DOCSLIB.ORG

After the Ring Après L'anneau

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
After the Ring Après L'anneau JOHN STORGÅRDS PRINCIPAL GUEST CONDUCTOR / PREMIER CHEF INVITÉ JACK EVERLY PRINCIPAL POPS CONDUCTOR / PREMIER CHEF DES CONCERTS POPS ALAIN TRUDEL PRINCIPAL YOUTH AND FAMILY CONDUCTOR / PREMIER CHEF DES CONCERTS JEUNESSE ET FAMILLE BRAVO SERIES/SÉRIE BRAVO After the Ring Après l’Anneau Alexander Shelley CONDUCTOR/CHEF D’ORCHESTRE Colin Currie PERCUSSION JUNE 2–3 JUIN 2016 SALLE SOUTHAM HALL Peter A. Herrndorf PRESIDENT AND CHIEF EXECUTIVE OFFICER/PRÉSIDENT ET CHEF DE LA DIRECTION From the unforgettable poignancy and sensuality of the opening chords of the Prelude, with their history- making harmonic ambiguity, to the final transcendental resolution © Fred Cattroll © Fred of the work, Tristan und Isolde contains some of the most ravishing, exciting and, quite simply, greatest music ever conceived. It is also a personal favourite of mine. The final notes of Wagner’s other great accomplishment, the Ring cycle, usher in the opening of Christopher Rouse’s percussion concerto Der gerettete Alberich, which graphically narrates a vision of Alberich’s post-Ring adventures. I am delighted to welcome my dear friend Colin Currie as our soloist this week. Depuis le côté poignant et sensuel des accords d’ouverture du Prélude, reconnaissables entre tous à leur ambiguïté harmonique, jusqu’à la conclusion finale transcendantale de l’œuvre, Tristan und Isolde renferme certaines des pages musicales les plus ravissantes, les plus passionnantes et tout simplement les plus magnifiques jamais écrites. C’est aussi une de mes œuvres favorites. Les dernières notes d’une autre grande réalisation de Wagner, le cycle de L’Anneau, s’insinuent dans l’ouverture du concerto pour percussion de Christopher Rouse, Der gerettete Alberich — narration graphique d’une vision des aventures d’Alberich après L’Anneau. Je suis ravi d’accueillir comme soliste cette semaine un ami cher, Colin Currie. Alexander Shelley 2 Follow Alexander Shelley on Twitter: @ShelleyConduct Program/Programme CHRISTOPHER ROUSE Der gerettete Alberich 25 minutes Colin Currie percussion INTERMISSION/ENTRACTE WAGNER Tristan und Isolde — An Orchestral Passion Arr. HENK DE VLIEGER Tristan und Isolde — Une passion orchestrale 64 minutes Einleitung — Isoldes Liebensverlangen — Nachtgesang — Vorspiel und Reigen — Tristans Vision — Das Wiedersehen — Isoldes Liebestod Express your passion Exprimez votre passion for the performing arts! pour les arts de la scène! Send a donation to the Verser un don à la Fondation du National Arts Centre Foundation. Centre national des Arts, c’est It’s easy and convenient to give! simple comme tout! Appelez Call 613 947-7000 x315, or au 613 947-7000 x315, ou visit nacfoundation.ca visitez le site fondationducna.ca for more details. pour plus d’information. Suivez Alexander Shelley sur Twitter : @ShelleyConduct 3 The Rouse concerto Der gerettete Alberich is actually, more precisely and revealingly, a “fantasy for solo percussionist and orchestra.” This terminology reveals the composer’s intentions from the outset, to put in motion an adventure for percussionist and orchestra in the bizarre and surreal setting of a post-Ring Wagner-themed world. Alberich comes to this world, dusts himself off, and is amazed, amused and, finally, rather thrilled to find himself equipped with astonishing drumming skills. Having fun with, but never making fun of, the Ring cycle turned out one of solo percussion’s most unexpected triumphs, and the work is both scintillating to play and full of excitement for the audience. The madcap action is offset by more reflective moments too, but Alberich, being Alberich Saved, finds it impolite not to accept the opportunity of joining a 70s-style rock’n’roll section in response. Enjoy! Le concerto Der gerettete Alberich de Rouse est en fait plus exactement une « fantaisie pour percussion solo et orchestre ». Cette description révèle d’entrée de jeu l’intention du compositeur, qui consiste à lancer le percussionniste et l’orchestre dans