Boston Symphony Orchestra Concert Programs, Season 108, 1988
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The World´s Only Manufacturer of the Celesta CELESTA ACTION The sound plate is placed above a wooden resonator By pressing the key the felt hammer is set in moti on The felt hammer strikes the sound plate from above CELESTA MODELS: 3 ½ octave (f1-c5) 4 octave (c1-c5) 5 octave (c-c5) 5 ½ octave Compact model (c-f5) 5 ½ octave Studio model (c-f5) (Cabinet available in natural or black oak - other colors on request) OTHER PRODUCTS: Built-in Celesta/Glockenspiel for Pipe Organs Keyboard Glockenspiel „Papageno“ (c2-g5) NEW: The Bellesta: Concert Glockenspiel 5½ octave Compact model, natural oak with wooden resonators (c2-e5) SERVICES: worldwide delivery, rental, maintenance, repair and overhaul Schiedmayer Celesta GmbH Phone Tel. +49 (0)7024 / 5019840 Schäferhauser Str. 10/2 [email protected] 73240 Wendlingen/Germany www.celesta-schiedmayer.de President's Welcome Dear Friends and Colleagues, Welcome to New York City! My fellow officers, directors, and I would like to welcome you to the 2019 Conductors Guild National Conference. Any event in New York City is bound to be an exciting experience, and this year’s conference promises to be one you won’t forget. We began our conference with visits to the Metropolitan Opera for a rehearsal and backstage tour, and then we were off to the Juilliard School to see some of their outstanding manuscripts and rare music collection! Our session presenters will share helpful information, insightful and inspiring thoughts, and memories of one of the 20th Century’s greatest composers and conductors, Pierre Boulez. And, what would a New York event be without a little Broadway, and Ballet? An event such as this requires dedication and work from a committed planning committee. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Boston Symphony Orchestra Concert Programs, Season 102, 1982-1983
SYMPHONY O:ORCHESTRA rRA/ For BestAudience. c &&*o c^** fl^ ; ^ Yt- ,0 ifl> G> ft. \\ \ s - THE^FIRST NAME IN COGNAC SINCE 1724 DISTRICTS Of T H E COGNAC R t G I M EXCLUSIVELY f I Hi CHAMPAGNE COGNAC f ROM THE TWO BEST Sole U.S.A. Distributor Foreign Vintages, Inc. N.Y., N.Y. 80 Pmof. Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chatiman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Irving W Rabb J. P. Barger Mrs. John H. Fitzpatrick Mrs. George R. Rowland Mrs. John M. Bradley Mrs. John L. Grandin Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Thomas D. Perry, Jr. Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon Richard P. Chapman Edward G. Murray John L. Thorndike John T Noonan Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager Caroline Smedvig Walter D. Hill B.J. Krintzman Director of Director of Director of Promotion Business Affairs Planning Judith Gordon Theodore A. -
The Conductor-Training for Virtuosity
onductor- Training for Vi uosity An Investigation into Conducting Technique and Pedagogy. Submitted as partial fulfilment of Bachelor of Music with Honours. Tasmanian Conservatorlum of Music, University of Tasmania. Celeste Quinn Contents Page i Abstract Page ii Preface Page 1 Introduction Page 3 Section 1 1.i The role of the professional conductor Page 5 1.2 The Pursuit of Virtuosity Page 7 Section Conducting Skills 2 2. i Aural skill and Inner hearing Page 9 2.2 Score Reading 2.3 Evaluation of Sound Page '10 2.4 Knowledge of Forces Page 12 2.5 Communication Page 14 2.6 Physical Gesture Page 16 2.7 Baton Technique Page 17 2.8 Independence of Arms Page 19 Section 3 3.1 Interconnection of Skill Page 20 3.2 Rehearsal Technique 3.3 Practical Ex perience Page 23 Section 4 Research Technique Page 28 Section 5 5.1 The State of the Profession Page 33 5.2 Training for the Profession Page 35 5.3 Current State of