Symphony Arlington Donors 2020-2021

Total Page:16

File Type:pdf, Size:1020Kb

Symphony Arlington Donors 2020-2021 C SYMPHONY ARLINGTON BOARD OF DIRECTORS 2020-2021 Linda Gibson, President Hollis R. Lackey, Vice President Faye Reeder, Secretary Doreen Bruner, Treasurer Lisa Farrimond Marlene Hutchison Barry Johnson Virginia Lackey Valerie Landry Anne Wilson-Stanberry 2 STAFF General Manager Ann Gerrity Executive Director Mark Hughes Office Manager Brenda Hughes Education Director Robert Fishman Community Outreach Danielle Mendelson Finance Manager Brenda Resseguie Music Librarian Sarah Myers Production Manager Chris Finley Stage Crew Basil Drayton Stage Crew Michael Finley Stage Crew Randall Fuller SYMPHONY ARLINGTON DONORS 2020-2021 Presto ($5,000 and up) Anonymous • Arlington Cultural Tourism Council National Endowment for the Arts • Texas Commission on the Arts Allegro ($1,000 to $4,999) Frances Jean Browning • Lawrence Wallace Memorial Fund Moderato ($500 to $999) Joe & Doreen Bruner • Dave & Jennifer Lloyd • Fred & Lynda Weekley Andante ($250 to $499) Ed & Lonette Bebensee • Gary Bledsoe • Suzanne & Bill de Decker Charles W. Duke, Jr. • Marjorie Hammond Memorial Fund Adagio ($100 to $249) Lisa Bedwell • Jim & Jerrie Buehrig • Nigel & Theresa Crouch Priscilla Donkle • Randy Farmer • Candy Halliburton A Donation in Memory of Mary Jo Jameson • Hollis & Virginia Lackey Carolyn Morton • Bill Palmer • James & Faye Reeder Irmgard Schmidt • Darlus L. Schoonover • Ralph & Alice Sobel Jack Thornton • Richard Urso • Donald Trimble • Peggy Uribe ADOPT-A-MUSICIAN Stephen Page, Concertmaster Sponsored by Frances Jean Browning Laura Ospina, Principal Cello Sponsored by Joe & Doreen Bruner Robert Carter Austin A native of Tennessee, Robert Carter Austin is currently in his twenty-first season as Music Director of Symphony Arlington. Maestro Austin has an unusually diverse educational background for a classical musician, including a Bachelor of Science degree from the Massachusetts Institute of Technology, a Diploma (with Distinction) in Computer Science from Cambridge University, and a Master of Musical Arts degree from Stanford University. Maestro Austin’s first professional appointment was as Artistic Director of the Chattanooga Opera in 1974. He added the post of Artistic Director of the Southern Regional Opera in Birmingham, Alabama in 1978. He became Music Director of the Cheyenne Symphony Orchestra in Wyoming in 1981, before coming to Texas as Music Director of the East Texas Symphony Orchestra in Tyler. He has served as Music Director of the Garland Symphony Orchestra since 1986, of the Las Colinas Symphony Orchestra since 1991, and of Symphony Arlington since 2000. 4 In frequent demand as a guest conductor, Maestro Austin has led performances with opera companies and symphony orchestras in eleven states in the U.S. His international credits include performances with orchestras in eighteen nations throughout Europe, Asia, and North and South America. Upcoming engagements for Maestro Austin include the Orquesta y Coro Filarmonía de Madrid in Spain, the Orchestra Sinfonica di San Remo in Italy, and the Voronezh Symphony Orchestra in Russia. Off the podium, Maestro Austin describes himself as a closet country music fan and a notorious oenophile. His wife, Dr. Kathryn Gamble, is the Director of Veterinary Medicine at Lincoln Park Zoo in Chicago, Illinois. Lindsey Kim Lindsey Kim is a sophomore at Allen High School. She started violin lessons at the age of six and currently studies with Lucas Aleman and Jina Lee-Aleman. As a high school freshman, she was concertmistress of the TMEA High School All-Region Orchestra. Prior to that, Ms. Kim was concertmistress of the TMEA Middle School All-Region Orchestra in both 2017 and 2018. She is an active member of the Greater Dallas Youth Orchestra, where she enjoys performing with other talented young musicians. Ms. Kim’s recent accomplishments include winning first prize at the Marielle Ogletree Young Artist Concerto Competition, first place in the junior division of the Dallas Symphonic Festival Competition, and the bronze medal at the Roger & Ella Jo Adams Concerto Competition. She has also won awards at the Collin County Young Artist Competition in the Junior String division. Ms. Kim is an accomplished pianist, playing the instrument since the age of five. She has won numerous awards in various piano competitions and festivals, including the International Chopin Piano Competition, hosted