Wichita Symphony Orchestra Gershwin's Magic Key Young
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The Cambridge Companion to Gershwin Edited by Anna Harwell Celenza Index More Information
Cambridge University Press 978-1-108-42353-3 — The Cambridge Companion to Gershwin Edited by Anna Harwell Celenza Index More Information Index Aarons, Alex, 7 Barkleys of Broadway (1949) film, 206, 214 Ager, Cecelia, 294 Bartók, Bela, 119 Ager, Milton, 294 “Battle Hymn of the Republic,” 36 Albee, Edward, 67 Bauer, Marion, 222 Alberts, Charles S., 138 “Beale Street Blues,” 238 Alda, Robert, 134 Beethoven, Ludwig van, 9, 35, 76, 225 Alexander III, Czar of Russia, 5 Rondo a Cappricio, Op. 129, 37 Allen, Gracie, 207, 212, 213 Sonata in F Minor, Op. 57 (“Appassionata”), Americana (1928) musical, 10 37 An American in Paris (1951) film, 214, 240, 262 Sonata Op. 110, 37 An American in Paris (2015) musical, 262, 264, Sonata Op. 81, 37 265, 266, 267, 269, 270 String Quartet, Op. 18, No. 4, 37 Anchors Aweigh (1945) film, 254 “ ” Anderson, Marian, 191 Symphony No. 3 ( Eroica ), 37 Antheil, George, 155–56, 229 Symphony No. 5, 248 Ballet mécanique, 155, 156 Symphony No. 7, 37 Jazz Symphony, 156 Bennett, Robert Russell, 47, 199, 201, 211, 212, Anything Goes (1936) film, 200 214, 216 Arcadelt, Jacques, 36 Bennett, Tony, 238 Arden, Victor, 93, 97, 268 Benton, Thomas Hart, 162 Arlen, Harold, 9, 47, 49, 199, 276, 277 Berg, Alban, 162, 225, 229 “Stormy Weather,” 277 Lyric Suite, 33, 162 Arlen, Michael, 154 Wozzeck, 231 Armitage, Merle, 48, 53, 291 Bergere, Valerie, 72 Armstrong, Louis, 244, 277 Berkeley, Busby, 45 Arvey, Verna, 25 Berlin, 161 Asian American Jazz Orchestra, 256 Berlin, Irving, 44, 48, 53, 61, 64, 68, 69, 93, 154, Askins, Harry, 132 225, 239, 244, -
Aaron Copland: Famous American Composer, Copland Was Born in Brooklyn, New York, on November 14, 1900. the Child of Jewish Immig
Aaron Copland: Famous American Composer, Copland was born in Brooklyn, New York, on November 14, 1900. The child of Jewish immigrants from Lithuania, he first learned to play the piano from his older sister. At the age of sixteen he went to Manhattan to study with Rubin Goldmark, a respected private music instructor who taught Copland the fundamentals of counterpoint and composition. During these early years he immersed himself in contemporary classical music by attending performances at the New York Symphony and Brooklyn Academy of Music. He found, however, that like many other young musicians, he was attracted to the classical history and musicians of Europe. So, at the age of twenty, he left New York for the Summer School of Music for American Students at Fountainebleau, France. In France, Copland found a musical community unlike any he had known. While in Europe, Copeland met many of the important artists of the time, including the famous composer Serge Koussevitsky. Koussevitsky requested that Copland write a piece for the Boston Symphony Orchestra. The piece, “Symphony for Organ and Orchestra” (1925) was Copland‟s entry into the life of professional American music. He followed this with “Music for the Theater” (1925) and “Piano Concerto” (1926), both of which relied heavily on the jazz idioms of the time. For Copland, jazz was the first genuinely American major musical movement. From jazz he hoped to draw the inspiration for a new type of symphonic music, one that could distinguish itself from the music of Europe. In the late 1920s Copland‟s attention turned to popular music of other countries. -
An Afternoon with Porgy and Bess Tuesday, Dec
