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Paul Lewis in Recital a Feast of Piano Masterpieces
PAUL LEWIS IN RECITAL A FEAST OF PIANO MASTERPIECES SAT 14 SEP 2019 QUEENSLAND SYMPHONY ORCHESTRA STUDIO PROGRAM | PAUL LEWIS IN RECITAL I WELCOME Welcome to this evening’s recital. I have been honoured to join Queensland Symphony Orchestra this year as their Artist-in- Residence, and am delighted to perform for you tonight. This intimate studio is a perfect setting for a recital, and I very much hope you will enjoy it. The first work on the program is Haydn’s Piano Sonata in E minor. Haydn is well known for his string quartets but he also wrote a great number of piano sonatas, and this one is a particular gem. It showcases the composer’s skill of creating interesting variations of simple musical material. The Three Intermezzi Op.117 are some of Brahms’s saddest and most heartfelt piano pieces. The first Intermezzo was influenced by a Scottish lullaby,Lady Anne Bothwell’s Lament, and was described by Brahms as a ‘lullaby to my sorrows’. This is Brahms in his most introspective mood, with quietly anguished harmonies and dynamic markings that rarely rise above mezzo piano. Finally, tonight’s recital concludes with one of the great peaks of the piano repertoire. The 33 Variations in C on a Waltz by Diabelli is one of Beethoven’s most extreme and all- encompassing works – an unforgettable journey for the listener as much as the performer. Thank you for your attendance this evening and I hope you enjoy the performance. Paul Lewis 2019 Artist-in-Residence IN THIS CONCERT PROGRAM Piano Paul Lewis Haydn Piano Sonata in E minor, Hob XVI:34 Brahms Three Intermezzi, Op.117 INTERVAL Approx. -
Holiday That Traditional Tljie Holiday. Has Un¬ Sabbath at 10:45 A.M
SCHEDULE OF YOM KIPPUR SERVICES Sunday, September 28th, Yom Kippur Eve Mincha 1:30 KOL NIDRE 5:30 Rabbi Lookstein will speak Monday, September 29th, Yom Kippur Morning .' 8:00 Memorial Service (Yizkor) 11:15 PLEASE NOTE that the hours indicated above are Eastern Standard Time which will go into effect this Sunday morning. PLANS MADE FOR FESTIVE SUKKOTH HOLIDAY The forthcoming Sukkoth festival As announced in last week's Bul¬ w ill long be remembered by those letin, arrangements have been com¬ w ho will participate in its celebration pleted for catered meals to be served at Kehilath Jeshurun. Plans are being in the Sukkah on the first two days mjade for the Sukkoth holiday that of the festival: Friday and Saturday wjill make for a beautiful as well as evenings and Saturday and Sunday eiiijoyable observance of the Feast of afternoons. The price per plate is Tfabernacles, without for one moment $6.00 — a nominal sum that will leasing sight of the ancient traditional cover everything that is required, in¬ practices that constitute the heart of cluding gratuities. In order to allow tljie holiday. enough time for the necessary ar¬ rangements, the dead-line for reserva¬ j Once again, the Sisterhood has un¬ tions has been set for Tuesday, Sep¬ dertaken to decorate the Sukkah. A tember 30th. We should like to re¬ gjvoup of the organization's members, mind you that all reservations must uirider the chairmanship of Mrs. be accompanied by check. David Joseph, are now planning to The true celebration of the holiday prepare the spacious Sukkah, which takes place proper. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project JAMES MARVIN MONTGOMERY Interviewed by: Thomas F. Conlon Initial interview date: August 12, 1996 Copyright 2016 ADST TABLE OF CONTENTS Background Born and raised in New Jersey Juniata College and Emory University Entered Foreign Service - 1958 Department of State - Personnel Office 1959 Vietnamese language training Saigon, Vietnam - Economic officer 1960-1962 National Liberation Front (NLF) Personal views on US involvement Department of State - Vietnam desk officer 1962-1964 Replacement of 200 piastre note issue OPLAN 34-A Commercial Import Program Diem overthrow - Kennedy views Mexico City, Mexico - Political officer 1964-1967 Institutional Revolution Party Political contacts Immigration Policy and justice in Mexico Department of State - FSI - Thai language training 1967 Bangkok, Thailand - Political/Military officer 1968-1971 US-Thai military relations and agreements Operation “Rolling Thunder” “Special Logistics Agreements” SLAT I and II Ambassador Graham Martin B-52s at Utapao 1 Chiang Mai, Thailand - Consul 1971-1974 Environment American colony Consulate staffing functions CIA and DEA anti-drug activities Counterinsurgency program Thai communications fiasco Pua-Nan road project Vietnam-Thailand relations Kuomintang and opium trade “Golden Triangle” Drug trade dealers operation Congressman Lester Watt visit Department of State - Soviet desk officer 1974-1976 GLOP Kissinger domination Department of State - Special Assistant to Counselor 1976-1977 -
