Celestial Harmonies: the Poetry of Science Only a Very Nominal Cost

Total Page:16

File Type:pdf, Size:1020Kb

Celestial Harmonies: the Poetry of Science Only a Very Nominal Cost WE NEED YOUR SUPPORT! Would you like to sponsor one of these concerts? Support a performer’s appearance? Lend a hand at our entry tables? These are just a few of the many ways you can help bring Copland House’s American musical adventures to this majestic estate. As one of the very few ongoing series in the U.S. to showcase our nation’s rich musical heritage, we Saturday, May 4, 2013 at 8 PM are re-imagining the concert experience. We bring America’s leading composers here to Westchester, and preview tomorrow’s classics in dynamic, up-close performances – all for Celestial Harmonies: The Poetry of Science only a very nominal cost. Please help us continue to make these world-class activities as accessible as possible by making a tax-deductible gift to Copland House, P.O. Box 2177, MUSIC FROM COPLAND HOUSE Peekskill, NY 10566. Jorell Williams, baritone; Harumi Rhodes, violinist; Next Concerts: Alexis Pia Gerlach, cellist; Michael Boriskin, pianist Sunday, May 12 at 3 PM Mercury, ANTHONY NEWMAN SONGS MY MOTHER TAUGHT ME from Sonata No. 2 “Based on the Planets” (2006) (b. 1941) Lyndhurst, 635 South Broadway, Tarrytown, NY Join us in the historic Lyndhurst mansion’s 1838 Blue Parlor for the 30th Annual Weiss Memo- Northern Lights (2009) ROGER ZARE rial Concert: a scintillating afternoon of old and new Americana by Copland, Ives, Bernstein, Gershwin, Sousa, Bolcom, Burleigh, and others celebrating moms – and home, family, kids … (b. 1985) and even dads! Featuring baritone James Martin and pianist Michael Boriskin. Tickets: $25 adults, $14 children (16 and under) Closing Scene, from Man on the Moon (2006) JONATHAN DOVE Purchase tickets at: http://www.showclix.com/event/weiss or call (914) 631-4481 (b. 1959) Advance ticket purchase strongly encouraged Sponsored by Lyndhurst and generously underwritten by the Weiss Memorial Fund Liberating Chemistry from BRUCE SAYLOR Sunday, June 2 at 3 PM the Tyranny of Functional Groups (2001) (b. 1946) “I HEAR AMERICA SINGING”: THE WORLD OF WALT WHITMAN Copland House at Merestead, 455 Byram Lake Road, Mt. Kisco, NY … A Circle around the Sun … (2000) AUGUSTA READ THOMAS Featuring From Noon to Starry Night by Russell Platt (CH Resident ‘06), plus works by Leonard (b. 1964) Bernstein, Ned Rorem, and Tom Cipullo (CH Resident ‘06) on Whitman texts. Tickets: $25, $20 (Friends of Copland House), $10 (students with ID) Includes audience Q&A and meet-the artists reception from Old American Songs (1950, 1952) AARON COPLAND Advance ticket purchase strongly encouraged Simple Gifts (1900-1990) For more info, contact 914.788.4659 or [email protected] Zion’s Walls The Dodger Sunday, June 9 at 3 PM Bought Me a Cat CULTIVATE 2013 Ching-A-Ring-Chaw Copland House at Merestead, 455 Byram Lake Road, Mt. Kisco, NY Hear tomorrow’s masters today! After a triumphant inaugural last summer, Copland House’s At the River new CULTIVATE emerging composers’ institute returns with the World Premieres of six brand new works written especially for this program by our 2013 Fellows: Tyler Capp, Louis Chiap- Additional support for this program provided by The Alice M. Ditson Fund of petta, Takuma Itoh, William Dougherty, Loren Loiacono, and Nathan Shields (CH Resident ’11). Columbia University and The Peckham Family Foundation Tickets: $15, FREE for Friends of Copland House and students with ID Includes audience Q&A and meet-the artists reception. Audience seating generously provided by O. Anthony Maddalena Advance ticket purchase/reservations strongly encouraged. For more info, contact 914.788.4659 or [email protected] Presented in collaboration with the Clay Center, Brookline, MA SUBSCRIBE TO OUR 2013-14 SEASON ! Yamaha Piano generously provided by Faust Harrison Pianos, White Plains, NY For more info, contact 914.788.4659 or [email protected]. www.faustharrisonpianos.com, 914-288-4000 Special thanks to the dedicated Merestead team of the Westchester County Department of Parks, Recreation, and Conservation: Tom Comito, Rick Woodward, Recording Engineer: Joseph Patrych, Patrych Sound Studios Edison Duma, and Conservation Director John Baker Merestead performances are broadcast by WWFM and webcast by wwfm.org ABOUT THE COMPOSERS: and the Eastman School of Music’s National Council, and is a Board member of the