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Everything Essential
Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden. -
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THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the first movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III. -
The Heraclitian Form of Thomas Adès's Tevot As a Critical Lens
The Art of Transformation: The Heraclitian Form of Thomas Adès’sTevot as a Critical Lens for the Symphonic Tradition and an original composition, Glimmer, Glisten, Glow for sinfonietta A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Music Composition and Theory David Rakowski and Yu-Hui Chang, Advisors In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Joseph Sowa May 2019 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Joseph Sowa’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: David Rakowski, Brandeis University Department of Music Yu-Hui Chang, Brandeis University Department of Music Erin Gee, Brandeis University Department of Music Martin Brody, Wellesley College, Department of Music iii Copyright by Joseph Sowa 2019 Acknowledgements The story of my time at Brandeis begins in 2012, a few months after being rejected from every doctoral program to which I applied. Still living in Provo, Utah, I picked up David Ra- kowski from the airport for a visit to BYU. We had met a few years earlier through the Barlow Endowment for Music Composition, when Davy was on the board of advisors and I was an intern. On that drive several years later, I asked him if he had any suggestions for my doc- toral application portfolio, to which he immediately responded, “You were actually a finalist.” Because of his encouragement, I applied to Brandeis a second time, and the rest is history. -
SONNAMBULA-LA-2.Pdf
2 La Fenice prima dell’Opera 2012 2 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Vincenzo Bellini laSonnambula a sonnambula L ellini b incenzo incenzo v FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
25301 Cmp.Pdf
GRAN TEATRE DEL LICEU Temporada 1988-1989 ., . Generalitat de Catalunya Ajuntament de Barcelona JOIERS Ministerio de Cultura Diputació de Barcelona i Passe� de Gròckl, 41 EL REGULADOR BAGUÉS SanI Pau, 6 - Te�fons 216 0173 216 01 74 Rambla de les Flors, 105/Carrne, 1 Te�fons 317 32 46 - 318 57 37 Societat del Gran Teatre del Liceu 08IYJ7 Barcelona Te�fon 31719 74 08IYJ1 Barcelona 08IYJ2 Barcelona ® Lucia di Lammermoor Drama líric en 4 actes Llibret de Salvatore Cammarano (segons la novel-la de Walter Scott) Música de Gaetano Donizetti Funció de Gala Dilluns, 21 de novembre, a les 21 h., funció núm. 32, torn C Dijous, 24 de novembre, a les 21 h., funció núm. 33, torn B Diumenge, 27 de novembre, a les 17 h., funció núm. 34, torn T Dimecres, 30 de novembre, a les 21 h., funció núm. 35, torn A Un s o f]i o di Lucia di Lammermoor eternità Lord Enrico Ashton Vicenç Sardinero Lucia Joan Sutherland Sir Edgardo de Ravenswood Alfredo Kraus Lord Arturo Bucklaw Josep Ruiz Raimondo Bidebent Harry Dworchak Alisa Ma. Àngels Sarroca Normanna Alfredo Heilbron Director d'Orquestra Richard Bonynge Director d'Escena Vittorio Patané Directors del Cor Romano Gandolfi Vittorio Sicuri Adjunt a la Direcció del Cor Miquel Ortega Decorats Pier Luigi Piantanida (realitzats per la «Bottega Veneziana») Vestuari Pier Luciano Cavalloti (realitzat per Arrigo-Milà) Viall' concertino Josep M. Alpiste Producció Gran Teatre del Liceu ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Laura Biagiotti ROMA Par/ums ® AZZARO Contingut argumental Lloc de l'acció: Escòcia p o u R H o MM E Època: als voltants de l'any 1700 Acte I Quadre I: En el pare del castell de Ravenswood Normanno, cap dels escuders de Ravenswood, ordena als caçadors l'individu miste que explorin els voltants per poder descobrir qui és riós que hom ha vist rodejant el castell. -
CCMA Coleman Competition (1947-2015)
THE COLEMAN COMPETITION The Coleman Board of Directors on April 8, 1946 approved a Los Angeles City College. Three winning groups performed at motion from the executive committee that Coleman should launch the Winners Concert. Alice Coleman Batchelder served as one of a contest for young ensemble players “for the purpose of fostering the judges of the inaugural competition, and wrote in the program: interest in chamber music playing among the young musicians of “The results of our first chamber music Southern California.” Mrs. William Arthur Clark, the chair of the competition have so far exceeded our most inaugural competition, noted that “So far as we are aware, this is sanguine plans that there seems little doubt the first effort that has been made in this country to stimulate, that we will