by the Fryderyk Chopin Society of Texas. Ms. Kim is passionate about participating in community volunteer activities, such as Allen Community Outreach and church youth ministry programs. She enjoys baking cookies, dog-sitting, jogging, watching cooking shows on Netflix, binge watching Korean dramas, K-pop music, and playing tennis with her younger sister, Nicole. Ms. Kim plans a career in engineering, as well as continuing with her music study. Marlon Florez Dovales Born in Caracas, Venezuela in 2003, Marlon Elliat Florez Dovales began his musical studies at the age of three in the Montalbán Children's Orchestras System of Venezuela, known throughout the world as “La Sistema”. Since 2015. Mr. Florez has studied with Joseph Kuipers in Dallas; his previous teachers include Valmore Nieves and Juana Díaz. He has participated in the masterclasses of Natalia Gutman, Alisa Weilerstein, and Paul Desenne. In 2012, Mr. Florez won first place in the National Competition of Venezuelan Cellists. He received second prize in the Collin County Concerto Competition in 2017, and in February 2020 he won first place at the Dallas Symphonic Festival Competition. In 2013, he joined the National Children's Symphony Orchestra of Venezuela as principal cello, touring seven countries with the orchestra. He now plays in the Greater Dallas Youth Orchestra. Mr. Florez has appeared as soloist with a number of Venezuelan orchestras, including the Simon Bolivar Symphony Orchestra and the Youth Orchestra of Caracas. Ella Tran Ella Tran began studying piano at the age of four. She has won awards for five consecutive years at the Collin County Young Artist Competition, including first prize in the Junior division in 2019 and third prize in the senior division in 2020. Ms. Tran has consistently received top prizes at the Texas Music Teachers Association state-level division, including first prize in 2018 and second prize in 2019. She has been awarded the top prize at the Dallas Symphonic Festival for four years in a row and first prize at the Dallas Piano Solo Competition for three consecutive years. Equally comfortable as a chamber musician, Ms. Tran was recently featured as a Rising Star in the 2019 Basically Beethoven Festival at Moody Performance Hall. She also plays violin in her high school symphony orchestra. Ms. Tran is a sophomore in the STEM Academy at Martin High School; she is currently a student of Marcy McDonald and Alex McDonald. We look forward to seeing you at next month’s concert! Thursday, December 17, 2020 7:30 p.m. Guest Artist: Ricardo Garcia, tenor Beethoven – Symphony No. 1 in C Major Holiday Favorites! Plus the annual Carol Sing-along! SYMPHONY ARLINGTON Robert Carter Austin, Music Director Concert of Thursday, November 19, 2020 7:30 p.m. Arlington Music Hall Arlington, Texas Robert Carter Austin, conductor Lindsey Kim, violinist Marlon Florez Dovales, cellist Ella Tran, pianist Overture to I traci amanti Domenico Cimarosa (1749-1801) Triple Concerto for Violin, Cello, and Ludwig van Beethoven Piano in C Major, Op. 56 (1770-1827) 5 Allegro Largo Rondo alla Polacca Symphony No. 102 in Bb Major Joseph Haydn Largo; vivace (1732-1809) Adagio Allegro Presto This evening’s concert will be performed without an intermission Patrons will not be admitted to the hall while the concert is in progress. The use of audio/video recording devices and cameras during the performance is strictly prohibited. Please turn off all mobile devices, including phones and tablets. All guest artists and repertoire are subject to change. SYMPHONY ARLINGTON Robert Carter Austin, Music Director Violin Cello ** Stephen Page * Laura Ospina * Marina Dichenko Candice Holcomb Phoenix Abbo Jun Jin Ellen Bergeron Hamin Kim Gerald Brahinsky Hyunjung Kim Darek Dowgielewicz Nini Rubiano Daniel Golleher Teresa Grynia Bass Jocelyn Hund * Christopher Pike Eun Chong Ju Mark Hughes Juhyun Kim Robert Marrufo Attilio Lattanzi Russell Thompson Elim Lau Flute Seowon Lee * Sarah Tran Zenobia Leyva-Martinez Won Lee Danielle Mendelson Lucia Neaga Oboe Nancy Norton * Kristin Perry 6 Chi Jihye Oh Ryan Estes KeyReel Raskolenko Clarinet Irina Salazar * Jonathan Jones Bethany Wildes Brent Buemi Viola Bassoon * Christopher Lumpkin * Anthony Adario Michael Drobycki Sara Scurry Matthew Geise Sarah Myers Horn Paul Palmer * Howard Hilliard Leonardo Piermartiri Timothy Stevens Edwardo Rios Glori Vela Trumpet * Nathan Little Shaun Abraham ** Concertmaster Timpani * Principal * Drew Lang 8.
