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Leonard Slatkin at 70: the DSO's Music Director Was Born for The
Leonard Slatkin at 70: The DSO’s music director was born for the podium By Lawrence B. Johnson Some bright young musicians know early on that they want to be a conductor. Leonard Slatkin, who turned 70 Slatkin at 70: on September 1, had a more specific vision. He believed himself born to be a music director. Greatest Hits “First off, it was pretty clear that I would go into conducting once I had the opportunity to actually lead an orchestra,” says Slatkin, music director of the Detroit Symphony Orchestra since 2008 and occupant of the same post with the Orchestre National de Lyon since 2011. “The study process suited my own ethic and, at least for me, I felt relatively comfortable with the technical part of the job.” “But perhaps more important, I knew that I would also be a music director. Mind you, this is a very different job from just getting on the podium and waving your arms. The decision making process and the ability to shape a single ensemble into a cohesive whole, including administration, somehow felt natural to me.” Slatkin arrived at the DSO with two directorships already under his belt – the Saint Louis Symphony (1979-96) and the National Symphony in Washington, D.C. (1996-2008) – and an earful of caution about the economically distressed city and the hard-pressed orchestra to which he was being lured. But it was a challenge that excited him. “Almost everyone warned me about the impending demise of the orchestra,” the conductor says. “A lot of people said that I should not take it. -
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. -
FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E
FOR IMMEDIATE RELEASE November 16, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC WORLD PREMIERE–NEW YORK PHILHARMONIC COMMISSION of Wynton MARSALIS’s The Jungle (Symphony No. 4) With the Jazz at Lincoln Center Orchestra with Wynton Marsalis First of THE NEW YORK COMMISSIONS William BOLCOM’s Trombone Concerto with Principal Trombone JOSEPH ALESSI COPLAND’s Quiet City with Principal Trumpet CHRISTOPHER MARTIN and English Horn Player GRACE SHRYOCK in Her Philharmonic Solo Debut December 28, 2016–January 3, 2017 Music Director Alan Gilbert will conduct the New York Philharmonic in the World Premiere of Pulitzer Prize winner Wynton Marsalis’s The Jungle (Symphony No. 4), commissioned by the Philharmonic as the first of The New York Commissions, with the Jazz at Lincoln Center Orchestra with Wynton Marsalis; William Bolcom’s Trombone Concerto with Principal Trombone Joseph Alessi as soloist; and Copland’s Quiet City, featuring Principal Trumpet Christopher Martin and English horn player Grace Shryock in her Philharmonic solo debut. The performances take place Wednesday, December 28, 2016, at 7:30 p.m.; Thursday, December 29 at 7:30 p.m.; Friday, December 30 at 8:00 p.m.; and Tuesday, January 3 at 7:30 p.m. Wynton Marsalis’s The Jungle is the first of The New York Commissions, in which the Philharmonic is celebrating its long history as an active commissioner and New York City cultural institution by commissioning works on New York–inspired themes from New York– based composers with strong ties to the Orchestra, on the occasion of the Philharmonic’s 175th anniversary season. -
Current Professional Affiliations Are Listed Below Each Player's Name
Peter McGuire Jessica Guideri Minnesota Orchestra Los Angeles Opera Orchestra, Gustavus Adolphus College, faculty Associate Concertmaster Eastern Music Festival, Associate Kurt Nikkanen Concertmaster New York City Ballet Orchestra, Concertmaster Jonathan Magness Minnesota Orchestra, Associate Leonid Sigal Principal Second Violin Hartford Symphony Orchestra, Bravo Music Festival, faculty Concertmaster University of Hartford, faculty Yevgenia Strenger Current professional affiliations are The Hartt School, faculty New York City Opera, Concertmaster listed below each player’s name. ( ) = previous affiliation. Eric Wyrick Na Sun New Jersey Symphony Orchestra, New York Philharmonic Concertmaster First Violins Orpheus Chamber Orchestra Alisa Wyrick Bard Music Festival New York City Opera Orchestra David Kim - Concertmaster The Philadelphia Orchestra, Elizabeth Zeltser Concertmaster New York Philharmonic Violas University of Texas at Austin, faculty Yulia Ziskel Rebecca Young - Principal Jeffrey Multer New York Philharmonic New York Philharmonic, Associate The Florida Orchestra, (New Jersey Symphony) Principal Concertmaster Host of the NY Philharmonic Very Eastern Music Festival, Young People's Concerts Concertmaster Second Violins Robert Rinehart Emanuelle Boisvert Marc Ginsberg - Principal New York Philharmonic Dallas Symphony Orchestra, New York Philharmonic, Principal Ridge String Quartet Associate Concertmaster Second Violin The Curtis Institute, faculty (Detroit Symphony Orchestra, Concertmaster) Kimberly Fisher – Co-Principal Danielle -
Solzh 19-20 Short
IGNAT SOLZHENITSYN 2019-20 SHORT BIO {206 WORDS} IGNAT SOLZHENITSYN Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. CURRENT AS OF: 18 NOVEMBER 2019 PLEASE DESTROY ANY PREVIOUS BIOGRAPHICAL MATERIALS. PLEASE MAKE NO CHANGES, EDITS, OR CUTS OF ANY KIND WITHOUT SPECIFIC PERMISSION.. -
ABC Program Link