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way. -
Nikolaj Znaider in 2016/17
London Symphony Orchestra Living Music Sunday 29 May 2016 7pm Barbican Hall BEETHOVEN VIOLIN CONCERTO Beethoven Violin Concerto London’s Symphony Orchestra INTERVAL Elgar Symphony No 2 Sir Antonio Pappano conductor Nikolaj Znaider violin Concert finishes approx 9.20pm 2 Welcome 29 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to this evening’s LSO ELGAR UP CLOSE ON BBC iPLAYER concert at the Barbican. Tonight’s performance is the last in a number of programmes this season, During April and May, a series of four BBC Radio 3 both at the Barbican and LSO St Luke’s, which have Lunchtime Concerts at LSO St Luke’s was dedicated explored the music of Elgar, not only one of to Elgar’s moving chamber music for strings, with Britain’s greatest composers, but also a former performances by violinist Jennifer Pike, the LSO Principal Conductor of the Orchestra. String Ensemble directed by Roman Simovic, and the Elias String Quartet. All four concerts are now We are delighted to be joined once more by available to listen back to on BBC iPlayer Radio. Sir Antonio Pappano and Nikolaj Znaider, who toured with the LSO earlier this week to Eastern Europe. bbc.co.uk/radio3 Following his appearance as conductor back in lso.co.uk/lunchtimeconcerts November, it is a great pleasure to be joined by Nikolaj Znaider as soloist, playing the Beethoven Violin Concerto. We also greatly look forward to 2016/17 SEASON ON SALE NOW Sir Antonio Pappano’s reading of Elgar’s Second Symphony, following his memorable performance Next season Gianandrea Noseda gives his first concerts of Symphony No 1 with the LSO in 2012. -
Music This Table Outlines What Can Be Found Within Musical Archival Collections in Edinburgh Which Are Relevant to Either Jewish
Music This table outlines what can be found within musical archival collections in Edinburgh which are relevant to either Jewish representation, Jewish musicians or composers as well as linking to a variety of additional subject matters. Repository Date Title Relevance Scope Reference National Library of 1781 Scottish Tragic Ballads Jewish literary Printed collection of Glen collection Scotland representation within musical ballad lyrics Shelfmark: Glen 140 a ballad in the collection entitled ‘the Jew’ National Library of 1806 Oliver’s collection of Ballad entitled ‘The Printed collection of Glen.5(1-4) Scotland comic songs’ Jew Peddler’ musical ballad lyrics Edinburgh University 1890-1900 Correspondence between Musician: Professional GB 237 Coll-411/1/L85 Archives Joseph Joachim and Sir Joseph Joachim correspondence; music Donald F. Tovey, Francis composition discussion; John Henry Jenkins, Sir concert dates; social Hubert Parry and Sophie niceties Weisse Edinburgh University 1892 and 1940 Letters between Sophie Musicians: One letter which GB 237 Coll 411/1/L2041 Archives Weisse, Sir Donald Tovey Fanny Behrens mentions Fanny Behrens and Fanny Behrens (wife Gustav Behrens between Tovey and of Gustav Behrens) Sophie Weisse; Second Letter from Behrens to Weisse alerting Miss. Weisse to an article about Tovey's 'absolute ear', news of Behrens recovery and of her sons Music This table outlines what can be found within musical archival collections in Edinburgh which are relevant to either Jewish representation, Jewish musicians or composers -
Proquest Dissertations
The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The Choral Cycle