une aventure évoluant dans le contexte bizarre et surréel d’un univers postérieur à L’Anneau, dans la thématique de Wagner. Alberich débarque dans ce monde où il se réinvente, et se trouve émerveillé, amusé et, au final, plutôt enchanté de se voir doté d’étonnantes aptitudes pour le jeu de tambour. Il s’amuse autour — mais jamais au détriment — du cycle de L’Anneau qu’il transforme en un des triomphes les plus inattendus du répertoire pour percussion solo. C’est une œuvre qu’on prend un plaisir fou à jouer et qui est aussi des plus enthousiasmantes pour l’auditoire. Des moments plus réfléchis font contrepoids à l’action insensée, mais Alberich, transformé en Alberich sauvé, trouverait impoli de ne pas saisir l’occasion de riposter en se joignant à une section rock’n’roll typique des années 1970. Bon concert! Colin Currie 4 Follow us on Twitter: @NACOrchCNA CHRISTOPHER ROUSE CHRISTOPHER ROUSE Born in Baltimore, February 15, 1949 Né à Baltimore, le 15 février 1949 Now living in Baltimore Vit aujourd’hui à Baltimore Der gerettete Alberich Der gerettete Alberich Christopher Rouse ranks as one of Christopher Rouse est un des plus America’s most distinguished living remarquables compositeurs vivants composers. He holds degrees from des États-Unis. Diplômé de l’Oberlin Oberlin Conservatory and Cornell Conservatory et de la Cornell University, University, and counts George Crumb, il a étudié la composition avec des Karel Husa and Robert Palmer among his professeurs tels que George Crumb, composition teachers. Rouse taught at Karel Husa et Robert Palmer. Il a enseigné the Eastman School of Music from 1981 à l’Eastman School of Music de 1981 to 2002, and has been teaching at The à 2002, et enseigne depuis 1997 à la Juilliard School of Music since 1997. Juilliard School of Music. Sa musique a His music has been performed by nearly été jouée par presque tous les grands every major American orchestra as well orchestres américains et par beaucoup as by many abroad. More than thirty of d’orchestres étrangers. Une trentaine his compositions are available on CD. de ses compositions sont gravées sur Among Rouse’s most prestigious awards CD. Rouse a reçu des prix prestigieux, are the Kennedy Center Friedheim notamment le prix Friedheim du Kennedy Award for his Symphony No. 1 and the Center pour sa Symphonie no 1 et le 1993 Pulitzer Prize for his Trombone prix Pulitzer 1993 pour son Concerto Concerto. In 2002, he was elected to the pour trombone. En 2002, il a été élu à la prestigious American Academy of Arts prestigieuse American Academy of Arts and Letters. Recent orchestral works, and Letters. Parmi ses récentes œuvres all premiered in 2014, include Supplica orchestrales, toutes créées en 2014, (Pittsburgh Symphony), Thunderstruck, figurentSupplica (Orchestre symphonique and Symphony No. 4. The latter two de Pittsburgh), Thunderstruck et la works were premiered by the New York Symphonie no 4. Ces deux dernières Philharmonic, with which Rouse was œuvres ont été créées par le New York composer-in-residence from 2012-2014. Philharmonic, orchestre dont Rouse a été Upcoming premieres include an Organ le compositeur en résidence de 2012 à Concerto (Philadelphia, November 2014. Parmi ses prochaines créations 2016) and Symphony No. 5 (Dallas, figurent un concerto pour orgue February 2017). (Philadelphie, novembre 2016) et la Der geretttete Alberich was Symphonie no 5 (Dallas, février 2017). commissioned jointly by the London Der gerettete Alberich était une Symphony, Cleveland Orchestra, commande conjointe du London This is the first time the NAC Orchestra has performed the two works on tonight’s program. C’est la première fois que l’Orchestre du CNA interprète les deux œuvres au programme de ce soir. Suivez-nous sur Twitter : @NACOrchCNA 5 Philadelphia Orchestra and Baltimore Symphony Orchestra, des orchestres Symphony. Christoph Dohnányi de Cleveland et Philadelphie, et conducted the first performance with the de l’Orchestre symphonique de Cleveland Orchestra on January 15, 1997 Baltimore. Christoph Dohnányi a dirigé with soloist Evelyn Glennie, to whom the