College of Arts and Sciences College of Arts and Sciences ORIN College of Arts and Sciences GROSSMAN AN AFTERNOON WITH PORGY AND BESS TUESDAY, DEC. 8 • 5 p.m. click here to learn more about the artist Porgy and Bess was George Gershwin’s greatest labor of love and his most controversial masterpiece. When it opened on Broadway in 1935 it was attacked on all sides for its racial themes, its dark plot, the use of operatic devices such as recitative, and its length. The opera’s treatment of African American life has always stirred controversy, yet the opera contains Gershwin’s greatest music, some of which is familiar to everyone. This presentation explores the story of Porgy and Bess and the fascinating history of its life on the stage. It will include a performance of “Summertime,” “My Man’s Gone Now,” “It Ain’t Necessarily So,” and “Bess, You Is My Woman Now” in special arrangements by the great American pianist, Earl Wild. Orin Grossman has been delighting audiences the world over with his unique approach to performing and explaining great American and European music. As a performer he is in demand as an interpreter of the music of George Gershwin, playing his songs and classical compositions around the world, including Italy, Egypt, Australia, and Russia, where he performed Gershwin’s Rhapsody in Blue and gave the Russian premiere of Gershwin’s Second Rhapsody with the St. Petersburg Philharmonic to a standing ovation. Dr. Grossman graduated magna cum laude from Harvard College with a bachelor’s degree in music. -
Gershwinicity
Gershwinicity SOMMCD 0631 Songs by GEORGE GERSHWIN (1898-1937) arranged for Clarinet, Saxophone and Piano by Iain Farrington Art Deco Trio Peter Sparks clarinet a Kyle Horch alto b, soprano c saxophones Iain Farrington piano d 1 I got rhythmacd 2:02 bm It ain’t necessarily socd 2:42 2 They all laughedacd 3:57 bn Someone to watch over mead 4:52 3 The man I lovead 3:31 bo I’ve got a crush on youbd 3:45 4 Nice work if you can get itabd 3:46 bp But not for mead 2:49 5 Summertimecd 7:56 bq Gershwinicity 14:18 6 They can’t take that away from meabd 4:51 Let’s call the whole thing off – A foggy day in London town – 7 Fidgety feetd 3:20 Fascinating rhythm – 8 Love is here to staybd 5:06 Embraceable you – Lady be good abcd 9 I’ll build a stairway to Paradiseabd 4:07 bl Do it againd 3:51 Total duration: 71:00 All songs © Warner Chappell Music All First Recordings Recorded at The Menuhin Hall, Stoke d’Abernon, Surrey, on September 4-5, 2020 Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Front cover: THEPALMER / istockphoto.com Design: Andrew Giles Booklet Editor: Michael Quinn DDD Visit www.somm-recordings.com for further information © & 2021 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND · Made in EU wider degree of interpretation between performers, as a song becomes a fast-paced frenzy with one performer, or a slow, melancholic confession in orn in 1898, George Gershwin was brought up amidst the noise, energy another. -
Print/Download This Article (PDF)
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 1 Fall 2013 “Strike Up the Band”: First-Ever Critical Edition of the Works of George and Ira Gershwin Announced Mark Clague, University of Michigan Editor-In-Chief, George and Ira Gershwin Critical Edition Serving as Executive Editor of the series Music of the United States of America from 1997 to 2003, I was charged with the task of exploring the feasibility of a critical edition of George Gershwin’s Rhapsody in Blue. Among the signature works that define the soundscape of American music, theRhapsody was deserving of more scholarly attention. Nevertheless, and despite repeated efforts, a decade later the edition remained just a dream. You can imagine my astonishment then, when I received word from our dean’s office that a Todd Gershwin had phoned the University of Michigan’s School of Music, Theatre & Dance to inquire if we might be interested in facilitating a critical edition of Gershwin works. It turned out that Todd was a 1997 graduate of the University of Michigan and that his family had become interested in making certain that George and Ira’s legacy of musical imprints received a depth of schol- arly attention that matched its impact on American culture. They had been hearing repeated complaints from musicians that the performance parts in circulation, even for a masterwork such as Porgy and Bess, were in dire need of editorial attention. For example, the only edition of George Gershwin’s Cuban Overture published during his lifetime is a version for piano four hands. -
Visions&Voices: Porgy and Bess
