Thur Fri Sat Sun Tues

Total Page:16

File Type:pdf, Size:1020Kb

Thur Fri Sat Sun Tues Thur Fri Sat Sun Tues July 1 | 7:30 PM July 3 | 11:00 AM July 6 | 7:30 PM July 2 | 6:30 PM Family Concert: String Quintets: Beethoven 7 & The Story of Babar Mozart & Brahms Augustin Hadelich Erina Yashima, conductor Colorado Music Festival Peter Oundjian, conductor Really Inventive Stuff Orchestra Members Augustin Hadelich, violin L. Mozart, Toy Symphony; Mozart, Viola Quintet in Artist-in-Residence Poulenc, The Story of Babar, G Minor; Brahms, Viola Aaron Jay Kernis, the Little Elephant Quintet in G Major composer Kernis, Elegy (world premiere); Mendelssohn, Violin Concerto; Beethoven, Symphony No. 7 July 8 | 7:30 PM July 11 | 6:30 PM July 13 | 7:30 PM July 9 | 6:30 PM Haydn’s London Juilliard String Brahms 4 & Symphony Quartet Pianist Stewart David Danzmayr, conductor Ravel, String Quartet in Goodyear Angelo Xiang Yu, violin F Major; Dutilleux, “Ainsi la Nuit”; Dvořák, String David Danzmayr, conductor Coleridge-Taylor, Stewart Goodyear, piano Novelletten for String Quartet No. 12 Orchestra, Op.52 Montgomery, Strum; (Movements 3 and 4); Saint-Saëns, Piano Mozart, Violin Concerto Concerto No. 2; No. 3; Haydn, Symphony Brahms, Symphony No. 4 No. 104 “London” July 15 | 7:30 PM July 18 | 6:30 PM July 20 | 7:30 PM July 16 | 6:30 PM Conrad Tao St. Lawrence Olga Kern & Performs Mozart String Quartet: Prokofiev’s Ludovic Morlot, conductor Debussy, Haydn, Classical Symphony Conrad Tao, piano John Adams Mozart, Idomeneo Ludovic Morlot, conductor Haydn, Quartet Op. 20, No. Olga Kern, piano (Movements 1 and 2); © Brantley Gutierrez © Brantley Mozart, Piano 4 ; Adams, String Quartet Dvořák, Legends, Op. Concerto No. 23; No. 1 (First Quartet); 59; Prokofiev, Classical Mozart, Symphony No. 40 Debussy, String Quartet Symphony; Haydn, Piano © Chris Lee Concerto in D Major; Shostakovich, Piano Concerto No. 1 July 22 | 7:30 PM July 23 | 7:30 PM July 25 | 6:30 PM July 27 | 7:30 PM Beethoven Kaleidoscope: Muhly, Joan Tower: Beethoven Quintet Op. 131 & Jarrett, & Bolcom Made in America & & Septet Hannah Lash’s Colorado Music Festival Orchestra World Premiere Colorado Music Festival strings and percussion Orchestra Members World Premiere Peter Oundjian, conductor Christopher Taylor, piano Alisa Weilerstein, cello Beethoven, Quintet Peter Oundjian, conductor Ji Su Jung, marimba Joan Tower, composer Ji Su Jung, marimba for Piano and Winds; Zivkovic, Trio per Uno; Muhly, Beethoven, Septet Hannah Lash, composer © Bernie Mindich Tower, Fanfare for the Big Time for String Quartet and Uncommon Woman No. 5; Lash, Forestallings (world Percussion; Klatzow, Concert Tower, Made in America; premiere commission); Kevin Marimba Etudes; Bermel, Turning; Tower, Duets; Tower, Cello Puts, Concerto for Marimba; Jarrett, The Köln Concert (Part Concerto (world premiere Beethoven, String Quartet, IIC); Stevens, Rhythmic Caprice; commission) Op. 131 (orch. P. Oundjian) Bolcom, Piano Quintet No. 2 July 29 | 7:30 PM August 1 | 6:30 PM August 3 | 7:30 PM July 30 | 6:30 PM Copland’s Lincoln Danish String Hadelich Plays Portrait Quartet Beethoven’s Peter Oundjian, conductor Purcell, Chacony in G Violin Concerto Steven Banks, saxophone Minor for String Quartet; Chris Christoffersen, Dance Suite movements Peter Oundjian, conductor narrator with works by Charpentier, Augustin Hadelich, violin Copland, Fanfare for the Adams, and Blumenfeld; Artist-in-Residence Common Man; Price, String Schubert, Quartet in © Suxiao Yang Weber, Oberon Overture; Quartet No. 2 in A Minor; G Major Kodály, Dances of Galánta; © Chris Lee Glazunov, Saxophone Beethoven, Violin Concerto Concerto; Ibert, Concertino da Camera; Copland, Lincoln Portrait August 5 | 7:30 PM August 7 | 7:30 PM Beethoven’s Festival Finale: Eroica & Beethoven 5 Joel Thompson’s Peter Oundjian, World Premiere conductor Gabrieli, Canzon Peter Oundjian, conductor Dr. Eddie Glaude, narrator septimi toni à 8 Joel Thompson, composer (No. 2) arr. R.P. Block; Dvořák: Serenade Thompson, World premiere for Wind Instruments; commission; Beethoven, Beethoven, Symphony No. 5 Symphony No. 3 Presented in person as well as via livestream..
