Riccardo Muti Leads Virtual Coaching
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Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (B
Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (b. 1962): Global Warming (1990) (8:18) DAVID BAKER (b. 1931): Cello Concerto (1975) (19:56) 2 I. Fast (6:22) 3 II. Slow à la recitative (7:17) 4 III. Fast (6:09) Katinka Kleijn, cello soloist 5 WILLIAM BANFIELD (b. 1961): Essay for Orchestra (1994) (10:33) COLERIDGE-TAYLOR PERKINSON (b. 1932) Generations: Sinfonietta No. 2 for Strings (1996) (19:31) 6 I. Misterioso — Allegro (6:13) 8 III. Alla Burletta (2:04) 7 II. Alla sarabande (5:35) 9 IV. Allegro vivace (5:28) CHICAGO SINFONIETTA / PAUL FREEMAN, CONDUCTOR TT: (58:45) Sara Lee Foundation is the exclusive corporate sponsor for African Heritage Symphonic Series, Volume III This recording is also made possible in part by grants from the National Endowment for the Arts & The Aaron Copland Fund for Music Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alpha- wood Foundation, the Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. DDD Absolutely Digital™ CDR 90000 066 PROGRAM NOTES by dominique-rené de lerma The quartet of composers represented here have a par- cultures, and decided to write a piece that celebrates ticular distinction in common: Each displays remarkable these common threads as well as the sudden improve- stylistic versatility, working not just in concert idioms, but ment in international relations that was occurring.” The also in film music, gospel music, and jazz. -
For the Common Man Chicago Sinfonietta Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor
Sunday, October 3, 2010, 2:30 pm – Dominican University Monday, October 4, 2010, 7:30 pm – Symphony Center For the Common Man Chicago Sinfonietta Paul Freeman, Music Director and Conductor Harvey Felder, Guest Conductor Fanfare for the Common Man ............................................................................Aaron Copland Neue slavische Tänze (Slavonic Dances), op.72 no.7 (15) ........................Antonín Dvořák 7. In C major - SrbskÈ Kolo Fire and Blood, for Violin and Orchestra .............................................. Michael Daugherty 1. Volcano 2. River Rouge 3. Assembly Line Tai Murray, violin Intermission Sundown’s Promise (for Taiko and Orchestra) ................................................. Renée Baker I. Company Song VII. Transcendence II. Wa ( peace/balance) VIII. No Mi Kai (Drinking party) III. Wabi IX. Chant IV. Sabi X. Sitting V. Pride XI. Walking VI. Enkai (Banquet Feast) XII. Learning to see the Invisible XIII. Shime (Ending of celebration) JASC Tsukasa Taiko, Japanese drums and Shamisen Nicole LeGette, butoh dancer On the Waterfront: Symphonic Suite from the Film ............................ Leonard Bernstein Lead Season Sponsor Lead Media Sponsor Sponsors Bettiann Gardner Please hold your applause for a brief silence after each work. This will help everyone to enjoy every note. chicagosinfonietta.org facebook.com/chicagosinfonietta Chicago Sinfonietta 1 THE MAESTRO’S FINAL SEASON These 2010 season-opening performances mark the beginning of a season of transition as our beloved Founder and Music Director Paul Freeman takes the podium for the final time. Throughout the year Maestro Freeman will be conduct- ing pieces that have become personal favorites of his, many of which he probably introduced to you, our audience. We will also be sharing some of his compelling life story and reprinting some amazing photos from the Sinfonietta archive. -
95.3 Fm 95.3 Fm
October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op. -
Past Tense, Future Tense Chicago Sinfonietta Mei-Ann Chen, Music Director Harvey Felder, Conductor