Recommended publications
  • What Is Conductorcise® ?
    WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones.
    [Show full text]
  • 'Dream Job: Next Exit?'
    Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices.
    [Show full text]
  • View Playbill
    MARCH 1–4, 2018 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. WORK LIGHT PRODUCTIONS PRESENTS BOOK BY BERRY GORDY MUSIC AND LYRICS FROM THE LEGENDARY MOTOWN CATALOG BASED UPON THE BOOK TO BE LOVED: MUSIC BY ARRANGEMENT WITH THE MUSIC, THE MAGIC, THE MEMORIES SONY/ATV MUSIC PUBLISHING OF MOTOWN BY BERRY GORDY MOTOWN® IS USED UNDER LICENSE FROM UMG RECORDINGS, INC. STARRING KENNETH MOSLEY TRENYCE JUSTIN REYNOLDS MATT MANUEL NICK ABBOTT TRACY BYRD KAI CALHOUN ARIELLE CROSBY ALEX HAIRSTON DEVIN HOLLOWAY QUIANA HOLMES KAYLA JENERSON MATTHEW KEATON EJ KING BRETT MICHAEL LOCKLEY JASMINE MASLANOVA-BROWN ROB MCCAFFREY TREY MCCOY ALIA MUNSCH ERICK PATRICK ERIC PETERS CHASE PHILLIPS ISAAC SAUNDERS JR. ERAN SCOGGINS AYLA STACKHOUSE NATE SUMMERS CARTREZE TUCKER DRE’ WOODS NAZARRIA WORKMAN SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN DAVID KORINS EMILIO SOSA NATASHA KATZ PETER HYLENSKI DANIEL BRODIE HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER CHARLES G. LAPOINTE SARAH DIANE WORK LIGHT PRODUCTIONS NANSCI NEIMAN-LEGETTE CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS WOJCIK | SEAY CASTING PORT CITY TECHNICAL THE BOOKING GROUP ALLIED TOURING RHYS WILLIAMS MOLLIE MANN ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS ETHAN POPP & BRYAN CROOK MATTHEW CROFT ZANE MARK BRYAN CROOK SCRIPT CONSULTANTS CREATIVE CONSULTANT DAVID GOLDSMITH & DICK SCANLAN CHRISTIE BURTON MUSIC SUPERVISION AND ARRANGEMENTS BY ETHAN POPP CHOREOGRAPHY RE-CREATED BY BRIAN HARLAN BROOKS ORIGINAL CHOREOGRAPHY BY PATRICIA WILCOX & WARREN ADAMS STAGED BY SCHELE WILLIAMS DIRECTED BY CHARLES RANDOLPH-WRIGHT ORIGNALLY PRODUCED BY KEVIN MCCOLLUM DOUG MORRIS AND BERRY GORDY The Temptations in MOTOWN THE MUSICAL.
    [Show full text]
  • Season 2016-2017
    25 Season 2016-2017 Thursday, April 6, at 8:00 Friday, April 7, at 2:00 The Philadelphia Orchestra Saturday, April 8, at 8:00 Sunday, April 9, at 2:00 Yannick Nézet-Séguin Conductor Mason Bates Electronica Daniil Trifonov Piano Beethoven Overture and Finale, from The Creatures of Prometheus, Op. 43 Bates Alternative Energy I. Ford’s Farm, 1896— II. Chicago, 2012 III. Xinjiang Province, 2112 IV. Reykjavik, 2222 First Philadelphia Orchestra performances Intermission Mozart Piano Concerto No. 9 in E-flat major, K. 271 (“Jenamy”) I. Allegro II. Andantino III. Rondeau (Presto)—Menuetto (Cantabile)— Liszt Prometheus, Symphonic Poem No. 5 This program runs approximately 2 hours, 5 minutes. LiveNote™, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The April 6 concert is sponsored by American Airlines. The April 7 concert is sponsored by Sarah Miller Coulson. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 27 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage.
