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Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
American Academy of Arts and Letters
NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer. -
Rmc193chiprograml5.Pdf
SATURDAY APRIL 29, 2017 | 7:30 PM | ROCKEFELLER CHAPEL A TRIPTYCH: Earth, Moon, Peace Works of Augusta Read Thomas Played by Spektral Quartet and Third Coast Percussion ROCKEFELLER CHAPEL | UNIVERSITY OF CHICAGO OF UNIVERSITY 2 PROGRAM The program is performed without intermission, although there will be brief pauses for resetting the stage. You are warmly invited to a wine and cheese reception here in the Chapel after the concert, with refreshments served from the west transept. You will also find CDs on sale. RAINBOW BRIDGE TO PARADISE SELENE Moon Chariot Rituals 2016 2015 3 Russell Rolen CELLO Spektral Quartet Third Coast Percussion and CHI CHI | A TRIPTYCH: EARTH, MOON, PEACE CHI for string quartet RESOUNDING EARTH 2017 World première 2012 I CHI vital life force I INVOCATION pulse radiance II AURA atmospheres, colors, vibrations II PRAYER star dust orbits III MERIDIANS zeniths III MANTRA ceremonial time shapes IV CHAKRAS center of spiritual power in the body IV REVERIE CARILLON crystal lattice Spektral Quartet Third Coast Percussion Clara Lyon VIOLIN David Skidmore Maeve Feinberg VIOLIN Peter Martin Doyle Armbrust VIOLA Robert Dillon Russell Rolen CELLO Sean Connors ABOUT THIS CONCERT Like most works of art, tonight’s concert came into Enter Spektral Quartet (or re-enter, for this being through the confluence of flashes of desire, conversation also had begun, allegro con spirito, some snippets of conversation, and the sudden alignment of eons before). On March 7, 2015, the cosmic lights went energies sparked by the commissioning of a new work. green and we knew we had a program: Selene, to be The flash of desire came just over three years ago. -
Mending Bells and Closing Belfries with Faust
Proceedings of the 1st International Faust Conference (IFC-18), Mainz, Germany, July 17–18, 2018 MENDING BELLS AND CLOSING BELFRIES WITH FAUST John Granzow Tiffany Ng School of Music Theatre and Dance School of Music Theatre and Dance University of Michigan, USA University of Michigan, USA [email protected] [email protected] Chris Chafe Romain Michon Center for Computer Research in Music and Acoustics Center for Computer Research in Music and Acoustics Stanford University, USA Stanford University, USA [email protected] [email protected] ABSTRACT to just above the bead line. Figure 2 shows the profile we used with the relative thickness variations between the inner and outer Finite Element Analyses (FEA) was used to predict the reso- surface. nant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a con- cert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. 1. INTRODUCTION In 1735 Empress Anna Ivanovna commissioned the giant Tsar Kolokol bell. The bell was cast in an excavated pit then raised into scaffolding for the cooling and engraving process. When the supporting wooden structure caught fire, the bell was doused with water causing the metal to crack. -
The World Famous Bells (Myanmar and Russia) Swe Swe Aung1
Dagon University Commemoration of 25th Anniversary Silver Jubilee Research Journal Volume 9,No.1 151 The World Famous Bells (Myanmar and Russia) Swe Swe Aung1 Abstract The World‟s largest bell is the Tsar Bell III (Tsar-Kolokol) in Moscow. It is called Tsar Kolokol „III‟ because it was cast three times, and more metal was added cash time. It is a tower bell and made of bronze. The bell is the largest bell in the world, weighing 201,924 kilograms with a heigh of 6.14 meters and diameter of 6.6 meters and thickness of up to 61 centimeters. It is a master piece of 18th century Russian casting technology. The Mingun Bell is a bell located in Mingun, Sagaing Region, Myanmar. Mingun is well known for its huge 90 ton Mingun Bell, the world‟s largest uncracked and ringing Bell. Introduction The history of Russian bell goes back to the 10th century, but in the medieval Russian Orthodox Church, bells, were not typically rung to indicate Church service, but to announce important ceremonies, celebrations and as an alarm in case of fire or enemy attack. One of the largest of the early bells was the original Tsar bell, casted in the 16th century. However, Tsar Bellwas created second time in AD 170, and Tsar Bell was again destroyed by a fire. In AD 1735,Tsar Bellwas castedthird time. Tsarina Anna I ordered that the pieces be casted into a new bell with its weight increased by another hundred tons. So the Tsar Bell III (Russia) is the largest bell in the world, weighing 201,924 Kilograms. -