la création de cette œuvre à la tête de score is dedicated. l’Orchestre de Cleveland, le 15 janvier Concertgoers familiar with Wagner’s 1997, avec la soliste Evelyn Glennie, à qui la operatic tetralogy, Der Ring des Nibelungen partition est dédiée. (The Ring of the Nibelung), know that Les amateurs de concerts qui the particular Nibelung in question is the connaissent la tétralogie de Wagner — dwarf Alberich, that it is he who set in Der Ring des Nibelungen (L’Anneau du motion the great cosmic cycle of events Nibelung) — savent que le Nibelung that led to the downfall of the gods en question est le nain Alberich, celui in Valhalla, and that he survived the qui déclenche le grand cycle cosmique catastrophe, though his fate remains d’événements menant à la chute des dieux unknown. Christopher Rouse thought that du Walhalla, qui survit à la catastrophe, “it might be engaging to return him to the mais dont le sort demeure inconnu. stage, so to speak, so that he might wreak Christopher Rouse a pensé qu’il serait further havoc in what is quite literally the « intéressant de le ramener sur scène, pour godless world in which Wagner has left us ainsi dire, afin qu’il remette sens dessus in the final pages of Götterdämmerung. dessous le monde sans dieux dans lequel The result was Der gerettete Alberich, Wagner nous a laissés aux dernières pages whose title might best be translated as du Götterdämmerung (Le Crépuscule des ‘Alberich Saved,’ itself a reference to dieux). C’est ce que je propose dans Der George Kaiser’s expressionist play Der gerettete Alberich, dont le titre pourrait être gerettete Alkibiades.” traduit par “ Alberich sauvé ”, un clin d’œil Rouse also notes that Der gerettete à la pièce expressionniste Der gerettete Alberich is “looser architecturally” than his Alkibiades de George Kaiser. » other concerted works, “more of a fantasy Rouse fait remarquer également que for solo percussionist and orchestra on la construction de Der gerettete Alberich themes of Wagner, with the soloist taking est plus souple que celle de ses autres on the role of Alberich.” Throughout the pièces concertantes.
Load more

Recommended publications
  • College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed.
    [Show full text]
  • Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia Austéra (1953–55, Rev
    WORKS BY PER NØRGÅRD Works for Orchestra Preludio (1950–51) Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia austéra (1953–55, rev. 1956) Bright Dances (1959) Fragment VI (1959–61) The Young Man Is Getting Married (1964–68) Le jeune homme à marier — Suite (1965) Composition for Orchestra (1966) Töne vom Hernst (1966) Iris (1966–67, rev. 1968) Luna, Four Phases for Orchestra (1967) Århus’ tapre skrædder (1968) Voyage into the Golden Screen (1968) The Man Who Thought Things (1969) Tango Chikane (chamber orchestra version) (1969) Symphony No. 2, in one movement (1970, rev. 1971) Symphony No. 3, in two movements (1972–75) Dream Play (1975, rev. 1980) Twilight (1976–77, rev. 1979) Towards Freedom? (1977) Symphony No. 4, Indian Rose Garden and Chinese Witch Sea (1981) Surf (1983) Burn (1984) Symphony No. 5 (1990, rev. 1991) Spaces of Time (1991) Night-Symphonies, Day Breaks (1991–92) Fugitive Summer (1992) Out of This World — Hommage à Lutosławski (1994) Four Observations — From an Infinite Rapport. Hommage à Bartók (1995) Tributes — Album for strings (1995) Voyage into the Broken Screen, Hommage à Sibelius (1995) Aspects of Leaving (1997) (more) Symphony No. 6, At the End of the Day (1997–99, rev. 2000) Terrains Vagues (2000) Intonation/Detonation (2001) Symphony No. 7 (2004–06) Lysning (Glade) (2006) Symphony No. 8 (2010–11) Works for Soloist(s) and Orchestra Rhapsody — in D (for piano) (1952) Concerto for Piano and Orchestra (1955–58) Nocturnes, Fragment VII (for soprano) (1961–62) Three Love Songs (for alto) (1963) Recall — Concerto for Accordion (1968) For a Change — Percussion Concerto No.
    [Show full text]
  • February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
    FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G.