Recommended publications
  • Jazz Concert
    Band Series presents University Wind Ensemble & University Concert Band Wednesday, November 18, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents: Band Series University Wind Ensemble and University Concert Band Wednesday, November 18, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM University Concert Band Dr. Ron Gerhardstein, director Mr. Alan Young, student conductor English Folk Song Suite ............................................................................................ Ralph Vaughn Williams (1872-1958) I. March II. Intermezzo III. March With Each Sunset: Comes the Promise of a New Day ............................................................ Richard Saucedo (b. 1957) Alan Young, Student Conductor Themes from Green Bushes .................................................................. Percy Grainger (1882-1961) / Larry Daehn, arr. Urban Dances .................................................................................................................................... Erik Morales (b. 1976) Alan Young, Student Conductor Theme from Schindler’s List ...................................................................... John Williams
    [Show full text]
  • By Aaron Jay Kernis
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 “A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis Pagean Marie DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Pagean Marie, "“A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis" (2016). LSU Doctoral Dissertations. 3434. https://digitalcommons.lsu.edu/gradschool_dissertations/3434 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “A VOICE, A MESSENGER” BY AARON JAY KERNIS: A PERFORMER’S GUIDE AND HISTORICAL ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Pagean Marie DiSalvio B.M., Rowan University, 2011 M.M., Illinois State University, 2013 May 2016 For my husband, Nicholas DiSalvio ii ACKNOWLEDGEMENTS I would like to thank my committee, Dr. Joseph Skillen, Prof. Kristin Sosnowsky, and Dr. Brij Mohan, for their patience and guidance in completing this document. I would especially like to thank Dr. Brian Shaw for keeping me focused in the “present time” for the past three years. Thank you to those who gave me their time and allowed me to interview them for this project: Dr.
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • Made in America (2004) Dreamscape – Concerto for Oboe and Orchestra (2014)
    TSO 2019–20 SEASON MADE IN AMERICA (2004) DREAMSCAPE – CONCERTO JOAN TOWER (1938 - ) FOR OBOE AND ORCHESTRA (2014) rammy award-winning ALYSSA MORRIS (1984 - ) composer, pianist, and conductor, whom the New rofessor of oboe and music Yorker heralded as “one of theory at Kansas State University, Gthe most successful woman composers Alyssa Morris composed this of all time,” Joan Tower spent nine work on a commission by years of her childhood in Bolivia. Upon PWilliam and Lois Johnson. The four PROGRAM NOTES returning to the United States, she was movements represent four different struck by the freedoms, advantages, dreams: and privileges that we so often take for • Falling Asleep and Chase — This granted. America the Beautiful came to dream is a familiar one that is mind as she composed this work. Its self-explanatory. tune runs throughout this piece as it • What? — This strange dream is competes with Tower’s idea of what is By Pam Davis By Pam depicted with abnormalities mixed inside that tune. The familiar rhythm of into a “normal” waltz. long-short-short and the rising motive is • Innuendo — A love scene. varied with unfamiliar elements including • Nightmare and Awakening — an extended opposing downward Beginning with the “dreamer’s tension by nasal muted trumpets and motive” heard in the first movement, oboes. The rest of the work takes off on the dreamer struggles to awaken those fragments. The climactic agenda but falls deeper asleep as a night- of the piece grows while juxtaposed with extended soft segments. Accord- mare commences. The tension is ing to Tower, the unsettling tension that relieved when the orchestra stops is evident in Made in America uncon- and the oboe states a cadenza that sciously ended up representing the awakens the dreamer with a return struggle of keeping America beautiful.