    [Show full text]
  • Program Notes | Michael Tilson Thomas Conducts
    27 Season 2017-2018 Thursday, March 1, at 7:30 Friday, March 2, at 8:00 The Philadelphia Orchestra Saturday, March 3, at 8:00 Michael Tilson Thomas Conductor Measha Brueggergosman Soprano Tilson Thomas Four Preludes on Playthings of the Wind First Philadelphia Orchestra performances Mikaela Bennett, vocalist Kara Dugan, vocalist Intermission Tchaikovsky Symphony No. 6 in B minor, Op. 74 (“Pathétique”) I. Adagio—Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Adagio lamentoso This program runs approximately 1 hour, 50 minutes. The March 1 concert is sponsored by the Hassel Foundation. The March 1 concert is also sponsored by Constance Smukler. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the March 2 and 3 concerts for a free Organ Postlude with Peter Richard Conte. Rachmaninoff/ Prelude in C-sharp minor, Op. 3, No. 2 transcr. Lemare Widor from Symphonie gothique, Op. 70: II. Andante sostenuto Karg-Elert Chorale Improvisation on “Nearer My God, to Thee” The Organ Postludes are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. 29 ®™ Getting Started with LiveNote » Please silence your phone ringer. » Download the app from the Apple App Store or Google Play Store by searching for LiveNote. » Join the LiveNote Wi-Fi network from your phone. The wireless network LiveNote should appear in the list available to you.
    [Show full text]
  • Members of the Juilliard Orchestra David Chan, Conductor
    Members of the Juilliard Orchestra David Chan, Conductor The Juilliard School presents Members of the Juilliard Orchestra David Chan, Conductor Recorded on December 14, 2020 Judith Harris and Tony Woolfson Orchestral Studio Program A GEORGE WALKER Lyric for Strings (1947) (1922-2018) BENJAMIN BRITTEN Prelude and Fugue, Op. 29 (1943) (1913-76) Prelude: Grave Fugue: Allegro energico–Coda: Grave come prima Program B J.S. BACH Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1710) (1685-1750) Allegro Adagio ma non tanto Allegro Brandenburg Concerto No. 3 in G Major, BWV 1048 (1713) [Allegro] Adagio* Allegro * Adagio from Bach’s Trio Sonata in G Major, BWV 1038 (published 1860) Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 Members of the Juilliard Orchestra Program A WALKER Lyric for Strings First Violin Viola Kevin Zhu, Concertmaster Natalie Loughran, Principal Muyun Tang Joshua Kail Jaewon Wee Graham Cohen Adrian Steele Devin Moore Mai Matsumoto Cello Second Violin David Bender, Principal Mitsuru Yonezaki, Principal Sterling Elliott Oliver Neubauer Joshua McClendon Gabrielle Després Coco Mi Double Bass Nina Bernat, Principal Bennett Norris BRITTEN Prelude and Fugue, Op. 29 First Violin Viola Kevin Zhu, Concertmaster Devin Moore, Principal Phoenix Avalon Graham Cohen Jaewon Wee Natalie Loughran Adrian Steele Mai Matsumoto Cello Muyun Tang David Bender, Principal Michael Cantú Second Violin Eliana Razzino Yang Mitsuru Yonezaki, Principal Oliver Neubauer Double Bass Gabrielle Després Bennett Norris, Principal Coco Mi Nina Bernat 2 Program B J.S.
    [Show full text]
  • The Orchestra
    Lesson: THE ORCHESTRA Objective: Students will identify the structure of the orchestra including the seating, arrangement, and four instrument families. Materials: Orchestra worksheet treasure hunt (included in this packet) LESSON Like a ship, the symphony orchestra is a large vessel made up of many small parts. Each part has its own special and important purpose, and it took more than three centuries for the symphony to finally take on its current shape. There are four families of instruments in the symphony orchestra: Strings, Woodwinds, Brass, and Percussion. These families of instruments are very different from one another in the way that they sound and the way that they are played. This makes seating arrangements very important! EXERCISE 1: “Can you name the instruments in each family?’’ Preface: Students decide which instruments belong to a particular family. Have students name off each family to review: A) Strings: Violin, Viola, Cello, Bass, Harp B) Woodwinds: Flute, Oboe, Clarinet, Bassoon (Saxophone is a woodwind, but not typically found in the orchestra) C) Brass: Trumpet, French Horn, Trombone, Tuba (Baritone is brass, but also not typically found in the orchestra) D) Percussion: Cymbals, Timpani, Bass Drum, Snare Drum, Xylophone, Piano (anything that makes a sound when struck, scraped, or shaken) A Special Thanks to our Young People’s Concert Sponsors EXERCISE 2: Treasure Hunt Young Mozart has lost his favorite conducting baton and cannot seem to find it anywhere. He has been given a clue that says that the baton can be found, stuck in the tuba. But Teachers: This where does the tuba sit? Help Mozart figure out where members of the orchestra sit so he handout is available can get his baton back.