Training for the Profession Page 43 Section 6 The Liszt Academy: A Model for Training Page 50 Conclusion Page 52 Bibliography Page 58 Acknowledgements Page 59 Appendix i ABSTRACT This paper seeks to determine the extent to which one can be prepared for the conducting profession and ex amines the pursuit of virtuosic conducting. The paper identifies and ex amines a range of skills essential to the art of conducting, the interconnection of these skills and discusses the role of practical ex perience in terms of skill development. The paper looks at these aspects in light of demands associated with the conducting profession and investigates aspects of current training for the profession. -
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572373bk MartinuCon2:570034bk Hasse 23/8/10 8:38 PM Page 4 Arthur Fagen A former assistant of Christoph von Dohnányi (Frankfurt Opera) and James Levine (Metropolitan Opera), Arthur Fagen is a regular guest at the most prestigious opera MARTINU˚ houses, concert halls, and music festivals at home and abroad. Born in New York, he studied with Laszlo Halasz, Max Rudolf (Curtis Institute) and Hans Swarowsky. His career has been marked by a string of notable appearances including the Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Munich State Opera, Deutsche Oper Piano Concertos Berlin, New York City Opera, and orchestras including the Baltimore Symphony Orchestra, the Czech Philharmonic, Munich Radio Orchestra, Tokyo Philharmonic, Nos. 1, 2 and 4 Orchestre de la Suisse Romande, Deutsche Kammerphilharmonie, and RAI Orchestras of Turin, Naples, Milan and Rome, among others. From 1998 to 2001 he was invited regularly as Guest Conductor at the Vienna State Opera. He has served as Principal Giorgio Koukl, Piano Conductor in Kassel and Brunswick, as Chief Conductor of the Flanders Opera of Antwerp and Ghent, as Music Director of the Queens Symphony Orchestra and a Bohuslav Martinu˚ Philharmonic Orchestra, Zlín member of the conducting staff of the Chicago Lyric Opera. From 2002 to 2007 he was Music Director of the Dortmund Philharmonic Orchestra and Opera, and in 2008 Arthur Fagen he was appointed Professor at the Indiana University in Bloomington. Arthur Fagen has recorded for Naxos and BMG. Bohuslav Martinu˚ Philharmonic Orchestra The home of the Bohuslav Martinu˚ Philharmonic Orchestra is Zlín, a town in the east of the Czech Republic. -
THE ART of CARLOS KLEIBER Carolyn Watson Thesis Submitted In
GESTURE AS COMMUNICATION: THE ART OF CARLOS KLEIBER Carolyn Watson Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Sydney May 2012 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Carolyn Watson Date: ii Abstract This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players. Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study. The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. -
GEORGE SZELL the FORGOTTEN RECORDINGS
GEORGE SZELL and the CLEVELAND ORCHESTRA THE FORGOTTEN RECORDINGS ARIADNE 5011-2 JS Bach (1685-1750) · Brahms (1833-97) · Mozart (1756-91) Schumann (1810-56) · Smetana (1824-84) R Strauss (1864-1949) · Stravinsky (1882-1971) The Cleveland Orchestra, George Szellconductor GEORGE CD 1 1- 5 JS Bach Orchestral Suite No.3 in D major, BWV 1068a 19:33 SZELL 6 Smetana The Moldau (Vltava) from Má vlasta 11:37 7 R Strauss Till Eulenspiegel’s Merry Pranksa 13:49 and the 8- bm Mozart Symphony No.39 in E flat, K543b 24:42 Total duration: 69:44 CLEVELAND Recorded in the Masonic Auditorium, Cleveland, Ohio on: aDecember 24, 1954 (mono); bOctober 19-21, 1955 (stereo) ORCHESTRA CD 2 1 Brahms Academic Festival Overture, Op.80 10:25 2- bm Brahms Variations on a Theme by Haydn, Op.56a* 17:31 bn- bq Schumann Symphony No.4 in D minor, Op.120 25:37 br- cn Stravinsky The Firebird Suite (1919 Version) 19:36 The Total duration: 