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! Porgy and Bess USC LIBRARIES RESOURCE GUIDE Tuesday, April 29, 2014, Ahmanson Theatre, Los Angeles ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Porgy and Bess. Introduction Porgy and Bess premiered in 1935 on Broadway in New York City. The work is a collaboration among George Gershwin, DuBose Heyward and Ira Gershwin based on Heyward’s novel and play, both named Porgy. Gershwin considered Porgy and Bess an “American folk opera,” musically integrating blues and jazz into the classical opera genre. However, the work was not really accepted as an opera until the Houston Grand Opera mounted the complete score in 1976. Nine years later, the Metropolitan Opera performed it. Porgy and Bess is now internationally recognized as a profound and unique work that it is quintessentially American in expression. The performance you will be attending is the most recent Broadway production, which opened in January 2012 and closed September 23, 2012. It was nominated for ten Tony Awards, winning Best Revival of a Musical and Best Performance by an Actress in a Leading Role in a Musical (Audra McDonald). Synopsis The following synopsis comes from the musical’s official website at porgyandbessthemusical.com/story: On a quiet evening in Charleston’s Catfish Row, Clara and her husband Jake sing a lullaby (“Summertime”) to their baby. -
Gender in Gershwin's Porgy and Bess
Mona Sangesland Paper for MUHST 419A Library Research Award GENDER IN GERSHWIN’S PORGY AND BESS From its inception, public reaction to the diversity of Bess’ character from Gershwin’s Porgy and Bess has been very mixed. Many African-Americans were insulted by her portrayal as a low-life character1, which they felt would engender a negative perception of their culture, while many others sympathized with her meager circumstances.2 Bess is, consequently, a very controversial character and because of this, she is able to bring to light many issues, particularly regarding gender. As she is a less than ideal heroine, Bess’ often conflicting actions subject her to be perceived as weak and adhering to gender stereotypes. However, I would like to argue that while she is dependent upon men and trapped in an androcentric world, she is also able to defy these gender roles, creating a character that is ultimately very human in her conflicts. Through his music (particularly rhythms, text setting, and contrasting music), Gershwin was able to portray a woman who embraced and yet defied her role as a 1930s woman. I will discuss Bess’ musical roles and compare them with the arias of the women of Catfish Row, as well as examine the transformations Bess’ music undergoes in order to portray her diverse character, proving that she is both trapped by gender roles, yet unable to adhere to them at the same time. Three different versions of this story exist; DuBose Heyward’s novel Porgy, a theater adaptation called Porgy: A Play in Four Acts, by Heyward’s wife, Dorothy, and Gershwin’s opera, Porgy and Bess. -
Gershwin's Magic
GERSHWIN’S MAGIC KEY SCHEDULE A: TECHNICAL REQUIREMENTS 1. PRODUCTION NOTES Gershwin’s Magic Key is a theatrical presentation designed to introduce children to the life and music of George Gershwin. Twenty-three excerpts of Gershwin’s best-loved worKs are presented in concert as two professional actors perform a fully- staged play about the great composer’s life in combination with a featured pianist and a full, on-stage symphony orchestra. This educationally-entertaining theatrical concert production features lighting, projections, sound, scenic properties and period costumes. 2. MUSIC EXCERPT CUES 1. Overture from Catfish Row: Symphonic Suite in 13. "Rialto Ripples"(Gershwin - TyziK) Five Parts: I 14. Humoresque op. 101 no. 7 (DvoraK - TrinKaus) 2. Segment from Rhapsody in Blue 15. Second Rhapsody (New York Rhapsody) 3. "Swanee" (Gershwin - Wodehouse) 16. "Promenade" (Gershwin - BerKowitz) 4. Clarinet solo from Rhapsody in Blue 17. An American in Paris 5. Fugue subject from Catfish Row: Symphonic 18. "Summertime" & "Bess, You Is My Woman Now" Suite in Five Parts: I from Catfish Row: Symphonic Suite in Five Parts: 6. "I Got Plenty O’Nuttin" from Catfish Row: I & II Symphonic Suite in Five Parts: II 19. "Oh Lord, I’m On My Way" from Catfish Row: 7. "StriKe Up The Band" (Gershwin - MacPherson) Symphonic Suite in Five Parts: V 8. WoodblocK hit/orchestra cheer 20. Concerto in F: III 9. "TaKe Me Out to the Ball Game" (Norworth and 21. Medley from "Oh, Kay!" (Gershwin-Warner) Tilzer) 22. "Second Prelude" (Blue Lullaby) 10. "I’ll Build a Stairway to Paradise" 23. Cuban Overture 11. -
