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Mimi Stillman, Artistic Director
Mimi Stillman, Artistic Director Wednesday, February 20, 2019 at 7:00pm Trinity Center for Urban Life 22 nd and Spruce Streets, Philadelphia Dolce Suono Ensemble Presents Rediscoveries: Festival of American Chamber Music I Dolce Suono Trio Mimi Stillman, flute/piccolo – Gabriel Cabezas, cello – Charles Abramovic, piano with Kristina Bachrach, soprano Trio for Flute, Cello, and Piano (1944) Norman Dello Joio (1913-2008) Moderato Adagio Allegro spiritoso Stillman, Cabezas, Abramovic Enchanted Preludes for Flute and Cello (1988) Elliott Carter (1908-2012) Stillman, Cabezas Dozing on the Lawn from Time to the Old (1979) William Schuman (1910-1992) Orpheus with His Lute (1944) Bachrach, Abramovic Winter Spirits for Solo Flute (1997) Katherine Hoover (1937-2018) Stillman Two Songs from Doña Rosita (1943) Irving Fine (1914-1962) (arr. DSE) Stillman, Cabezas, Abramovic Intermission Moon Songs (2011) * Shulamit Ran (1949) Act I: Creation Act II: Li Bai and the Vacant Moon Entr’acte I Act III: Star-crossed Entr’acte II: Prayer to Pierrot Act IV: Medley Bachrach, Stillman, Cabezas, Abramovic Tonight from West Side Story (1961) Leonard Bernstein (1918-1990) [premiere of new arrangement ] (arr. Abramovic) Stillman, Cabezas, Abramovic *Commissioned by Dolce Suono Ensemble About the Program – Notes by Mimi Stillman We are pleased to present Dolce Suono Ensemble (DSE)’s new project “Rediscoveries: Festival of American Chamber Music,” which seeks to illuminate an important but largely neglected body of chamber music by American composers. Aside from the most celebrated American composers from this period whose chamber works are regularly performed, i.e. Copland, Barber, Bernstein, and Carter, there are many other composers highly lauded in their time and significant in shaping the story of music in the United States, who are rarely heard today. -
TYLER GOODRICH WHITE Director of Orchestral Activities/Associate Professor of Music University of Nebraska-Lincoln
TYLER GOODRICH WHITE Director of Orchestral Activities/Associate Professor of Music University of Nebraska-Lincoln University of Nebraska-Lincoln School of Music 6540 Rexford Drive Westbrook Music Building 0100 Lincoln, Nebraska 68506 Lincoln, Nebraska 68588-0100 (402) 488-7154 (402) 472-7698 or 472-2503 [email protected] EDUCATION Cornell University. D.M.A., Composition, 1991. Composition study with Steven Stucky and Karel Husa, musicology with Don M. Randel, conducting with Edward Murray. Thesis: Part I: Eagle Descending: An Elegiac Landscape for mezzo-soprano and orchestra (text by Robert Penn Warren). Part II: "The Music's Proper Domain": Form, Motive, and Tonality in Carl Nielsen's Fourth Symphony ("The Inextinguishable"). Conservatoire Américain de Fontainebleau, Fontainebleau, France, 1988. Composition study with André Boucourechliev, Betsy Jolas, and Alain Louvier. Københavns Universitet, Musikvidenskabeligt Institut, Copenhagen, Denmark. Guest student, 1986- 87. Thesis research on symphonic music of Carl Nielsen. Independent composition study with Niels Viggo Bentzon. Cornell University. M.F.A., Musical Composition, 1986. Thesis: Triptych: Three Panels after Pascal, for orchestra. University of North Carolina at Chapel Hill. A.B., Music, 1983. Viola study with Ann Woodward, violin with Richard Luby, composition with Roger Hannay, conducting with David Serrins. PROFESSIONAL APPOINTMENTS Conducting and Ensemble Administration Lincoln Symphony Orchestra. Resident Conductor, 2000-present. University of Nebraska-Lincoln. Director of Orchestral Activities, 1994-present. Full responsibility for conducting and administration of the orchestra program (primarily music majors, bachelor's- through doctoral-level) within the nationally prominent school of music of a large, land-grant university. Duties include recruitment and cultivation of contacts with high school orchestra directors and string educators throughout the state and region. -
William Schuman: the Witch of Endor William Schuman (1910-1992)