St Luke's Farnworth BELL CASTING
St Luke’s Farnworth BELL CASTING by Geoffrey Poole In the earliest days they were cast in different sizes to produce different notes but no attempt was made to tune bells until the 16th Century with the advent of change ringing. In those times bells were roughly tuned – where the inside of the bell or the edge of the lip was chipped away with a hammer and chisel – eight bells could be tuned to an octave of eight notes. Some deprived communities used a hagiosideron, a shaped piece of metal which was struck in a similar way to a bell. Also again due to lack of money bellcotes were used instead of costly towers. A bell-cot, bell-cote or bellcote is a small framework and shelter for one or more bells. Bellcotes are most common in church architecture but are also seen on institutions such as schools. The bellcote may be carried on brackets projecting from a wall or built on the roof of chapels or churches that have no towers. The bellcote often holds the Sanctus bell that is rung at the consecration of the Eucharist. Bellcote is a compound noun of the words bell and cot or cote. Bell is self-explanatory. The word cot or cote is Old English, from the Germanic. It means a shelter of some kind, especially for birds or animals (see dovecote), a shed, or stall. Examples of bellcotes In order St Luke’s Farnworth Bell-cot at St Edmund's Church, Church Road, Wootton, Isle of Wight, England Church of England parish church of St Alban the Martyr, CharlesStreet, Oxford. -
English, Intended Mostly for the Social Studies Teachers. Some Units Dealing with Problem
AFRICAN. STUDIES IN FRENCH 9 the African tapes were recorded in simpie Frenchby the children and were accompanied by the .researcher'sexplanatory notes in English, intended mostly for the socialstudies teachers. Some units dealing with problem: in African educationwere pre. fired expressly for teachers. The researcher photographedand uocu- mented much more material than could he edited andused during the two -year period. On her return, she classified 650additional slides and worked them into II supplementary units. ROLE OF A. DMINISTRATORS (1 ) The project director, who also,2ri",/ed as an instructor, acted as liaison with the U.S. Office of Education, withadminis trators and teachers in the cooperating schools, and with thepar- ents of participants. While she was on leave in Africa, her associ- ate assumed these responsibilities in addition to teaching both groups of students. (2 I The Ministry of Education in Upper Volta gave Ina' approval for the researcher-facilitator's work, and the Inspector of Elementary Education for Ouahigouya assigneda group of 40 boys and 40 girls in classes corresponding to the fifth and sixth grades hisp:Articipate --toldsr the direction of there- searcher-facilitator. ROLE OF PARENTS Bening meetings were hold aboutonce 1 month for (11, parents of the' participating American students to acquaint them with the project materials and aetivilies. Parents also participated in an evaluative surxex retarding 'their children's attitudestoward the project. ROLE OF SPECIAL CONSULTANTS In constructing the experimental design and evaluativepro- cedures. consultants were employed in language pedagogy, lan- guage sequence,Mossiculture.anthropology,testing,socio- pSychology, and African studies. 2 ; OPTIONS AND PERSPECTIVES A Sourcebook of Innovative Foreign Language Programs in Action, K-12 F. -
Augusta Read Thomasâ•Žs Sun Threads for String Quartet: a Study
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Augusta Read Thomas's Sun Threads for String Quartet: A Study and Performer's Guide Kristin Ann Pfeifer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AUGUSTA READ THOMAS’S SUN THREADS FOR STRING QUARTET: A STUDY AND PERFORMER’S GUIDE By KRISTIN ANN PFEIFER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2013 Kristin Pfeifer defended this treatise on October 28, 2013. The members of the supervisory committee were: Eliot Chapo Professor Directing Treatise Evan Jones University Representative Melanie Punter Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ! ii! ACKNOWLEDGEMENTS I owe my gratitude to all of the people who helped make this treatise possible. I am forever grateful to my violin professor, Eliot Chapo, for his extraordinary teaching, faith, and support in me throughout my studies at the Florida State University. I have been fortunate enough to have a wonderful committee, who challenged me and always questioned my thoughts in order for me to further express my ideas. I would like to sincerely thank Dr. Evan Jones, Melanie Punter, and Corinne Stillwell for their tremendous mentorship and encouragement. My sincere thanks goes to Augusta Read Thomas for allowing me to have a wonderful interview in her beautiful home. -