    [Show full text]
  • Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello
    Monday Evening, December 11, 2017, at 7:30 The Juilliard School presents Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello Bell and Drum: Percussion Music From China GUO WENJING (b. 1956) Parade (2003) SAE HASHIMOTO EVAN SADDLER DAVID YOON ZHOU LONG (b. 1953) Wu Ji (2006) CHRISTOPHER STAKNYS, Piano BENJAMIN CORNOVACA LEO SIMON LEI LIANG (b. 1972) Inkscape (2014) DANIEL PARKER, Piano TYLER CUNNINGHAM JAKE DARNELL OMAR EL-ABIDIN EUIJIN JUNG Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. CHOU WEN-CHUNG (b. 1923) Echoes From the Gorge (1989) Prelude: Exploring the modes Raindrops on Bamboo Leaves Echoes From the Gorge, Resonant and Free Autumn Pond Clear Moon Shadows in the Ravine Old Tree by the Cold Spring Sonorous Stones Droplets Down the Rocks Drifting Clouds Rolling Pearls Peaks and Cascades Falling Rocks and Flying Spray JOSEPH BRICKER TAYLOR HAMPTON HARRISON HONOR JOHN MARTIN THENELL TAN DUN (b. 1957) Elegy: Snow in June (1991) ZLATOMIR FUNG, Cello OMAR EL-ABIDIN BENJAMIN CORNOVACA TOBY GRACE LEO SIMON Performance time: Approximately 1 hour and 45 minutes, including one intermission Notes on the Program Scored for six Beijing opera gongs laid flat on a table, Parade is an exhilarating work by Jay Goodwin that amazes both with its sheer difficulty to perform and with the incredible array of dif - “In studying non-Western music, one ferent sounds that can be coaxed from must consider the character and tradition what would seem to be a monochromatic of its culture as well as all the inherent selection of instruments.
    [Show full text]
  • New Music Festival 2014 1
    ILLINOIS STATE UNIVERSITY SCHOOL OF MUSIC REDNEW MUSIC NOTEFESTIVAL 2014 SUNDAY, MARCH 30TH – THURSDAY, APRIL 3RD CO-DIRECTORS YAO CHEN & CARL SCHIMMEL GUEST COMPOSER LEE HYLA GUEST ENSEMBLES ENSEMBLE DAL NIENTE CONCORDANCE ENSEMBLE RED NOTE New Music Festival 2014 1 CALENDAR OF EVENTS SUNDAY, MARCH 30TH 3 PM, CENTER FOR THE PERFORMING ARTS Illinois State University Symphony Orchestra and Chamber Orchestra Dr. Glenn Block, conductor Justin Vickers, tenor Christine Hansen, horn Kim Pereira, narrator Music by David Biedenbender, Benjamin Britten, Michael-Thomas Foumai, and Carl Schimmel $10.00 General admission, $8.00 Faculty/Staff, $6.00 Students/Seniors MONDAY, MARCH 31ST 8 PM, KEMP RECITAL HALL Ensemble Dal Niente Music by Lee Hyla (Guest Composer), Raphaël Cendo, Gerard Grisey, and Kaija Saariaho TUESDAY, APRIL 1ST 1 PM, CENTER FOR THE PERFORMING ARTS READING SESSION - Ensemble Dal Niente Reading Session for ISU Student Composers 8 PM, KEMP RECITAL HALL Premieres of participants in the RED NOTE New Music Festival Composition Workshop Music by Luciano Leite Barbosa, Jiyoun Chung, Paul Frucht, Ian Gottlieb, Pierce Gradone, Emily Koh, Kaito Nakahori, and Lorenzo Restagno WEDNESDAY, APRIL 2ND 8 PM, KEMP RECITAL HALL Concordance Ensemble Patricia Morehead, guest composer and oboe Music by Midwestern composers Amy Dunker, David Gillingham, Patricia Morehead, James Stephenson, David Vayo, and others THURSDAY, APRIL 3RD 8 PM, KEMP RECITAL HALL ISU Faculty and Students Music by John Luther Adams, Mark Applebaum, Yao Chen, Paul Crabtree, John David Earnest, and Martha Horst as well as the winning piece in the RED NOTE New Music Festival Chamber Composition Competition, Specific Gravity 2.72, by Lansing McLoskey 2 RED NOTE Composition Competition 2014 RED NOTE NEW MUSIC FESTIVAL COMPOSITION COMPETITION CATEGORY A (Chamber Ensemble) There were 355 submissions in this year’s RED NOTE New Music Festival Composition Com- petition - Category A (Chamber Ensemble).