WILLIAM SCHUMAN: THE WITCH OF ENDOR WILLIAM SCHUMAN (1910-1992) JUDITH, CHOREOGRAPHIC POEM [1] JUDITH, CHOREOGRAPHIC POEM (1949) 21:20 [2] NIGHT JOURNEY (1947) 20:34 NIGHT JOURNEY THE WITCH OF ENDOR (1965) THE WITCH OF ENDOR [3] Part I 6:39 [4] Part II 8:09 [5] Part III 8:00 BOSTON MODERN ORCHESTRA PROJECT [6] Part IV 8:21 Gil Rose, conductor [7] Part V 8:35 TOTAL 81:41 COMMENT William Schuman to Fanny Brandeis November 30, 1949 About three years ago I had the privilege of collaborating with Miss Graham on the work known as Night Journey which was commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, and was first performed on May3 , 1947 at the Harvard Symposium on Music Criticism. Working with Martha Graham was for me a most rewarding artistic venture and is directly responsible for the current collaboration. When I received a telephone call last spring from Miss Graham informing me that the Louisville Orchestra would commission a composer of her choice for her engagement, I had no inten- tion of adding to my already heavy commitments. However, as the telephone conversation progressed and as the better part of an hour was consumed, my resistance grew weaker and suddenly I found myself discussing the possible form the work could take. Actually, my reason for wanting to do the work was not only the welcome opportunity of writing another piece for Miss Graham, but also the opportunity of employing the full OGRAPHY BY MARTHA GRAHAM. MARTHA BY OGRAPHY resources of the modern symphony orchestra for a choreographic composition. -
Library of Congress Collection Overviews: Dance
COLLECTION OVERVIEW DANCE I. SCOPE This overview focuses on dance materials found throughout the Library’s general book collection as well as in the various special collections and special format divisions, including General Collections; the Music Division; Motion Picture, Broadcasting and Recorded Sound; the American Folklife Center; Manuscript Division; Prints & Photographs; and Rare Book and Special Collections. The overview also identifies dance- related Internet sources created by the Library as well as subscription databases. II. SIZE Dance materials can be found in the following classes: BJ; GT; VN; GV; M; and ML. All classes, when totaled, add up to 57,430 dance and dance-related items. Class GV1580- 1799.4 (Dancing) contains 10,114 items, constituting the largest class. The Music Division holds thirty special collections of dance materials and an additional two hundred special collections in music and theater that include dance research materials. III. GENERAL RESEARCH STRENGTHS General research strengths in the area of dance research at the Library of Congress fall within three areas: (A) dance instructional and etiquette manuals, especially those printed between 1520 and 1920, (B) dance on camera, and (C) folk, traditional, and ethnic dance. A. The first primary research strength of the Library of Congress is its collections of 16th-20th-century dance instructional and etiquette manuals and ancillary research materials, which are located in the General Collections, Music Division, and Rare Book and Special Collections (sub-classifications GN, GT, GV, BJ, and M). Special Collections within the Music Division that compliment this research are numerous, including its massive collection of sheet music from the early 1800s through the 20th century. -
Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974, Trip
Segovia, appearing ccc/5 s: Andres in recital this month Oa. < DC LU LL LU < lb Les Hooper, traveler through a crowded ol' world. United dedicates ^riendshq) Sendee. Rooiiqr747aiidDC-10 Friend Sh4>s. Flying New York to the west, why crowd yourself? United people to help you along the way. And extra wide Stretch out. Lean back. And try on a roomy 747 or DC-10 aisles, so you can walk around and get friendly yourself. for size. YouVe also a wide range of stereo entertainment. Another reason more people choose the friendly And a full-length feature film on selected flights skies than any other airline in the land. ($2.00 in Coach). A daily 747 to Los Angeles, and roomy DC-lO's to So call United Air Lines at (212) 867-3000, or your Los Angeles, San Francisco, Chicago, Denver and Travel Agent, and put yourself aboard our giant Cleveland. Friend Ships. You can't go west in a bigger way. Only United flies the Friend Ship with so many extras. Extra room to stretch out and relax. Extra friendly The friendly skies ofyour land. Unitedh 747's & DClOb to the West Partners in Travel with Western International Hotels. "FOM THE ELIZABETH ARDEN SALON Our idea. Quick. Simple. Color-coded to be fool-proof. Our System organizesyour skin care by daily skin care soyou can cleanse, skin type, simplified. tone and moisturize more efficiently. And effectively. Introducing ¥or instance, Normal-to-Oily skin The Personal can have its own Clarifying Astringent. Normal-to-Dry skin its own Fragile Skin Care System Skin Toner No matter which skin type have, find a product by Elizabeth Arden. -