make it an annual event each through public competition, small ensemble chamber music season. When we think that over fifty performance by young people.” players participated in the competition, that Notices for the First Annual Chamber Music Competition went out the groups to which they belonged came to local newspapers in October, announcing that it would be held from widely scattered areas of Southern in Culbertson Hall on the Caltech campus on April 19, 1947. A California and that each ensemble Winners Concert would take place on May 11 at the Pasadena participating gave untold hours to rehearsal Playhouse as part of Pasadena’s Twelfth Annual Spring Music we realize what a wonderful stimulus to Festival sponsored by the Civic Music Association, the Board of chamber music performance and interest it Education, and the Pasadena City Board of Directors. -
South Bend Youth Symphony Orchestra IV
Music from Lincoln (2012) John Williams South Bend Youth Concert Orchestra I. The People’s House (b. 1932) Emilie Grondin, conductor II. Getting Out The Vote III. Elegy South Bend Youth Symphony Orchestra IV. With Malice Towards None, for strings Robert Boardman, music director/conductor V. With Malice Towards None, for solo trumpet and orchestra 4 pm Sunday, May 3, 2015 Jackson Kubaszyk, trumpet Campus Auditorium Choral Fantasy, Op. 80 Ludwig van Beethoven “Grand March” from Aida Giuseppe Verdi (1770-1827) (1813-1901) Tamra Garrett and Maketo Michel, sopranos arr. by Merle Isaac Amy Davis, alto Aaron Bobson and Andrzej Stec, tenor Symphony No. 88 Franz Joseph Haydn Lawrence Mitchell-Matthews, bass Finale – Abridged (1732-1809) Natasha Stojanovska, piano arr. by Merle Isaac South Bend Symphonic Choir Marvin Curtis, director and chorusmaster Pirates of the Caribbean: Klaus Badelt South Bend Youth Symphony Orchestra The Curse of the Black Pearl (b. 1967) arr. by Ted Ricketts * world premiere South Bend Youth Concert Orchestra INTERMISSION The Winter’s Passed Wayne Barlow (1912-1996) Abigail Pitts, oboe Violin Concerto No. 1 in G minor, Op. 26 Max Bruch I. Allegro Moderato (1838-1920) Kathy Zhang, violin Romeo and Juliet Overture Peter Ilyitch Tchaikovsky (1840-1893) South Bend Festival Overture* John William Griffith (b. 1997) John William Griffith, conducting Howler* Thomas Limbert (b. 1974) Commissioned by Robert Boardman and the This activity made possible, in part, with support from the South Bend Youth Symphony Orchestra Community Foundation of St. Joseph County's Arts Everywhere initiative. Program Notes The Winter’s Passed Wayne Barlow The Winter's Passed by American composer Wayne Barlow is a “Grand March” from Aida Giuseppe Verdi short, single-movement work for oboe and string orchestra. -
Empower the Future® Progress Report
EMPOWER ® THE FUTURE PROGRESS REPORT PUBLICATION OF THIS PROGRESS REPORT IS MADE POSSIBLE THROUGH THE SUPPORT OF Junior Achievement’s Purpose is to inspire and prepare young JA Core people to succeed in a global economy. Core Values: Values Belief... Commitment... Passion... Respect... Belief... Conviction... in the boundless to the principles of for what we do and for the talents, in the power of in the educational potential of market-based honesty, integrity, creativity, perspectives, partnership and and motivational young people economics and and excellence in and backgrounds of all collaboration impact of relevant, entrepreneurship how we do it individuals hands-on learning A Message from our President and Chair- woman Laurie A. Mahoney - President Gail E. Ettaro - Board Chair In 2018, our Junior Achievement an after-school club to teach of print, digital and human resources office will turn 60; then in 2019, the young people the economic skills for a complete learning experience. global organization will turn 100! necessary to be successful in this With a focus on preparing students Have you ever wondered what are new business environment. With with the skills needed to succeed the qualities and competencies the vision of JA’s founders and the in the 21st Century, JA programs of organizations that are able support of local business leaders, expand beyond students’ core to continue to thrive and grow the Junior Achievement model subject matter to lessons that through so many generations? was born. The success of this teach life and career skills; lessons model brought JA programs into For Junior Achievement, as is that provide students with an high school classrooms in the probably true for most businesses opportunity to become financially 1970s, teaching free enterprise with incredible longevity, some capable, think critically and concepts, business acumen and common characteristics are creatively, communicate clearly financial literacy with volunteers shared. -