Thursday, April, 19, 2012 – Orchestra Hall at Symphony Center Past Tense, Future Tense Chicago Sinfonietta Mei-Ann Chen, Music Director Harvey Felder, Conductor Ballettmusik zur Pantomime Les petits riens: Overture ............................................Wolfgang Amadeus Mozart Variaciones Concertantes ..............................................................Alberto Ginastera I. Tema per Violoncello ed Arpa II. Interludio per Corde III. Variazione giocosa per Flauto IV. Variazione in modo di Scherzo per Clarinetto V. Variazione drammatica per Viola VI. Variazione canonica per Oboe e Fagotto VII. Variazione ritmica per Tromba e Trombone VIII. Variazione in modo di Moto perpetuo per Violino IX. Variazione pastorale per Corno X. Interludio per Fiati XI. Ripresa dal Tema per Contrabasso XII. Variazione finale in modo di Rondo per Orchestra Knoxville: Summer of 1915, Op. 24 .................................................. Samuel Barber Sarah Hibbard, soprano INTERMISSION Antifonys for Chamber Orchestra ................................................... George Walker Symphony No. 8 in F Major, Op. 93 ................................ Ludwig van Beethoven I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace Lead Season Sponsor Lead Media Sponsor Supporting Media Sponsor Sarah Hibbard is presented through the courtesy of Chicago Concert Artists, Inc. chicagosinfonietta.org facebook.com/chicagosinfonietta twitter.com/chi_sinfonietta Past Tense, Future Tense 1 PROGRAM NOTES As you listen to our opening piece, Wolfgang Amadeus Mozart’s magnificent La petit riens, imagine it is 25 years ago. The year is 1987. Where are you? Some of us are still children, while others of us are just beginning our adult lives. Kids who are in college now or perhaps have kids of their own haven’t even been born yet. President Reagan is nearing the end of his presidency, the Cold War is nearly over, the personal computer is just beginning to rise in clunky form and the Internet is a nerdy, science-fiction dream. -
African-American Bassoonists and Their Representation Within the Classical Music Environment
African-American Bassoonists and Their Representation within the Classical Music Environment D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra). -
Pittsburgh Symphony Orchestra 2017-2018 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2017-2018 Mellon Grand Classics Season March 2 and 4, 2018 MANFRED MARIA HONECK, CONDUCTOR BENJAMIN GROSVENOR, PIANO SERGEI PROKOFIEV Symphony No. 5, Opus 100 I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso Mr. Grosvenor Intermission LUDWIG VAN BEETHOVEN Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro LEOŠ JANÁČEK Sinfonietta I. Allegretto II. Andante — Allegretto III. Moderato IV. Allegretto V. Andante con moto March 2-4, 2018, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI PROKOFIEV Symphony No. 5, Opus 100 (1944) Sergei Prokofiev was born in Sontzovka, Russia on April 23, 1891, and died in Moscow on March 5, 1953. He composed his Fifth Symphony in 1944, and it was premiered in the Great Hall of the Moscow Conservatory by the USSR State Symphony Orchestra with Prokofiev conducting on January 13, 1945. The Pittsburgh Symphony premiered the work at Syria Mosque with conductor Fritz Reiner on November 28, 1947, and most recently performed it with Leonard Slatkin on March 24, 2013. The score calls for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, harp and strings. Performance time: approximately 46 minutes “In the Fifth Symphony I wanted to sing the praises of the free and happy man — his strength, his generosity and the purity of his soul. I cannot say I chose this theme; it was born in me and had to express itself.” The “man” that Prokofiev invoked in this description of the philosophy embodied in this great Symphony could well have been the composer himself. -
2021 Cityarts Grantees
2021 CITYARTS GRANTEES 2nd Story Chicago Jazz Philharmonic 3Arts, Inc. Chicago Kids Company 6018North Chicago Maritime Arts Center A.B.L.E. - Artists Breaking Limits & Expectations Chicago Media Project a.pe.ri.od.ic Chicago Public Art Group About Face Theatre Collective Chicago Shakespeare Theater Access Contemporary Music Chicago Sinfonietta Africa International House USA Chicago Tap Theatre Aguijon Theater Company Chicago West Community Music Center American Indian Center Chicago Youth Shakespeare Apparel Industry Board, Inc. Cinema/Chicago Art on Sedgwick Clinard Dance Arts Alliance Illinois Collaboraction Theatre Company Arts & Business Council of Chicago Collaborative Arts Institute of Chicago Arts of Life, Inc. Community Film