Col. George S Howard S
SABATINI, EUGENE J., CAPT. MS78-1926 Letter from Col. William J. Wrigglesmith, Commanding Officer, Officer's Mess, Bolling AFB Wash., D.C., concerning a letter from Capt. Eugene J. Sabatini, Sec.-Treas., Officers Mess, dated Aug. 18, 1952. SABATINI, EUGENE J., MAJ. MS78-1909 Letter from Maj. Eugene J. Sabatini, Sec.-Treas., Officer's Open Mess, Bolling AFB, to Col. George S. Howard, dated Jun. 29, 1954, concerning an "unexcelled performance" of the various units of the USAF Band. SAITO, REIKO MS78-1760 Copy of letter from Reiko Saito, of Hyogoken, Japan, dated Sept. 16, 1957, to the USAF Band, concerning his impressions of the USAF Band. SAllADE, ALICE MS78-1506 Letter from Alice Sallade to George S. Hwoard, her grandson, from Reamstown, dated Dec. 10, 1922. SALLADE, ALICE MS78-1S07 Letter from Alice Sallade to George S. Howard, her grandson, from Reamstown, dated Sept. 22, 1922. SALlADE, ALICE MS78-1508 Letter from B. L. Johnson, Business Manager, Ithaca Conservatory of Music to George S. Howard, dated Sept. 5, 1922, listing items which he should bring along to the Conservatory when attending. Accompanied with a letter from Alice Sallade asking if items were received. SALlADE, ALICE MS78-1509 Letter from Alice Sallade to George S. Howard, her grandson, dated Sept. 18, 1922, with clipping from Denver Carnival. SAllADE, ALICE MS78-1510 Letter from Alice Sallade, to George S. Howard, her grandson, dated Sept. 27, 1922. SAllADE, ALICE MS78-1512 Letter and Thanksgiving card from Alice Sallade to her grandson George S. Howard, (no date). SAllADE, ALICE MS78-1513 Letter from Alice Sallade, to her grandson George S. -
JAMESTOWN CONCERTO Time: AMERICAN MUSIC for 72:11 CELLO and ORCHESTRA MRCNMSCFRCLOADORCHESTRA and CELLO for MUSIC AMERICAN Disc Made in Canada
CMYK NAXOS Playing JAMESTOWN CONCERTO Time: AMERICAN MUSIC FOR 72:11 CELLO AND ORCHESTRA AMERICAN MUSIC FOR CELLO AND ORCHESTRA Disc made in Canada. Printed and assembled USA. this compact disc prohibited. reserved. Unauthorised public performance, broadcasting and copying of All rights in this sound recording, artwork, texts and translations 8.559344 WILLIAM PERRY (b. 1930): AMERICAN CLASSICS Jamestown Concerto for Cello and Orchestra* 24:41 This recording presents three 1 London 1606. The Virginia Company 4:12 important yet infrequently heard 2 Settlements Along the River 4:56 3 The Long Winters 4:40 American cello works. It is the first 4 Pocahontas in London 5:45 modern recording of William 5 Jamestown: Four Hundred Years On 5:07 Schuman’s A Song of Orpheus; the WILLIAM SCHUMAN (1910-1992): Virgil Thomson Concerto for Violoncello and Orchestra in its original ൿ 6 Poem: ‘Orpheus With His Lute’ full orchestration has not been & by William Shakespeare Ꭿ (read by Jane Alexander) 0:52 recorded since the 1950s; and William 2008 Naxos Rights International Ltd. 7 A Song of Orpheus – Perry’s Jamestown Concerto is Fantasy for Cello and Orchestra 23:04 receiving its world première recording. All three composers worked extensively VIRGIL THOMSON (1896-1989): in art song, opera or musical theatre, Concerto for Violoncello and Orchestra 23:33 and their concertos, while technically 8 Rider on the Plains 7:59 demanding, emphasize the lyric 9 Variations on a Southern Hymn 9:09 0 Children’s Games 6:25 qualities of the cello, the instrument that most closely identifies with the ORLD REMIÈRE ECORDING *W P R human voice. -
The Magazine of Claremont Graduate University LEAVING a LEGACY to BE PROUD OF
Volume 10 Number 2 Fall 2009 the FlameThe Magazine of Claremont Graduate University LEAVING A LEGACY TO BE PROUD OF theFlame The Magazine of Claremont Graduate University Fall 2009 Volume 10, Number 2 The Flame is published by Claremont Graduate University 150 East Tenth Street Claremont, CA 91711 ©2009 by Claremont Graduate University Director of University Communications Esther Wiley Managing Editor Brendan Babish Art Director Shari Fournier-O’Leary News Editor Nikolaos Johnson Online Editor Derik Casper Editorial Contributors Mandy Bennett Brenda Bolinger Dean Gerstein Margaret Grogan William Perez Kevin Riel Director of Alumni Services Monika Moore Distribution Manager Mandy Bennett Photographers Kevin Burke Marc Campos William Vasta Tom Zasadzinski Claremont Graduate University, founded in 1925, focuses