The brilliant, pioneering harpsichordist and organist ANTHONY NEWMAN is also a prolific American Society for the Royal Academy of Music and the American Music Center. composer whose works have been heard in Paris, Vienna, Budapest, Krakow, Warsaw, AARON COPLAND was one of the most profoundly influential, beloved, and honored London, New York, and across America. He has written four symphonies, four concerti, musical figures in American history. He received three of America’s highest civilian three substantial choral works, two operas, and many piano, chamber, organ, and guitar awards (the Presidential Medal of Freedom, Congressional Gold Medal, and National compositions. A Los Angeles native, he studied with two French legends, pianist Alfred Medal of Arts), a Pulitzer Prize, one of the first Kennedy Center Honors, Academy Cortot and organist Pierre Cochereau, and was a Mannes College of Music, Harvard, and Award for Best Original Musical Score (1950, for The Heiress), and numerous other Boston University graduate. He was a longtime Professor of Music at SUNY-Purchase. awards, foreign decorations, and honorary doctorates. In addition to iconic works like ROGER ZARE often finds creative inspiration in the sciences. His works have been Appalachian Spring, Rodeo, Billy the Kid, Fanfare for the Common Man, and Lincoln performed by the American Composers Orchestra, Minnesota and Sarasota Orchestras, Portrait, and modern classics like the Short Symphony and Third Symphony, Piano Omaha Chamber Symphony, Aspen Festival Contemporary Ensemble, and New York Variations, Piano Fantasy, Dickinson Songs, and Clarinet Concerto, his wide-ranging Youth Symphony. A graduate of the University of Michigan, Peabody Conservatory, and catalogue includes chamber, piano, vocal, operatic, choral, and film music. He was also University of Southern California, he has received ASCAP’s Nissim Prize and Morton an active and accomplished pianist and conductor, author, lecturer, mentor, peerless Gould Award, three BMI Student Composer Awards, the 2008 American Composers champion of American composers and their work, and founder or pivotal early supporter Orchestra Underwood Commission, and a 2010 Charles Ives Scholarship from the of Tanglewood’s Berkshire Music Center, American Music Center, American Composers American Academy of Arts and Letters. In 2012, he was the ASCAP Foundation Fellow at Alliance, Yaddo, MacDowell Colony, and League of Composers. Copland House’s inaugural CULTIVATE emerging composers institute, and was composer- in-residence at Maine’s Salt Bay Chamberfest. ABOUT THE PERFORMERS: Pianist and Copland House Artistic and Executive DirectorMICHAEL BORISKIN has London-born JONATHAN DOVE was playing the organ in his local parish church by age 12. performed in over 30 countries, at Lincoln Center, the Kennedy Center, Carnegie Hall, After studying at Cambridge, he worked on the music staff at Glyndebourne, and served BBC, London’s Wigmore Hall, Berlin and South West German Radios, Theatre des as Music Advisor to London’s Almeida Theatre, for which he wrote music for many plays. Champs-Elysees in Paris, Teatro Colon in Buenos Aires, and Vienna‘s Arnold Schoenberg He has also composed works for the Royal Shakespeare Company, New York Shakespeare Center, and with leading international orchestras and chamber ensembles. He has Festival and London’s National Theatre. He has written a half-dozen operas for Italy’s recorded widely on BMG/Conifer, Harmonia Mundi, New World, Albany, Bridge, and Musica nel Chiostro, BBC-TV, and Opera OT in The Netherlands, as well as another half- SONY Classical. dozen stage works inspired by community involvement for Glyndebourne and the London Borough of Hackney. His award-winning cantata On Spital Fields (2005) was composed for Cellist ALEXIS PIA GERLACH has performed throughout the world as a soloist and the Spitalfields Festival, of which he was Artistic Director from 2001 to 2006. chamber musician with conductors Mstislav Rostropovich, James DePreist, and Peter Oundjian, the Orchestra of St. Luke’s, Charleston and Fort Worth Symphony Orchestras, BRUCE SAYLOR’s catalogue of commissioned works includes four operas, and he has and Chamber Music Society of Lincoln Center, and at the Marlboro, Caramoor, and composed many large-scale choral, symphonic, instrumental, and chamber works. He Aspen Festivals. As a member of the Trio Solisti, she performs on major concert series