ISSUE 4 FALL 2000 CONTENTS DEFINING the WIND Defining the Wind Band Sound
A JOURNAL FOR THE CONTEMPORARY WIND BAND ISSUE 4 FALL 2000 CONTENTS DEFINING THE WIND Defining the Wind Band Sound ... page I BAND SOUND: by Donald Hunsberger Patrick Gi lmore and his contributions to the THE GILMORE ERA (1859-1892) development of the American wind band BY DONALD HUNSBERGER INSIGHTS Three Japanese Dances .. page 12 In Wine/Works Issue 2, we discussed the development and influence of the English militm)l by Bernard Rogers band journal in shaping English ensembles during the second half of the 19th centu1y. A new full score and set of pruts in an edition These English band practices were brought to America by music and instrument distributors by Timothy Topolewski and furth er highlighted by the visit of Daniel Godfrey and the Band of the Grenadier Guards CONVERSATIONS to Boston in 1872. The one person who, above others, may be credited for creating fonvard A Talk with Frederick Fennell .. page 18 movement in American band instrumentation is Patrick Gilmore, whose contributions were Conductor Fennell talks about hi s eru·ly previously listed as occurring through instrumentation expansion, balancing the number of impressions of the first performance of pe1jormers, and especially through his awakening both the A1nerican public and the musical the Three Japanese Dances in 1934 world to the vast untapped potential of the full woodwind-brass-percussion ensemble [WindWorks Issue 3]. A Talk with Mrs. Beman/ Rogers ... page 20 Elizabeth Rogers discusses Bernru·d Rogers' Th e period between the Civil War and John Philip Sousa ssuccess with his own professional approach to writing the Three Japanese Dances band in the 1890s has been somewhat of a historical "black hole" due to a lack of available resources; it is hoped that important events and developments may be fo llowed through WIND LIBRARY analysis of instrumentation/personnel changes and especially through actual scores of the Catfish Row by George Gershwin .. -
Spoleto Festival USA Announces Live Broadcast of Opera Porgy and Bess in Marion Square Monday, May 30 at 7:30Pm
SPOLETO FESTIVAL USA NEWS RELEASE Press Contacts: Jennifer Scott, Director of Marketing & Public Relations 843.720.1137 office | 702.510.4363 cell [email protected] Jessie Bagley, Marketing & Public Relations Manager 843.720.1136 office | 843.696.6012 cell [email protected] Spoleto Festival USA Announces Live Broadcast of Opera Porgy and Bess in Marion Square Monday, May 30 at 7:30pm Broadcast to be screened outdoors at West Ashley High School Tuesday, May 31 at 7:30pm Events free to attend and open to the public Presented in association with Piccolo Spoleto Festival May 4, 2016 (CHARLESTON, SOUTH CAROLINA)—Festival General Director Nigel Redden today announced a live broadcast of opera Porgy and Bess onto a jumbotron screen in Marion Square on Monday, May 30. Thanks to generous sponsorship by Wells Fargo, the simulcast will be open to the public and free to attend. The live broadcast of the performance taking place at the Charleston Gaillard Center will start at 7:30pm. The following night, Tuesday, May 31, the performance will be shown on a jumbotron screen at the West Ashley High School practice field at 7:30pm. This screening will also be free to attend. Presented in association with Piccolo Spoleto Festival and the City of Charleston Office of Cultural Affairs, these events will significantly expand the audience for the highly-anticipated production that is part of the Festival’s 40th season. Additional sponsorship for this event has been provided by the Charleston Area Convention and Visitors Bureau, BET Networks/Viacom, and LiftOne. “Last year, when I ran for mayor, I said that one of our goals should be to improve our citizens’ quality of life by making the arts more accessible to more residents in more areas of our city. -