    [Show full text]
  • Symphony Summer2020 Women Conductors
    SUMMER 2020 n $6.95 symphonyTHE MAGAZINE OF THE LEAGUE OF AMERICAN ORCHESTRAS Where We Are Now Orchestras are seeking new ways forward amid the global pandemic and concerns about racial injustice Orchestras and Pandemics: Women Conductors Anti-Black Discrimination 1918 and 2020 On the Rise at U.S. Orchestras It’s About Time Gemma New, the Dallas Symphony Orchestra’s principal guest conductor, leads the DSO at Meyerson Symphony Center. Sylvia Elzafon The good news: more women are getting high-profile jobs conducting orchestras. The bad news: it’s not yet time to retire the phrase “glass ceiling” for once and for all. Will we get there, and if so, when? by Jennifer Melick n 2016, a ten-year-old violinist named St. Louis Symphony’s blog, “She has so Madeline de Geest went to a St. Louis much energy and potential. She reminded ISymphony Youth Orchestra concert me of myself when I was that age.” Since led by Gemma New, who had just been then, De Geest joined the SLSYO as one appointed the St. Louis Symphony’s resi- of its youngest musicians, and New’s pro- dent conductor. De Geest, enthralled, file has continued to rise. In addition to came backstage after the performance to her St. Louis position, which concluded in ask for an autograph, and New gave the May, New is now principal guest conduc- young musician her conducting baton. In tor at the Dallas Symphony Orchestra, the 2017, New invited De Geest to a St. Louis first woman to hold that title there; serves Symphony Youth Orchestra rehearsal, and as music director of Canada’s Hamilton De Geest brought her violin and music Philharmonic Orchestra; and has a full folder.
    [Show full text]
  • T H E F L O R I Da B a N D M a S T E R In
    T H E F L O R I DA B A N D M A S T E R (Bulletin of the Florida Bandmasters Association, Inc.) 70th Year, No. 2 Silver Springs, Florida November19, 2005 xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx IN MEMORIAM John T. Henry John T. Henry, 51, of Williston, Florida, passed away on August 13, 2005 after a brief battle with cancer. Mr. Henry was born on May 13, 1954. He was a life-long resident of Williston and graduated from Williston High School in 1972. He received his Bachelors in Music Education from the University of Florida. He began his teaching career in 1977 at North Marion Middle School in Citra, Florida where he taught for 11 years. He then returned to his alma mater, Williston High School, where he spent the last 17 years of his career. He was Teacher of the Year for both Marion and Levy counties. Mr. Henry was a pillar in the community of Williston. He touched many lives through teaching and music and inspired many of his students to continue music after high school. He was a member of the First Baptist Church of Williston, Gainesville Community Band, Phi Mu Alpha Sinfonia and Florida Bandmasters Association. Richard V. Mucci Richard Victor Mucci, 65, passed away on March 18, 2005, in his home on a rural hilltop outside o Buckhannon. Richard was born in Brockton, Mass., on March 20, 1939. As a child of 10, he moved with his family to south Florida where he attended Fort Lauderdale High School. He pursued a career in music education, studying with Roger Voisan at the Eastman School of Music in Rochester, N.Y.