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007
BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 &^- CHAMBER TEA III Friday, January 26, at 2:30 COMMUNITY CONCERT III Sunday, January 28, at 3, at Cambridge Vineyard, Cambridge This free concert is generously supported by the State Street Foundation. HAWTHORNE STRING QUARTET RONAN LEFKOWITZ and SI-JING HUANG, violins MARK LUDWIG, viola SATO KNUDSEN, cello MARTINU String Quartet No. 6 Allegro moderato Andante Allegro KRASA String Quartet, Opus 2 (1921) Moderato Prestissimo—Molto calmo—Volgare Molto lento e tranquillo Week 14 Notes on the Program Both of the composers on this program were Czech by birth, although Hans Krasa (1899-1944) was German-Jewish by heritage. Krasa remained primarily in his hometown of Prague, where he was very active in the artistic life of that city. He was deported to the Terezin concentration camp in 1942 and was killed in Auschwitz in October 1944. Bohuslav Martinu (1890-1959) moved from Policka, the small town of his birth, first to Prague for study and to perform in the Czech Philharmonic, then in 1923 to France. He would never return to live in his homeland. He left France for the United States to wait out the war, having been blacklisted by the Nazis for trying to help his Czech compatriots, and later moved between the United States and Europe, but was unwilling to return to Czechoslovakia because of the Soviet occupation. He lived his last years in Switzerland. Krasa conceived of a performance of his work to be "accompanied" by the real- time creation of a work of visual art. -
Catalogo Per Autori Ed Esecutori
Abel, Carl Friedrich Quartetti, archi, Op. 8, No. 5, la maggiore The Salomon Quartet The Schein String Quartet Addy, Obo Wawshishijay Kronos Quartet Adorno, Theodor Wiesengrund Zwei Stucke fur Strechquartett op. 2 Buchberger Quartett Albert, Eugene : de Quartetti, archi, Op. 7, la minore Sarastro Quartett Quartetti, archi, Op. 11, mi bemolle maggiore Sarastro Quartett Alvarez, Javier Metro Chabacano Cuarteto Latinoamericano 1 Alwyn, William Quartetti, archi, n. 3 Quartet of London Rhapsody for String Quartet Arditti string quartet Andersson, Per Polska fran Hammarsvall, Delsbo The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom Quartet The Skane Quartet Andriessen, Hendrik Il pensiero Raphael Quartet Aperghis, Georges Triangle Carre Trio Le Cercle Apostel, Hans Erich Quartetti, archi, Op. 7 LaSalle Quartet Arenskij, Anton Stepanovic Quartetti, archi, op. 35 Paul Rosenthal, Vl Matthias Maurer, Vla Godfried Hoogeveen, Vlc Nathaniel Rosen, Vlc Arriaga y Balzola, Juan Crisostomo Jacobo Antonio : de Quartetti, archi, No. 1, re minore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Quartetti, archi, No. 2, la maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet 2 Quartetti, archi, Nr. 3, mi bemolle maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Atterberg, Kurt Quartetti, archi, Op. 11 The Garaguly Quartet Aulin, Tor Vaggvisa The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom -
Adès: Asyla, Tevot, Polaris, Brahms
Thomas Adès (b 1971) Page Index Asyla, Op 17 (1997) Tevot (2005–6) 3 Programme Notes 6 Notes de programme Polaris [Voyage for Orchestra] (2010) 9 Einführungstexte Brahms (2001) 12 Sung text Thomas Adès conductor 13 Composer / conductor biography London Symphony Orchestra 16 Soloist biography 18 Orchestra personnel lists (1997) Asyla, Op 17 22 LSO biography / Also available on LSO Live 1 I. 5’50’’ 2 II. 6’34’’ 3 III. Ecstasio 6’35’’ 4 IV. Quasi leggiero 5’02’’ 5 Tevot (2005–6) 20’19’’ 6 Polaris [Voyage for Orchestra] (2010) 13’30’’ 7 Brahms, Op 21 (2001) 5’05’’ Total time 62’55’’ Recorded live in DSD 128fs, 9 March (Tevot, Polaris, Brahms) & 16 March (Asyla) 2016, at the Barbican, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes for Classic Sound Ltd balance engineer, audio editor, mixing and mastering engineer Neil Hutchinson for Classic Sound Ltd recording engineer Booklet notes / Notes de programme / Einführungstexte © Paul Griffiths Translation into French / Traduction en français – Claire Delamarche Translation into German / Übersetzung aus dem Englischen – Elke Hockings © 2016 London Symphony Orchestra, London UK P 2016 London Symphony Orchestra, London UK 2 Programme Notes Next comes a slow movement, whose descents upon descents are begun by Thomas Adès (b 1971) keyed instruments and soon spread through the orchestra, led at first by bass Asyla, Op 17 (1997) oboe. There may be the sense of lament, or chant, echoing in some vast space – though a central section is more agitated and dynamic. There follows the club Asyla are places of safety.