THE CHORAL CYCLE: A CONDUCTOR‟S GUIDE TO FOUR REPRESENTATIVE WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY RUSSELL THORNGATE DISSERTATION ADVISORS: DR. LINDA POHLY AND DR. ANDREW CROW BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 Contents Permissions ……………………………………………………………………… v Introduction What Is a Choral Cycle? .............................................................................1 Statement of Purpose and Need for the Study ............................................4 Definition of Terms and Methodology .......................................................6 Chapter 1: Choral Cycles in Historical Context The Emergence of the Choral Cycle .......................................................... 8 Early Predecessors of the Choral Cycle ....................................................11 Romantic-Era Song Cycles ..................................................................... 15 Choral-like Genres: Vocal Chamber Music ..............................................17 Sacred Cyclical Choral Works of the Romantic Era ................................20 Secular Cyclical Choral Works of the Romantic Era .............................. 22 The Choral Cycle in the Twentieth Century ............................................ 25 Early Twentieth-Century American Cycles ............................................. 25 Twentieth-Century European Cycles ....................................................... 27 Later Twentieth-Century American -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Um Compositor Brasileiro Na Broadway: a Contribuição De Heitor Villa-Lobos Ao Teatro Musical Americano
UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA PÓS-GRADUAÇÃO EM MÚSICA - MESTRADO UM COMPOSITOR BRASILEIRO NA BROADWAY: A CONTRIBUIÇÃO DE HEITOR VILLA-LOBOS AO TEATRO MUSICAL AMERICANO ROSANE VIANA BELO HORIZONTE 2007 ROSANE VIANA UM COMPOSITOR BRASILEIRO NA BROADWAY: A CONTRIBUIÇÃO DE HEITOR VILLA-LOBOS AO TEATRO MUSICAL AMERICANO Dissertação apresentada ao Curso de Mestrado da Escola de Música da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Música. Área de Concentração: Estudo das Práticas Musicais Sub-área: Análise Musical Orientador: Lucas Bretas Belo Horizonte Escola de Música da UFMG 2007 Dedico o presente trabalho ao meu pai, Sebastião Vianna. AGRADECIMENTOS Ao meu orientador, por ter aceitado o desafio de desbravar "terras incógnitas" sem medo de se arriscar e pela sua grande capacidade. A Mônica Mansur Brandão, pela ajuda inestimável e imprescindível no pré-projeto. A Maria Eugênia Albinatti, pelo seu "ouvido paciente" nesses dois anos e sua colaboração. A David Peterson, meu "dicionário vivo" em momentos cruciais. A Rita Lopes Moreira, pela sua generosidade, sem a qual eu não poderia sequer ter iniciado o Curso de Mestrado. Ao meu pai, pelas informações preciosas e inéditas sobre Magdalena e tantas outras sobre Villa-Lobos. Agradeço também pela sua ajuda financeira durante esse período. A minha saudosa mãezinha, Rosa Nalterelli Viana, pelo seu entusiasmo e incentivo quando descobri a obra em 2000. A Sandra Loureiro, pelas palavras sábias em momentos difíceis e por compartilhar comigo a alegria de escrever sobre Magdalena. A André Cavazotti, por ter carinhosamente me acolhido na sub-área Análise Musical e por ter sempre respondido aos meus e-mails e retornado meus telefonemas. -
Beethoven's 9Th Symphony
The Greater Utica Choral Society presents The Clinton Symphony Orchestra of the Mohawk Valley Charles Schneider, Music Director Saturday, December 19, 2015 Clinton Central Schools Performing Arts Complex 8:00 p.m. Beethoven’s 9th Symphony Featuring soloists Alexia Mate, Soprano; Carolyn Weber, Mezzo-soprano; Jon Fredric West, Tenor; Eric Johnson, Bass; and Choral Singers from Central New York Sponsors: Fiber Instrument Sales ♫ Strategic Financial Services CHARLES SCHNEIDER, Music Director An award-winning and versatile musician, Maestro Schneider's experience spans the musical spectrum - Broadway musical theatre, opera, pops and symphonic music. He conducted the 1967 CBS Television Special of the Year with Jimmy Durante, The Supremes and Jimmy Dean. He was the Music Director of the off- Broadway hit “Your Own Thing” that won the 1968 New York Critics Award (first time ever for an off- Broadway show). He was the Music Director for Juliet Prowse, Dorothy Sarnoff and Broadway legend John Raitt. A number of upstate New York perform- ance organizations have benefited from Charles Schnei- der's guidance and expertise: he has conducted the Catskill Symphony since 1973, was the Music Direc- tor of the Utica Symphony from 1980-2011, and of the Schenectady Symphony Orches- tra since 1982. In addition, Mr. Schneider has served as Music Director of the Portland (Oregon) Chamber Orchestra. He was the founding music director of Glimmerglass Opera, a position he held for 12 years. He was also co-founder of the Catskill Conser- vatory of Music (Oneonta, NY). Additionally, he conducted the United States premiere of Bertold Brecht and Kurt Weill’s “The Rise and Fall of the City Mahagonny” with the San Francisco Opera.