The Dale Warland Singers Presents GLORIOUS GERSHWIN MUSIC by GEORGE GERSHWIN LYRICS by IRA GERSHWIN
The Dale Warland Singers presents GLORIOUS GERSHWIN MUSIC BY GEORGE GERSHWIN LYRICS BY IRA GERSHWIN FRIDAY, MAY 13, 1988 ORCHESTRA HALL 8:00 P.M. THE DALE WARLAND SINGERS Dale Warland, Music Director Sigrid Johnson, Assistant Conductor "jerry Rubino, Pianist and Cabaret Singers Conductor GUEST ARTISTS MOORE BY FOUR Sanford Moore, director/piano Ginger Commodore, soprano Yolande Bruce-Crim, mezzo-soprano Connie Evingson, alto Dennis Spears, baritone Soli Hughes, guitar Jay Young, bass Robert Commodore, drums Paul Oakley, piano Don Stille, synthesizer Tom Hubbard, bass Gordy Knudtson; drums Randy Winkler, production SPECIAL MUSICAL ARRANGEMENTS Steve Barnett Jerry Rubino •This evening's concert is the result of the creative collaboration of many in- dividuals. Particular recognition is extended toJerry Rubino of the DWS ar- tistic staff for his leadership in providing the program conception and musical direction to this event as well as his outstanding musical arrangements. Glorious Gershwin is sponsored by IDS Financial Services Inc. and WAYL Radio . AM 980-FM94 (Special thanks to jefferson Transporunton Group for providing hus servic-e••for (he: pre-concert gala dinner; All musical arrangements are byJerry Rubino unless otherwise noted. I. Strike Up the Band I Got Rhythm Fascinating Rhythm (Mattson) Cabaret Singers By Strauss (Gershwin) Sigrid Johnson, soprano Strike Up the Band (King) II. He Loves and She Loves Nice Work If}fJu Can Get It Soon Ruth Spiegel, soprano; David Benson, bass Looking for a Boy Melissa O'Neill, soprano The Man I Love Lynette johnson, alto Oh, Lady Be Good Tim Sawyer, tenor; Gary Kortemeier, tenor; Michael Dailey, baritone; Brad Bak, bass Somebody Loves Me (Lyrics by B.G. -
GERSHWIN by GROFÉ Symphonic Jazz Original Orchestrations & Grofé/Whiteman Orchestra Arrangements
NB: Since the cd booklet program notes are abridged, we have provided the complete notes with more detailed information below: GERSHWIN by GROFÉ Symphonic Jazz Original Orchestrations & Grofé/Whiteman Orchestra Arrangements STEVEN RICHMAN, conductor Lincoln Mayorga, piano Al Gallodoro, alto sax, clarinet, bass clarinet Harmonie Ensemble/New York Harmonia Mundi CD 907492 Program Notes During the 1920s, there existed a symbiotic relationship between George Gershwin, Paul Whiteman, and Ferde Grofé that was both fascinating and fruitful. This remarkable trio had had some association during the 1922 edition of the George White Scandals, for which Gershwin composed the score, with lyrics by Buddy DeSylva and, in the case of the hit song, “I’ll Build a Stairway to Paradise,” George’s brother Ira as well (as Arthur Francis). But their only other collaboration, and the one upon which a significant chapter of American music turned, occurred during the creation of the Rhapsody in Blue for the historic concert at Aeolian Hall in New York City on February 12, 1924, which Whiteman called “An Experiment in Modern American Music.” Each of the three made a significant contribution to the birthing of this landmark piece which epitomized, and indeed was the arguably the finest example of, the genre of music known as “symphonic jazz.” For nearly ten years, Whiteman, who had been classically trained, and formerly a violinist in the San Francisco Symphony, had contemplated the amalgamation of classical music and jazz. Beginning with the organization of his hotel bands in California in 1918, he began to experiment with this concept, which he termed “symphonic jazz.” By the fall of 1920 he had come east, and the nine-piece band that he had assembled quickly took New York by storm.