    [Show full text]
  • Sergei Taneyev Aaron Jay Kernis Sergei Rachmaninov
    CONCERT #6 - Released JULY 29, 2021 SERGEI TANEYEV String Trio in D Major Allegro Scherzo Adagio ma non troppo Finale. Allegro molto—Più mosso Bejamin Beilman violin / Yura Lee viola / Bion Tsang cello AARON JAY KERNIS Before Sleep and Dreams Before Play Before Lullaby Lullaby Lights Before Sleep Before Sleep and Dreams Andrew Armstrong piano SERGEI RACHMANINOV Sonata for Cello and Piano in G minor, Op. 19 Lento—Allegro moderato Allegro scherzando Andante Allegro mosso Bion Tsang cello / Stewart Goodyear piano SERGEI TANEYEV chordal episodes. An open-air quality pervades, (1856–1915) offset by occasional forays into the minor. His wonted String Trio in D Major (1880) contrapuntal gifts mid-movement do not slavishly Most recent SCMS performance: Summer 2014 imitate Baroque fugal writing. Friend and erstwhile student of Tchaikovsky, Sergei Redolent of Mendelssohn’s all but patented “elfin” Taneyev earned a reputation as an especially gifted scherzos, the like-named movement occasionally pianist and a lesser one as a composer. Despite darkens into brief “night” thoughts. The second personal intellectual and stylistic differences vis à theme led by the viola provides a lovely dose of vis his mentor’s approach to musical composition, lyricism. A more forceful chordal mid-section recurs, Taneyev premiered Tchaikovsky’s second and suggesting a cross between scherzo and rondo. As third piano concertos. Keeping his compositional with the opening movement his Russian birthright is aspirations largely under wraps, Taneyev felt no clearly manifest, ideology notwithstanding. kinship with the nationalist composers known collectively as the “Mighty Five” or “Mighty Handful,” The ensuing Adagio—the emotional heart of the which may have cemented his relationship with piece—unfolds slowly, positing a sad opening theme Tchaikovsky, who was viewed with suspicion (and on a rising triad that moves to a lower repeated probably jealousy) by the uber-nationalist cabal.