has also provided scores for theatrical productions and dance, and special music for around the U. S., and is heard on the ensemble’s four CDs. As a founding member of important national occasions and religious events, including President Clinton’s Second Concertante, she appears throughout the country, and commissioned and premiered Inaugural and Papal visits of John Paul II and Benedict XVI. His work with American soprano Jessye Norman includes original music and arrangements for two best-selling Arcana by Pulitzer Prize-winner Kevin Puts. holiday CDs and her Sacred Ellington concert. A longtime faculty member of the Copland In addition to her career as a founding member of the Naumburg Award-winning Trio School of Music at Queens College (CUNY), he has received the Ives Scholarship and the Cavatina, violinist HARUMI RHODES is an Artist Member of the Boston Chamber Music Music Award from the American Academy of Arts and Letters, the National Composition Society. During her residency with Lincoln Center’s Chamber Music Society Two, she Prize from the National Society of Arts and Letters, and awards from the Guggenheim and appeared at the Marlboro, Mainly Mozart, Bard, Bridgehampton, Caramoor, and Japan’s Mellon Foundations. Saito Kinen Festival. She is on Juilliard’s Assistant Violin Faculty, and is Professor of Violin A native New Yorker, AUGUSTA READ THOMAS is among America’s most frequently at Syracuse University.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
    [Show full text]
  • Jean-Guihen Queyras Violoncello
    JEAN-GUIHEN QUEYRAS VIOLONCELLO Biography Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean- Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership. This philosophy, alongside a flawless technique and a clear, engaging tone, also shapes Jean-Guihen Queyras’ approach to every performance and his absolute commitment to the music itself. His approaches to early music – as in his collaborations with the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell, Johannes-Maria Staud, Thomas Larcher and Tristan Murail. Conducted by the composer, he recorded Peter Eötvös’ Cello Concerto to mark his 70th birthday in November 2014. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean programme. The versatility in his music-making has led to many concert halls, festivals and orchestras inviting Jean-Guihen to be Artist in Residence, including the Concertgebouw Amsterdam and the Festival d’Aix-en-Provence, Vredenburg Utrecht, De Bijloke Ghent and the Orchestre Philharmonique de Strasbourg.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Highlighted = Needs to Be Written/Included
    Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.
    [Show full text]
  • 20 Lc 39 2635 Hr 1444
    20 LC 39 2635 House Resolution 1444 By: Representative Howard of the 124th A RESOLUTION 1 Honoring the life and memory of Ms. Jessye Norman and dedicating an interchange in her 2 memory; and for other purposes. 3 WHEREAS, Ms. Jessye Norman was born on September 15, 1945, in Augusta, Georgia, the 4 beloved daughter of Janie King Norman and Silas Norman; and 5 WHEREAS, after graduating from Lucy C. Laney High School, Ms. Norman earned a 6 bachelor's degree from Howard University and a master's degree from the University of 7 Michigan; and 8 WHEREAS, a renowned opera singer, Ms. Norman performed Deborah, L'Africaine, and Le 9 Nozze di Figaro for the Deutsche Oper Berlin opera company; and 10 WHEREAS, in 1982, she performed Oedipus Rex and Dido and Aeneas with the Opera 11 Company of Philadelphia; and 12 WHEREAS, other notable performances include the 100th anniversary season with the 13 Metropolitan Opera and appearances with the Vienna Philharmonic Orchestra and Lyric 14 Opera of Chicago; and 15 WHEREAS, in 2002, she established the Jessye Norman School of Arts, a tuition-free after 16 school arts program in Augusta; and 17 WHEREAS, her remarkable talents have been recognized with five Grammy Awards, 18 including a Lifetime Achievement Award; and 19 WHEREAS, it is abundantly fitting and proper that this remarkable and distinguished 20 Georgian be recognized appropriately by dedicating an interchange in her memory. H. R. 1444 - 1 - 20 LC 39 2635 21 NOW, THEREFORE, BE IT RESOLVED AND ENACTED BY THE GENERAL 22 ASSEMBLY OF GEORGIA that the interchange between Interstate 20 and Washington 23 Road in Richmond County is dedicated as the Jessye Norman Memorial Interchange.