AmericanSam Houston State University’s Band CollegeSummer 2017 Ashland, Oregon Joseph Alessi, Trombone Soloist with the London He was featured in the 1997 International Symphony Trombone Festival in Feldkirch, Austria, Orchestra in and the International Meeting of Brass Carnegie Hall led Instruments in Lille, France. He is a by Pierre Boulez. founding member of the Summit Brass ensemble at the Rafael Mendez Brass Mr. Alessi has been a Institute in Tempe, Arizona. In 2002 guest soloist with the Mr. Alessi was awarded an International Lincoln Symphony, Trombone Association Award for his National Repertory contributions to the world of trombone Orchestra, music and trombone playing. Colorado Symphony Orchestra, Mr. Alessi is currently on the faculty of Syracuse Symphony Orchestra, Virginia The Juilliard School; his students now Joseph Alessi was appointed Principal Symphony, Alabama Symphony Orchestra, occupy posts with many major symphony Trombone of the New York Philharmonic Santa Barbara Symphony, South Dakota orchestras in the U.S. and internationally. in the spring of 1985. He began musical Symphony, New Japan Philharmonic, As a clinician for the Edwards Instrument studies in his native California with his Seoul Philharmonic, Orchestra of Teatro Co., he has also given master classes father, Joseph Alessi, Sr. While a high Massimo Bellini in Catania, Sicily, throughout the world and has toured school student in San Rafael, California, Mannheim National Theater Orchestra, Europe extensively as a master teacher and he was a soloist with the San Francisco National Symphony of Taiwan, Puerto recitalist. He has performed as soloist with Symphony before continuing his musi- Rico Symphony, Hague Philharmonic, several leading concert bands, including cal training at Philadelphia’s Curtis Helsinki Philharmonic, and the Hartford the U.S. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN 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 Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
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. -
Late Fall 2020 Classics & Jazz
Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
A List of Recommended Recordings (Weeks 1 Through 4)
A List of Recommended Recordings (Weeks 1 Through 4) Week One: France François-Joseph Gossec Selected Symphonies Matthias Bamert conducts the London Mozart Players, on Chandos Hector Berlioz Symphonie fantastique Michael Tilson Thomas conducts the San Francisco Symphony, on RCA Victor Charles Munch conducts the Boston Symphony Orchestra, on RCA Victor Harold in Italy Charles Munch conducts the Boston Symphony Orchestra, on RCA Victor Symphonie Funèbre et Triomphale Colin Davis conducts the London Symphony, on Philips Romeo et Juliette Carlo Maria Giulini conducts the Chicago Symphony, on DGG Camille Saint-Saëns Symphony No. 3 in C Minor, Op. 78 (Organ) Christoph Eschenbach conducts the Philadelphia Orchestra, on Ondine Edo De Waart conducts the San Francisco Symphony, on Philips César Franck Symphony in D Minor Pierre Monteux conducts the Chicago Symphony, on RCA Victor Vincent d’Indy Symphony on a French Mountain Air Charles Munch conducts the Boston Symphony, on RCA Victor Symphony No. 2, Op. 57 Pierre Monteux conducts the San Francisco Symphony, on Sony Classical (Pierre Monteux Edition, available from ArkivMusic.com as a low-cost reprint CD.) Ernest Chausson Symphony in B-flat Major, Op. 20 Pierre Monteux conducts the San Francisco Symphony, on Sony Classical (Pierre Monteux Edition, available from ArkivMusic.com as a low-cost reprint CD.) Olivier Messiaen Turangalîla Symphony Riccardo Chailly conducts the Concertgebouw Orchestra, on Decca Week Two: Bohemia The Symphonies of Antonin Dvořák Istvan Kertesz conducts the London Symphony Orchestra, on Decca Witold Rowicki conducts the London Symphony Orchestra, on Decca Individual Symphonies: Symphony No. 7 in D Minor Iván Fischer conducts the Budapest Festival Orchestra, on Channel Classics Symphony No. -
San Francisco Symphony Michael Tilson Thomas, Music Director
CAL PERFORMANCES PRESENTS PROGRAM Tuesday, May 1, 2012, 8pm Zellerbach Hall San Francisco Symphony Michael Tilson Thomas, music director Jane Glover, conductor Bach Brandenburg Concerto No. 6 in B-flat major, bwv 1051 [Allegro] PROGRAM Adagio ma non tanto Allegro Jonathan Vinocour viola I Yun Jie Liu viola II George Frideric Handel (1685–1759) Water Music Suite No. 3 in G major, Barbara Bogatin viola da gamba I hwv 350 (1717) Marie Dalby Szuts viola da gamba II [Sarabande] or [Menuet] Rigaudons I and II Menuets I and II [Bourrées I and II] Handel Music for the Royal Fireworks, hwv 351 (1749) Overture Bourrée La Paix Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G major, La Réjouissance bwv 1048 Menuet I [Allegro] Menuet II Adagio Allegro Bach Brandenburg Concerto No. 2 in F major, bwv 1047 [Allegro] Andante Allegro assai Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Nadya Tichman violin Robin McKee flute Jonathan Fischer oboe John Thiessen trumpet INTERMISSION 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES George Frideric Handel (1685–1759) Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 “for three presumably means a recorder when he just says Water Music Suite No. 3 in G major, hwv 350 Brandenburg Concerto No. 3 in G major, violins, three violas and three violoncelli, with flauto; however, as in most modern-instrument (1717) bwv 1048 bass for the harpsichord” (all the instrumenta- performances in large halls, the part will here be Brandenburg Concerto No. 2 in F major, tions are transcribed from Bach’s autograph) has translated to regular flute).