    [Show full text]
  • Focus Day 2011: Five Decades of New Music for Percussion: 1961
    Focus Day 2011 Five Decades of New Music for Percussion: 1961–2011 In celebration of the 50th Anniversary of the Percussive Arts Society, the New Music/Research Focus Day 2011 Committee is extremely excited to present Focus Day 2011: Five Decades of New Music for Percussion. Featuring masterworks of the last fifty years of our repertoire performed by some of the most significant artists of our generation, Focus Day 2011 marks a monumental achievement for the Percussive Arts Society and its membership. As the Percussive Arts Society as a whole cel- ebrates its 50th anniversary, it is fitting that the New Music Research Committee is celebrating the “Five Decades of New Music for th 25 Anniversary of Focus Day (formerly New Music/Research Day) at PASIC. Since its founding by Stuart Smith in 1986, the mission of the New Music/Research Committee has been to present creative, innovative, and imaginative programming that exposes new compositional trends while Percussion 1961–2011” maintaining connections to the historically significant composers and performers of our field who together shaped the contemporary art-form of new music for percussion. Certainly, Focus Day 2011 defines this mission in every way. Many of the major masterworks by the most important composers of our field from 1961–2011 will be presented throughout the day, including works from Mark Applebaum, Herbert Brün, Michael Colgrass, Christopher Deane, Morton Feldman, Brian Ferneyhough, Michael Gordon, David Lang, Steve Reich, Paul Smad- beck, Stuart Smith, Karlheinz Stockhausen, Gordon Stout, Michael Udow, Julia Wolfe, and Ian- nis Xenakis. The New Music Research Committee also encourages the presentation of new and previously unknown works at PASIC, and we are delighted that Focus Day 2011 will include two PASIC Premieres—a unique new composition by Judith Shatin, and a truly epic new percussion ensemble work by one of the leading composers of our time, James Wood.
    [Show full text]
  • Where Comes the Sun? by Jeff Dunn San Francisco Classical Voice, Monday, March 22, 2010
    Where Comes the Sun? by Jeff Dunn San Francisco Classical Voice, Monday, March 22, 2010 Did the Santa Rosa Symphony on Saturday night live up to part of a public-school student poem, by “Cristobal,” posted in its concert-hall lobby? Sounds frightful, amazing, destructive. Beethoven, great composer—Music as powerful as the sun. Ludwig Van and Chris Rouse knock and rock Two of the three works, as written, could certainly have been in the “frightful, amazing, destructive” category: Christopher Rouse’s percussion concerto, Der Gerettete Alberich, which began the concert, and the second half of the evening, which consisted solely of Beethoven ’s most white-hot symphony, the Fifth. In terms of performance, however, it was the Fourth Symphony of Beethoven, which followed the Rouse, that encouraged the most ear-basking on my part. The concerto, composed in 1998, is one of those rare recent American works that receive not only many repeat performances by various orchestras (more than 25 to date) but also as many international performances as national ones. It’s basically a fantasy from Wagner ’s Ring cycle of operas on the many themes associated with the evil dwarf Alberich. (You can guess it’s especially popular in Germany.) Beginning with the final notes of the last opera of the series, Götterdämmerung, it presents in three movements moods of the villain, one of the few major characters left alive ( gerettete = “saved”) at Wagner’s conclusion. Mood Music Alberich’s progression is countertherapeutic, from anger (Alberich has lost the ring he’s been pursuing for some 16 hours of opera) to depression — and then, instead of acceptance, to revenge.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair blue cathedral Jennifer Higdon orn in Brooklyn, Jennifer Higdon grew my for her Percussion Concerto; and, in 2018, Bup in Atlanta and in rural Tennessee in the Nemmers Prize of Northwestern University. a counterculture family — both parents were Although she has written a number of visual artists — for whom art happenings choral and solo vocal pieces, not to mention and experimental film festivals were the the 2015 opera Cold Mountain, Higdon is norm. She thought she might become a writ- principally an instrumental composer, hav- er and didn’t have any involvement with mu- ing produced an impressive body of works sic until she started teaching herself to play for orchestra and for various chamber for- the flute at the age of 15. In the course of her mulations. Her teacher George Crumb has education at Bowling Green State University acknowledged specific qualities that go to (Ohio), the Curtis Institute of Music, and the the heart of her music: its “rhythmic vitality, University of Pennsylvania she developed interesting coloration, and sensitivity to nu- her exceptional talent as a composer. ance and timbre.” These are indeed her musi- Today her dance card for commissions is very cal fingerprints, but beyond what are essen- full, and at least one of her orchestral works, blue tially technical matters one also hears in her cathedral, seems destined to become a classic, scores an immediacy of contact, a genial and having already been performed more than 600 sincere desire to connect with the listener.