73:13 From stereo recordings in the Masonic Auditorium, Cleveland, Ohio, October 19-21, 1955 FORGOTTEN All FIRST RELEASES on CD except * Producing and Audio Restoration: Lani Spahr RECORDINGS Ariadne Front cover: George Szell Design: Andrew Giles Booklet Editor: Michael Quinn Includes Seven First Releases AAD Visit www.somm-recordings.com for further information Ariadne © & 2021 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND · Made in EU The Cleveland Orchestra, George Szellconductor 4 Variation II: Più vivace 0:59 THE FORGOTTEN RECORDINGS 5 Variation III: Con moto 1:44 6 Variation IV: Andante con moto 2:04 7 JS Bach: Orchestral Suite -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Christopher Deane [email protected] EDUCATION
Christopher Deane [email protected] EDUCATION: 1976 High School Diploma, N. C. School of the Arts 1980 B.M., N.C. School of the Arts 1989 M.M. University of Cincinnati College Conservatory of Music CURRENT POSITION: August 2000 – Present Associate Professor of Percussion University of North Texas College of Music Director – UNT Keyboard Percussion Symposium 2014 - 2016 Principal Percussionist – Las Colinas Symphony Orch. Principal Timpanist – East Texas Symphony Orchestra Judge – Great Plains Marimba Competition 2016 WORK EXPERIENCE: Teaching: Aug 1999 – May 2000 Lecturer in Percussion – N.C. State University Aug 1997 – May 1999 Lecturer in Percussion – East Carolina University Aug 1990 – May 1997 Percussion Instructor – Campbell University July 1997 Cannon Music Camp (Faculty Percussion Instructor) 1990 - 1996 Meredith College 1988 - 1989 University of Cincinnati – Teaching assistantship 1986 - 1987 Catawba College 1985 - 1986 Winthrop College 1982 - 1989 Bowdoin College, Bowdoin Summer Music Festival, Faculty Percussionist 1982 – 1985 N.C. Artist in Residence Program, North Carolina Arts Council Orchestral: 2014 – Present Principal Timpanist, East Texas Symphony Orchestra 2011 – Present Principal Percussionist, Las Colinas Symphony Orchestra 2007 - 2011 Founding Member, Pulsus Percussion Group 1989 - 2003 Founding member, Philidor Percussion Group, January May 1991 – July 2000 Principal Timpanist – Greensboro Symphony Orchestra Aug. 1989 – July 2000 First Call Percussionist and Substitute Timpanist - North Carolina Symphony -
PROGRAM NOTES June 6 2021 Final
Classical Series Sunday, June 6, 2021 at 5:00 p.m. Helzberg Hall, Kauffman Center for the Performing Arts Michael Stern, Music Director and conductor Jason Seber, David T. Beals III Associate Conductor IGOR STRAVINSKY Octet I. Sinfonia — Allegro II. Tema con variazioni III. Finale Jason Seber, conductor, David T. Beals III Chair Kayla Burggraf, flute Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Julian Kaplan, trumpet, James B. and Annabel Nutter Chair Steven Franklin, trumpet Porter Wyatt Henderson, trombone Adam Rainey, bass trombone CLAUDE ARRIEU Wind Quintet in C (LOUISE MARIE SIMON) I. Allegro II. Andante III. Allegro scherzando IV. Adagio V. Allegro vivace Kayla Burggraf, flute Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair David Sullivan, horn Classical Series Program Notes June 6, 2021 Serenade in D Minor, op. 44 I. Moderato quasi marcia II. Menuetto — Trio: Presto III. Andante con moto IV. Finale: Allegro molto Michael Stern, conductor Kristina Fulton, oboe, Shirley Bush Helzberg Chair Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair John Klinghammer, clarinet Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Thomas DeWitt, contrabassoon David Sullivan, horn Stephen Multer, horn David Gamble, horn Susie Yang, cello, Richard Hill Chair Jeffrey Kail, double bass The 2020/21 Season is generously sponsored by The Classical Series is sponsored by SHIRLEY AND BARNETT C. HELZBERG, JR. Additional support provided by R. CROSBY KEMPER JR. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 22, Nos. 1 & 2 Winter/Spring - Summer/Fall 2001 6219 N. Sheridan Rd., Chicago, IL 60660 Table of Contents T: (773) 764-7563; F: (773) 764-7564 Commentary page 1 E-mail: [email protected] [email protected] The Metronome Indications in page 2 Website: www.conductorsguild.org Beethoven’s Symphonies by Max Rudolf Officers Harlan Parker, President Tonu Kalam, Secretary A Pilot Study of the Expressive page 14 Emily Freeman Brown, President-elect Frederick Peter Morden, Treasurer Gestures Used by Classical Michael Griffith, Vice-President Wes Kenney, Past-President Orchestra Conductors Board of Directors by Thüring Bräm and Penny Boyes Braem Virginia A. Allen Jonathan D. Green* Lawrence L. Smith Beauty’s Plea: An Introduction page 30 Henry Bloch* Murray Gross Mariusz Smolij to the Music of William Alwyn Glenn Block Alan Harler Jonathan Sternberg* by Brian Murphy Mark Cedel Thomas Joiner Alton Thompson Charles P. Conrad* Anthony LaGruth Diane M. Wittry Organizing and Conducting page 45 William H. Curry Michael Luxner Burton Zipser* the College-Community Orchestra Sandra Dackow Kirk Muspratt * ex-officio Allan Dennis Melinda O’Neal by Victor Vallo Jr. Robert Freeman Mark Scatterday Advisory Council A Study of Student Community page 51 Orchestras in the United States Adrian Gnam Charles Ansbacher Donald Portnoy and Canada Michael Charry Samuel Jones Barbara Schubert by Dr. Lynn Schenbeck and Sergiu Comissiona Daniel Lewis Gunther Schuller Harold Farberman Larry Newland Rebecca Jones Rose Lukas Foss Maurice Peress Engaging the Head Voice: page 66 Theodore Thomas Award Winners Simple Exercises for Amateur Claudio Abbado Frederick Fennel Robert Shaw Community Choirs Maurice Abravanel Margaret Hillis Leonard Slatkin by Welborne E. -
James Conlon Announces Programs and Artists for 2016 Cincinnati May Festival, May 20-28 Festival Honors Maestro Conlon’S Extraordinary Tenure As Music Director
Chris Pinelo Vice President of Communications [email protected] (513) 744-3338 Meghan Berneking Director of Communications [email protected] (513) 744-3258 mayfestival.com Embargoed for 3 p.m. Oct. 4, 2015 James Conlon announces programs and artists for 2016 Cincinnati May Festival, May 20-28 Festival honors Maestro Conlon’s extraordinary tenure as Music Director CINCINNATI, OH – James Conlon, Music Director of the Cincinnati May Festival, announces the programs and artists for the 2016 Cincinnati May Festival, scheduled for May 20-28, 2016, the final May Festival in his extraordinary 37-year tenure as Music Director. Mr. Conlon is the longest-serving artistic leader in May Festival history, and among the longest-tenured music directors of any major classical music institution in the country. The 2016 May Festival pays homage to Mr. Conlon’s unprecedented tenure, with programs that recall artistic milestones and audience favorites from the past four decades. The annual choral festival dates back 143 years, and features the volunteer May Festival Chorus and the acclaimed Cincinnati Symphony Orchestra (CSO). After this season, Mr. Conlon will be named May Festival Music Director Laureate and continue to have a presence conducting in Cincinnati both with the May Festival and the CSO. “As I complete almost four decades as Music Director of the May Festival and working with the Chorus and the Cincinnati Symphony Orchestra, I decided to program a Festival that would invoke some of my fondest memories of Cincinnati,” said Mr. Conlon. “Each selection of this year’s May Festival resonates in a special way with audiences, guest artists and the storied history of the Festival.” The 2016 May Festival will also be the final Festival (and the final performances by any organization) to take place in Cincinnati’s historic Music Hall prior to its planned renovation.