    [Show full text]
  • Locklair US 2/7/07 10:08 Page 12
    559337 bk Locklair US 2/7/07 10:08 Page 12 Also available: AMERICAN CLASSICS Dan LOCKLAIR Symphony of Seasons Lairs of Soundings Phoenix and Again In Memory – H.H.L. 8.559257 Harp Concerto Janeanne Houston, Soprano Jacquelyn Bartlett, Harp Slovak Radio 8.559295 Symphony Orchestra Kirk Trevor 8.559337 12 559337 bk Locklair US 2/7/07 10:08 Page 2 Dan Kirk Trevor LOCKLAIR (b. 1949) Kirk Trevor, internationally known conductor and teacher, is a regular guest conductor in the world’s concert halls. Music Director of the Knoxville Symphony Symphony of Seasons (Symphony No. 1) (2002) 31:06 Orchestra from 1985 until 2003, the Indianapolis Chamber Orchestra since 1988, and the Missouri Symphony since 2000, he has forged a strong musical partnership 1 1. Autumn 6:49 with three of America’s leading regional orchestras. Born and educated in England, 2 2. Winter 11:13 he trained at London’s Guildhall School of Music where he graduated cum laude in 3 3. Spring 5:28 cello performance and conducting. He was a conducting student of the late Sir 4 Adrian Boult and Vilém Tausky´. He went on to pursue cello studies in France with 4. Summer 7:36 Paul Tortelier under a British Council Scholarship and moved to the United States Lairs of Soundings (A Triptych for Soprano and String Orchestra) (1982)* 10:58 on a Fulbright Exchange Grant. It was there that his conducting skills led him in 1982 to the Exxon Arts Endowment Conductor position with the Dallas Symphony. 5 I. Invocation 3:05 In 1990 he was recognized as one of America’s outstanding young conductors, 6 II.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Thomas, Augusta Read Dancing Helix Rituals
    Dancing Helix Rituals (2006) Augusta Read Thomas “Somewhat of a cross between ‘Jazz’ (Monk, Coltrain, Tatum, Miles, etc.) and ‘Classical’ (Bartok, Stravinsky, Varèse, Berio, Boulez, etc.), Dancing Helix Rituals can be heard as a lively dance made up of a series of outGrowths and variations which are orGanic and, at every level, concerned with transformations and connections. Each player serves as a protagonist as well as a fulcrum point on and around which all others’ musical force fields rotate, bloom, and proliferate. There is refined loGic to every nuance which stems from the sound, in context, on its own terms and the form is that of an eiGht-minute crescendo. AlthouGh Dancing Helix Rituals stands fully on its own as art music, it can be performed along with dancers. The early Stravinsky ballets are works I hold in Great reverence, have studied, love, and embrace as models in my inner ear. As a result, I tend to hear and feel all of my music, in particular my orchestral works, as music suitable for dance. As I compose, I sinG, dance, move, and conduct at my draftinG table. The process is visceral. My ears and mind are both analytical as well as intuitive and I ‘feel’ and ‘hear’ every note and rhythm and color clearly. (I hope you can sense that precision.) This is music composed with the whole ear and whole body, not a cerebral, overly analytical exercise in pushinG twelve-tone rows–or spectra–or rearranGed quotes of borrowed ethnic phrases around a computer screen, for instance! The sounds are varied, colorful, crosscut, unexpected, and yet hopefully sound inevitable in the way that a jazz improvisation sounds spontaneous and unpreventable.
    [Show full text]
  • Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum
    Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works.
    [Show full text]
  • Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
    “Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition.
    [Show full text]
  • The Universi ~
    The Universi ~ Presents THE CLEVELAND ORCHESTRA PIERRE BOULEZ, Conductor WEDNESDAY EVENING, DECEMBER 8, 1971 , AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "J eux" (Games) DEBUSSY "The Miraculous Mandarin" (Complete Music of the Ballet-Pantomime) INTERMISSION Symphony No.3 in E-flat major, Op. 97 ("Rhenish") SCHUMANN Lebhaft Scherzo : seh r massig Nicht schnell Feierlich Lebhaft Columbia, Epic, and Angel R eco rds The Cleveland Orchestra has appeared here on twenty-three previous occasions since 1935 . Fourth Concert Ninety-third Annual Choral Union Series Complete Programs 3753 PROGRAM OTES "Jeux" (Games ) C LAUDE DEBUSSY Debussy composed felix in 1912, on an idea and scenario by the dancer Vaslav Nijinsky. It was produced on May 15, 1913, at the TIt/3d.tre des Champs Elysees, Paris, by the Ballets Russes of Sergei Diaghilev. The choreography was by Nijinsky, who also danced the role of the Young Man. f elix is Debussy's most "modern" composition, the most advanced in method and style , the most prophetic of such future d ~ vcJopm e nt s as the pointillism of Webern and the search for new sonorities by electronic means. The characteristic whole-tone scale of Debussy is here employed toward almost atonal ends. The gigantic orchestral apparatus is used with the utmost eco nomy as well as imagina­ tive subtlety. It is interesting to lea rn that the conductor of the present performances, Pierre Boulez, studied f eliX with special care when he was a student of Oliver Messiaen. For the sake of historical correctness, one must give the "argument" that was published at the time of the premiere, the synopsis of the action as conceived by Nijinsky and transformed into sound by Debussy.
    [Show full text]