    [Show full text]
  • 14) 244-3803 E-Mail: [email protected] Elizabeth Dworkin
    Music in Concert with the Landscape There are music festivals and there are music festivals. Then there is the Moab Music Festival – a mélange of musical programming set in one of the most splendid landscapes on earth. Old and new music – chamber music, vocal music, jazz, traditional music – performed by outstanding musicians in a setting of form, color, and light that creates an unmatched artistic experience… Music in Concert with the Landscape. The Festival Founded in 1992 by Michael Barrett and Leslie Tomkins, prominent musicians based in New York, the Festival gathers world-class instrumentalists and vocalists annually to celebrate vibrant music in an awe-inspiring landscape. An ever- expanding audience comes from all parts of the United States and from Europe to enjoy this unique combination of sight and sound. Composers range from Bach to Bernstein, from Ravel to Rorem, from Dvorák to Danielpour. One performance may feature a vocalist celebrating a French chanteuse; the next a chamber ensemble performing Brahms; then a jazz ensemble playing with a Latin flair; then an exploration of contemporary music by the season’s Composer-in-Residence, who will be present to discuss his or her work. For patrons, the three weekend fall festival – which in 2003 won ASCAP’s coveted award for “Adventurous Programming” in the music festival category – is a potpourri of musical offerings performed by dynamic, highly accomplished musicians. In June, the Festival offers a four day “Musical Adventure” benefit raft trip with performances held at scenic sites along the Colorado River. Many concerts take advantage of the remarkable environment and are set outdoors in unique settings – under a pavilion along the Colorado River, in a tent under towering rock monoliths, in a park sheltered by the shade of an ancient cottonwood.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • BRIDWELL-BRINER, KATHRYN EILEEN, DMA the Horn In
    BRIDWELL-BRINER, KATHRYN EILEEN, D.M.A. The Horn in America from Colonial Society to 1842: Performers, Instruments, and Repertoire. (2014) Directed by Dr. Randy Kohlenberg. 294 pp. The purpose of this study was to address an aspect of the history of the horn neglected in traditional horn scholarship—that of the horn in America from the development of colonial society (ca. 1700) to the early days of the antebellum era (ca. 1840). This choice of time period avoided the massive influx of foreign musicians and exponential growth of American musical activities after 1840, as well as that of the general population, as this information would become too unwieldy for anything but studies of individual cities, regions, or specific musical groups. This time frame also paralleled the popularity of the horn virtuoso in Europe given so much attention by horn scholars. Additionally, all information gathered through examination of sources has been compiled in tables and included in the appendices with the intention of providing a point of reference for others interested in the horn in early America. This survey includes a brief introduction, review of literature, the ways in which the horn was utilized in early America, the individuals and businesses that made or sold horns and horn-related accoutrements such as music, tutors, crooks, and mouthpieces as well as an examination of the body of repertoire gleaned from performances of hornists in early America. THE HORN IN AMERICA FROM COLONIAL SOCIETY TO 1842: PERFORMERS, INSTRUMENTS, AND REPERTOIRE by Kathryn
    [Show full text]
  • Aaron Jay Kernis.” – Forbes
    “In the 20th century there were giants in the land. Charles Ives, Duke Ellington, George Gershwin, Aaron Copland, and Leonard Bernstein. But who is filling those shoes now? Heading many lists is Aaron Jay Kernis.” – Forbes Winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever to be awarded the Pulitzer Prize, AARON JAY KERNIS is among the most esteemed musical figures of his generation. With "fearless originality [and] powerful voice" (The New York Times), each new Kernis work is eagerly awaited by audiences and musicians alike, and he is one of today's most frequently performed composers. His music, full of variety and dynamic energy, is rich in lyric beauty, poetic imagery, and brilliant instrumental color. His works figure prominently on orchestral, chamber, and recital programs world-wide and have been commissioned by many of America‘s foremost performers, including sopranos Renee Fleming and Dawn Upshaw, violinists Joshua Bell, Pamela Frank, Nadja Salerno-Sonnenberg and James Ehnes (for the BBC Proms), pianist Christopher O'Riley and guitarist Sharon Isbin, and such musical institutions as the New York Philharmonic, Philadelphia Orchestra (for the inauguration of its new home at the Kimmel Center), Walt Disney Company, Rose Center for Earth and Space at New York’s American Museum of Natural History, Ravinia Festival (for James Conlon’s inaugural season), San Francisco and Singapore Symphonies, Minnesota Orchestra, Lincoln Center Great Performers Series, American Public Radio; Los Angeles and Saint Paul Chamber Orchestras, and Aspen Music Festival and programs from Philadelphia to Amsterdam (Concertgebouw, Amsterdam Sinfonietta), Santa Barbara to France (Orchestra National De France) throughout Europe and beyond.
    [Show full text]
  • Program Notes
    with the NASHVILLESYMPHONY CLASSICAL SERIES THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER ALBAN GERHARDT, cello AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia SAMUEL BARBER This weekend's performances are made Concerto for Cello and Orchestra, Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio This concert will last 1 hour and 55 miutes, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE AARON JAY KERNIS Symphony No. 4, “Chromelodeon” • New York City-based composer Kernis has earned the Pulitzer Prize in Music and the prestigious Grawemeyer Award, as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop. • The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.” • The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors.
    [Show full text]