exclusively on graduate-level study. It is a member of the Claremont Colleges, a consortium of seven independent institutions. Interim President Joseph C. Hough, Jr. Provost and Vice President for Academic Affairs Yi Feng Senior Vice President for Finance and Administration Steven Garcia Vice President for Advancement Gregory Pierre Cox Send address changes to: Office of Alumni and Donor Relations Claremont Graduate University 165 East Tenth Street Claremont, CA 91711 [email protected] Claremont Graduate University does not discriminate in its educational programs on the basis of race, color, creed, place of national origin, gender, sexual ori- entation, age, or disability. Features 14 Commitment to Social Justice and Accountability: An Introduction to the School of Educational Studies by Margaret Grogan After her first year as Dean of SES, Margaret Grogan recounts the challenges, achievements, and privileges of her tenure, and what vision has carried her and the school through such a successful span. -
Report Fall 2019 Scott S
CBDNA REPORT FALL 2019 SCOTT S. HANNA Editor REPORT FALL 2019 IN THIS ISSUE From the Podium – 1 Commissions and Premieres – 2 News – 3 Publications – 4 Book Review – 4 Programs – 6 FROM THE PODIUM Greetings Colleagues! I trust your fall semester has been That name was changed to our current one at the 1947 rewarding, productive, and musically satisfying. Our convention. social networks have allowed us to see each other’s Over the years as the profession changed with the times, programs and performances more than ever before, and the focus of CBDNA has shifted as well. What occupies the number of premieres has been plentiful as usual. us currently? So many things…one look at our When one is elected president of CBDNA, there is a committees will tell you that we are broadly focused on presence of the past looming over everything, even while many fronts, attempting to serve the entire profession of we chart a path forward. In my research through the college band directors. past minutes, I discovered the very first meeting of Thank you all for your patience as we continue to tweak CBDNA, held in Chicago December 22-23, 1941. This and update the new CBDNA web site. was organized by the University of Michigan legendary director William Revelli. Other attendees and presenters Finally, if you are in Chicago for the Midwest Clinic, included Mark Hindsley, Harold Bachman, Graham please join us for the CBDNA Forum on Friday, Overgard, Joseph Gremelspacher, Glenn Bainum, and December 20 at 3:00pm in room Prairie B located on A.A. -
Brown, Orange, and Blue Gamelan Is Back at Illinois!
SPRING 2007 The News Magazine of the University of Illinois School of Music Brown, Orange, and Blue Gamelan is Back at Illinois! Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign. Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
National Endowment for the Arts Annual Report 1968
ANNUAL REPORT 1969 the arts , NATIONAL ENDOWMENT FOR THE ARTS and NATIONAL COUNCIL ON THE.ARTS I Front Cover The Phoenix Woodwind Quintet and guest conductor; P.S. 158, New York City, 1969. ANNUAL REPORT FISCAL YEAR 1969 the arts NATIONAL ENDOWMENT FOR THE ARTS and NATIONAL COUNCIL ON THE ARTS Letter o] Transmittal WASHINGTON, D.C. February 27, 1970. I MY DEAR MR. I~RESmENT: I have the honor to submit herewith the annual report of the National Endowment for the Arts and the National Council on the Arts for the fiscal year ended June 30, 1969. 2 Respectfully, NANCY HANXS Chairman, National Endowment [or the Arts. The PRESmENT - The White House. I ¯i _ TABLE OF CONTENTS Page The National Foundation on the Arts and the Humanities ..... 4 4 . - ~ -. ~ , : «~ The Federal Council on the Arts and the Humanities_ ’ ...)..!\ The National Council on the Arts .......................... 5 6 ., ,. , . The National Endowment for the Arts ...................... ¯ - ~. Foreword ...................................... 8 ". Architecture, Planning and Design .......................... 11 Dance .............................. ~ ........ 15 Education ...................................... 19 3 Literature .............................................. 23 Music ................................................. 27 Public Media ............................................ ~~ ’ Theatre ......................................... 33 ~ ~ ~«~~~ Visual Arts ...................................... 37 Coordinated Arts ........................................ 40 Federal-State