Workshop of Chicago Asian Improv aRts: Midwest Community Television Network Avalanche Theatre Constellation Men's Ensemble Balzekas Museum of Lithuanian Culture Contextos Beverly Arts Center Court Theatre Beyond This Point Performing Arts Association Crossing Borders Music Black Alphabet Dance in the Parks, NFP Black Ensemble Theatre DanceWorks Chicago Black Lunch Table D-Composed Gives Cedille Chicago, NFP Definition Theatre Company Cerqua Rivera Dance Theatre Design Museum of Chicago Changing Worlds Erasing the Distance Chicago a cappella Fifth House Ensemble Chicago Architecture Foundation Filament Theatre Ensemble Chicago Art Department Forward Momentum Chicago Chicago Arts and Music Project Free Lunch Academy Chicago Arts Partnerships in Education Free Spirit Media Chicago Balinese Gamelan Free Street Theater Chicago Blues Revival FreshLens Chicago Chicago Cabaret Professionals Fulcrum Point New Music Project Chicago Childrens Choir Garfield Park Conservatory Alliance Chicago Composers Orchestra Global Girls Inc. Chicago Dance Crash Goodman Theatre Chicago Dancemakers Forum Guild Literary Complex Chicago Filmmakers Gus Giordano's Jazz Dance Chicago, Inc. -
2019 Cityarts Grantees �
2019 CITYARTS GRANTEES � Gen Op Large Organizations Black Ensemble Theater Kartemquin Educational Films Chicago Childrens Choir Merit School of Music Chicago Humanities Festival Old Town School of Folk Music Chicago Sinfonietta Steppenwolf Theatre Company Hubbard Street Dance Chicago Victory Gardens Theater Hyde Park Art Center Gen Op Small Organizations 2nd Story Chicago Gay Men's Chorus 3Arts, Inc. Chicago Human Rhythm Project A Red Orchid Theatre Chicago Industrial Arts & Design Center A.B.L.E. Chicago Jazz Philharmonic About Face Theatre Collective Chicago Kids Company Adventure Stage Chicago Chicago Metamorphosis Orchestra Project African American Arts Alliance Chicago Moving Company Aguijon Theater Company Chicago Public Art Group Albany Park Theater Project Chicago Youth Shakespeare American Blues Theater Chicago Youth Symphony Orchestras Architreasures Cinema/Chicago ArtReach Chicago CircEsteem Arts & Business Council of Chicago City Lit Theater Awakenings Art Collaboraction Theatre Company Ballet Folklorico de Chicago Comfort Station Balzekas Museum of Lithuanian Culture Community Film Workshop of Chicago Barrel of Monkeys Productions Congo Square Theatre Company Beverly Arts Center Creative Chicago Reuse Exchange (CCRX) Blair Thomas & Company Crossing Borders Music Broken Nose Theatre Deeply Rooted Dance Theater Chicago a cappella Design Museum of Chicago Chicago Artists Coalition Eighth Blackbird Performing Arts Association Chicago Arts Partnerships in Education Enrich Chicago Chicago Center for Music Education Ensemble Español -
Download Press
Mᴀɴᴅᴀʟᴀ South Asian Performing Arts mandalaarts.org Mandala Arts Mandala South Asian Performing Arts is a MacArthur award-winning organization, founded by Artistic Director Pranita Nayar. From classical to contemporary, Mandala Arts offers audiences an evocative exploration of the dance, theatre and music forms of South Asia. Our performances and productions have a connection to ancient and classical traditions, ranging from the Indian Ocean to the Himalayas, and from Persia to Indonesia. These practices evolve into the lived experiences of diaspora artists. We are dedicated to sharing cultural exchanges and experiences through our Academy, our company performances (Mandala Ensemble), and our outreach programs. Mandala's Ensemble artists bring their far-ranging aesthetics and vocabularies into the work. Mandala Arts has presented work at Chicago Symphony Center, Harris Theater, Logan Center for the Arts, the Art Institute of Chicago, and with Auditorium Theater. Executive Artistic Director Pranita Nayar founded Mandala Arts in 2014, where she serves as Executive Artistic Director. Pranita is a producer, curator, master teacher and choreographer whose work is rooted in South Asian dance forms and their changing contexts within the diaspora. Pranita has been an exponent of Bharatanatyam in the Chicagoland region for over 30 years, and her path has flowed into deconstruction of the movement vocabulary — from gesture to reassemblage. Pranita’s work has received many honors; she has been a Lab Artist with Chicago Dancemakers Forum (2016), received three MacArthur Awards through her leadership in South Asian arts, and is an 11-time recipient of the Master Teacher award given by Illinois Arts Council. Her work has been presented at the Lincoln Center, The Smithsonian Institute, Harris Theater (Chicago), the Olympics (Salt Lake City, 2002), and the MTV VMA’s (Shakira). -