    [Show full text]
  • Graduate Conducting Program Choral and Orchestral
    Graduate Conducting Program Choral and Orchestral The Graduate Conducting Program, Orchestral and Choral, of The Bard College Conservatory of Music is a two-year graduate curriculum that culminates in the Master of Music (M.M.) degree. The program equips its graduates with the broad-based skills and experience necessary to meet the special opportunities and challenges of a conducting or conducting-related career in the 21st century. The program’s two tracks (concentrations)—orchestral conducting and choral conducting—have significant overlap. The program is designed and directed by Harold Farberman, James Bagwell, director of Bard’s undergraduate Music Program, Associate Conductor of The Orchestra Now, and principal guest conductor of the American Symphony Orchestra; and Leon Botstein, president of Bard College, music director of the The Orchestra Now and the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony Orchestra. The program balances a respect for established traditions with the flexibility and curiosity needed to keep abreast of evolving musical ideas. In addition to instruction in conducting, the curriculum includes an innovative, four-semester music history sequence (shared by the two tracks), voice lessons and diction for choral conductors, instrument lessons for orchestral conductors, and foreign language study, ear training, and composition for all students. Unique to the program is its access to the varied resources at Bard: the Conductors Chorus, the Orchestral Conductors Ensemble, the orchestra and chorus of the Bard Music Festival, and other affiliated music programs. The program is built on years of experience. It admits relatively few students each year to ensure individual attention. Applications are welcome from all who wish to place their love of music at the service of those they conduct, the works they perform, and their audiences.
    [Show full text]
  • American Bandmasters Association
    Souvenir Program AMERICAN BANDMASTERS ASSOCIATION Twenty-fourth Annual Convention DEDICATION OF THE BAND BUILDING SIXTY-EIGHTH ANNIVERSARY CONCERTS The Concert Band I The First Regimental Band UNIVERSITY OF ILLINOIS, URBANA MARCH 5-6*7-8, 1958 A BRIEF HISTORY OF THE AMERICAN BANDMASTERS ASSOCIATION The American Bandmasters Association was formally University of Wisconsin, Madison, Wisconsin, February 27- organized in 1929. As the result of many years' study of the March 2, 1941 problems confronting American bands and encouraged by HENRY FILLMORE the interest of a group of prominent bandmasters, including Elkhart, Indiana, June 13-15, 1947 John Philip Sousa, Edwin Franko Goldman invited a select GLENN CLIFFE BAINUM number of band directors from the United States and Can­ Sioux Falls, South Dakota, March 18-21, 1948 ada to be his guests at a luncheon and conference at the HOWARD C BRONSON Hotel Pennsylvania in New York City on July 5, 1929. Charlotte, North Carolina, March 17-18, 1949 It was at this meeting that the American Bandmasters JOHN J. RICHARDS Association was formally organized. The objects of the Asso­ University of Michigan, Ann Arbor, Michigan, March 9-12, ciation were defined as ". mutual helpfulness, and the 1950 promotion of better music through the instrumentality of HAROLD B. BACHMAN the band ... to secure the adoption of a universal band Washington, D.C., March 8-11, 1951 instrumentation so that band publications of all countries EARL D. IRONS will be interchangeable; to induce prominent composers of Ohio State University, Columbus, Ohio, March 7-10, 1952 all countries to write for the band; to establish for the con­ cert band a higher standard of artistic excellence than has WILLIAM D.
    [Show full text]
  • Women Conductors: Has the Train Left the Station?
    HarmonyTM FORUM OF THE SYMPHONY ORCHESTRA INSTITUTE NUMBER 6 • APRIL 1998 Women Conductors: Has the Train Left the Station? by Marietta Nien-hwa Cheng To subscribe to Harmony or provide support to the Institute, contact: Symphony Orchestra Institute 1618 Orrington Avenue, Suite 318 Evanston, IL 60201 Tel: 847.475.5001 Fax: 847.475.2460 e-mail: [email protected] www.soi.org ©1998 by the Symphony Orchestra Institute. All rights reserved. Harmony: FORUM OF THE SYMPHONY ORCHESTRA INSTITUTE 79 EDITOR’S DIGEST Women Conductors: Has the Train Left the Station? s we planned and organized contributions on the topic of women in leadership A positions in symphony orchestra organizations, we knew there were relatively few women music directors and conductors. We were pleased, therefore, to discover Marietta Nien-hwa Cheng, who is not only an orchestra music director and conduc- tor, but also a teacher, writer, and speaker about these roles. From the title of the essay alone, readers may correctly conclude that Cheng is an intelligent and witty observer of the orchestral conducting scene. Read the opening sentences of this essay and you’ll be hooked to read straight through. History, Obstacles, and Advantages Following a stage-setting statistical review of women as orchestra members and conductors, Cheng offers a brief history of women conductors. She offers an insightful review of the obstacles women conductors face—from issues of authority to bias against the “home grown.” A thoughtful discussion of the advantages of women conductors follows. The essay then becomes personal, as Cheng shares her own experiences—the road that took her from being a member of the only Chinese family in a southern Ohio town to the podium.
    [Show full text]