could be defined as secular sorrow songs. After Emancipation, the majority of southern blacks moved from being plantation slaves to being sharecroppers for white landowners.
    [Show full text]
  • BENNY GOLSON NEA Jazz Master (1996)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • An Annotated Bibliography and Performance Commentary of The
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-1-2016 An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble Stephen Andrew Hunter University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Fine Arts Commons, Music Education Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hunter, Stephen Andrew, "An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble" (2016). Dissertations. 333. https://aquila.usm.edu/dissertations/333 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. AN ANNOTATED BIBLIOGRAPHY AND PERFORMANCE COMMENTARY OF THE WORKS FOR CONCERT BAND AND WIND ORCHESTRA BY COMPOSERS AWARDED THE PULITZER PRIZE IN MUSIC 1993-2015, AND A LIST OF THEIR WORKS FOR CHAMBER WIND ENSEMBLE by Stephen Andrew Hunter A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Catherine A. Rand, Committee Chair Associate Professor, School of Music ________________________________________________ Dr.
    [Show full text]