Indianapolis Symphonic Choir Announces Augusta Read Thomas As Newest Commissioned Composer, Work to Premiere in 2022
Indianapolis Symphonic Choir announces Augusta Read Thomas as newest commissioned composer, work to premiere in 2022 Choir’s dedicated commitment to commissioned work underscores ongoing support and recognition of the world’s top living composers INDIANAPOLIS (May 12, 2020) – One of the nation’s oldest and most established symphonic choruses, the Indianapolis Symphonic Choir announces renowned composer Augusta Read Thomas as its newest commissioned composer, with plans to premiere her work for chorus and orchestra in spring 2022. The announcement marks the third major commission for the Indianapolis Symphonic Choir in 18 years, following Kyle Gann’s “Transcendental Sonnets” in 2002, and Mohammed Fairouz’s “Zabur” in 2014, which the Choir subsequently performed at New York’s famed Carnegie Hall and recorded via Naxos Records. A three-year process, the plans for a commissioned composer have long been a part of the organization’s strategic planning and fundraising efforts, made possible in part by the generosity of the Lilly Endowment and the Allen Whitehill Clowes Charitable Foundation. Early on, following discussion with leading professionals in the choral world including conductors, directors and music professors from many of the country’s leading musical institutions, the Choir focused on plans to engage a female composer in recognition of the significant yet still too infrequently heard work among this growing group of individuals. “I am incredibly honored and excited to have the opportunity to present a new work by much-heralded composer Augusta Read Thomas,” said Indianapolis Symphonic Choir Artistic Director Eric Stark. “We are very proud to be partnering with a composer of worldwide stature, recognized depth and boundless promise, who has written works for the Chicago and Boston symphonies, the Berlin Philharmonic, the Cleveland Orchestra and the Washington Choral Arts Society. -
ERIC NATHAN, David S
ERIC NATHAN, David S. Josephson Assistant Professor of Music, Department of Music 1 Young Orchard Avenue, Orwig Music Building, Brown University, Providence RI, 02912, USA [email protected] | http://www.ericnathanmusic.com | (914) 391-8394 CURRICULUM VITAE TABLE OF CONTENTS i-ii Academic Education 1 Professional Appointments 1 Non-Academic Study (Festivals, Summer Programs, Workshops) 1 I. RESEARCH AND PROFESSIONAL RECOGNITION 2 Discography 2 Published Compositions and Writings 3 Professional Awards and Honors 3 Selected Commissions 4 Invited Lectures and Talks 5 Academic Awards/Research Grants 7 From Brown University 7 Student Awards 8 II. TEACHING 8 Course Instruction 8 Brown University 8 Williams College 10 Advising 10 Guest Lectures/Teaching 11 Teaching Development Awards 12 Non-Academic Teaching 12 III. SERVICE 12 To The Department/University 12 Brown University (as faculty) 12 Previous Institutions (as a student) 14 To The Profession 14 To The Community 14 IV. PUBLIC PRESENTATION AND RECEPTION OF RESEARCH 15 List of Selected Performances and Exhibitions 15 Radio, Television, and Podcast Broadcasts (Of Performances, Interviews) 26 Selected Press and Reviews 28 For CD Album Releases (Print and Web) 28 Interviews and Feature Articles 29 Selected Reviews and Other Press 31 Writing/Presentation On My Music 33 Published writings (non-academic) 33 Academic writing 34 Guest Appearances and Participation (Festivals, Conferences) 34 Selected Performance Experience 35 Professional Affiliations 36 Eric Nathan – Composer – p. ii V. LIST OF WORKS 36 Musical Compositions 36 Completed Original Orchestrations 41 Collaborative Compositions 42 ERIC NATHAN, David S. Josephson Assistant Professor of Music, Department of Music 1 Young Orchard Avenue, Orwig Music Building, Brown University, Providence RI, 02912, USA [email protected] | http://www.ericnathanmusic.com | (914) 391-8394 ACADMIC EDUCATION: 2008-2012 Cornell University (D.M.A. -
Institute of Sacred Music 2012–2013
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut Institute of Sacred Music 2012–2013 Institute of Music Institute Sacred 2012–2013 BULLETIN OF YALE UNIVERSITY Series 108 Number 14 September 1, 2012 BULLETIN OF YALE UNIVERSITY Series 108 Number 14 September 1, 2012 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Linda Koch Lorimer University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849 (voice), 203.432.9388 The closing date for material in this bulletin was August 1, 2012. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.