Sergei Prokofiev
Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia. -
To Lead and Inspire Philanthropic Efforts That Measurably Improve the Quality of Life and the Prosperity of Our Region
2008 ANNUAL REPORT To lead and inspire philanthropic efforts that measurably improve the quality of life and the prosperity of our region. OUR VALUES Five values define our promise to the individuals and communities we serve: INTEGRITY Our responsibility, first and foremost, is to uphold the public trust placed in us and to ensure that we emulate the highest ethical standards, honor our commitments, remain objective and transparent and respect all of our stakeholders. STEWARDSHIP & SERVICE We endeavor to provide the highest level of service and due diligence to our donors and grant recipients and to safeguard donor intent in perpetuity. DIVERSITY & INCLUSION Our strength is found in our differences and we strive to integrate diversity in all that we do. COLLABORATION We value the transformative power of partnerships based on mutual interests, trust and respect and we work in concert with those who are similarly dedicated to improving our community. INNOVATION We seek and stimulate new approaches to address what matters most to the people and we serve, as well as support, others who do likewise in our shared commitment to improve metropolitan Chicago. OUR VISION The Chicago Community Trust is committed to: • Maximizing our community and donor impact through strategic grant making and bold leadership; • Accelerating our asset growth by attracting new donors and creating a closer relationship with existing donors; • Delivering operational excellence to our donors, grant recipients and staff members. In 2008, The Chicago Community Trust addressed the foreclosure crisis by spearheading an action plan with over 100 experts from 70 nonprofit, private and public organizations. -
Gauging Success Toward the Guild Complex'
Leveraging Assets: How Small Budget Arts Activities Benefit Neighborhoods by Diane Grams and Michael Warr Publication Date: March 2003 Leveraging Assets: How Small Budget Arts Activities Benefit Neighborhoods is a research report commissioned by The Richard H. Driehaus Foundation and funded by The John D. and Catherine T. MacArthur Foundation. ACKNOWLEDGEMENTS We would like to gratefully acknowledge the people and organizations that made this report possible. First we would like to thank The Richard H. Driehaus Foundation and The John D. and Catherine T. MacArthur Foundation for initiating and funding this study. We would like to specifically thank Sunny Fischer, Executive Director and Peter Handler, Program Officer for The Richard H. Driehaus Foundation, and Nick Rabkin, the former Program Officer for Community Development at The MacArthur Foundation. Judith Wittner, Ph.D. and Peter Whalley, Ph.D. both of Loyola University, Chicago, and Morrie Warshawski, an independent consultant in the non-profit arts spent time reading early versions of parts of this document and gave us valuable critical assessments. Chapin Hall researchers at the University of Chicago met with us early on and shared some of their experience and knowledge carrying out similar research projects in Chicago. Alaka Wali, Ph.D. shared some early data from her study Informal Arts: Finding Cohesion, Capacity and Other Cultural Benefits in Unexpected Places, a research report to The Center for Arts Policy at Columbia College. Julie Burros, Director of Cultural Planning at the City of Chicago’s Department of Cultural Affairs and Alison Zehr, Consultant at the DOCA, also shared data from the Survey of Chicago’s Cultural Landscape on the distribution of arts organizations and their capitalization.