    [Show full text]
  • World Premieres Composer Work Date Conductor Loder Concert Overture, Marmion 17-Jan 1846 Loder Bristow Concert Overture, Op
    World Premieres Composer Work Date Conductor Loder Concert Overture, Marmion 17-Jan 1846 Loder Bristow Concert Overture, Op. 3 9-Jan 1847 Timm Bristow Symphony No. 4, Arcadian 14-Feb 1874 Bergmann Liszt Symphonic Poem No. 2, Tasso: 24-Mar 1877 L.Damrosch lamento e trionfo Tchaikovsky Piano Concerto No. 2 12-Nov 1881 Thomas R. Strauss Symphony in F minor, Op. 12 13-Dec 1884 Thomas *Lalo Arlequin 28-Nov 1892 W. Damrosch Beach Scena and Aria from Mary Stuart 2-Dec 1892 W.Damrosch Dvořák Symphony No. 9, From the New 16-Dec 1893 Seidl World (formerly No. 5) Herbert Cello Concerto No. 2 9-Mar 1894 Seidl Hadley Symphony No. 2, The Four Seasons 21-Dec 1901 Paur Burmeister Dramatic Tone Poem, The Sisters 10-Jan 1902 Paur Rezniček Donna Dianna 23-Nov 1907 W. Damrosch Lyapunov Concerto for Piano and Orchestra 7-Dec 1907 W. Damrosch Hofmann Concerto for Pianoforte No. 3 28-Feb 1908 Safonoff *Rachmaninoff Piano Concerto No. 3 28-Nov 1909 W.Damrosch *W. Damrosch Excerpt from Canterbury Pilgrims 20-Feb 1910 W.Damrosch *Wallace Symphonic Poem, François Villon 6-Nov 1910 W.Damrosch Busoni Berceuse élégiaque 21-Feb 1911 Mahler *Kolar Symphonic Poem, Hiawatha 12-Mar 1911 Damrosch Laucella Symphonic Poem, Consalvo 26-Nov 1911 Stransky Van der Pals Two Symphonic Pieces 17-Dec 1911 Stransky *W. Damrosch Ballad, The Looking Glass 31-Dec 1911 W.Damrosch *W. Damrosch Juanita's Song from Dove of Peace 31-Dec 1911 W.Damrosch *Wolf "Fairy Song" from A Midsummer 2-Feb 1912 Harris Night's Dream Stahlberg Two Symphonic Sketches from Im 4-Feb 1912 W.Damrosch Hochland *Wolf-Ferrari Two Intermezzi from Jewels of 11-Feb 1912 W.Damrosch Madonna *Handel/Reger Concerto Grosso No.
    [Show full text]
  • PROGRAM NOTES: “Percussion Concerto”
    PROGRAM NOTES: “Percussion Concerto” The 20th century saw the development of the percussion section grow as no other section in the orchestra. Both the music and the performers grew in visibility as well as in capability. And while the form of the concerto wasn’t the least bit new in the century, the appearance and growth of the percussion concerto as a genre exploded during the later half of the century. My “Percussion Concerto” follows the normal relationship of a dialogue between soloist and orchestra. In this work, however, there is an additional relationship with the soloist interacting extensively with the percussion section. The ability of performers has grown to such an extent that it has become possible to have sections within the orchestra interact at the same level as the soloist. When writing a concerto I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to non-pitched smaller instruments (brake drum, wood blocks, Peking Opera gong), and to the drums themselves. Not only does a percussionist have to perfect playing all of these instruments, but he must make hundreds of decisions regarding the use of sticks and mallets, as there is an infinite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.
    [Show full text]
  • Interview with Jennifer Higdon, Composer
    The following interview with JENNIFER HIGDON was conducted by the Library of Congress on April 2, 2020 Library of Congress: I always like to ask composers what I call a pure "craft" question: that is, where do you compose? Jennifer Higdon: I have a studio in my home where I do most of my composing. Though I have written quite a bit while on the road, in artist colonies or when I'm in residence with various orchestras or universities, I prefer to write in my own studio. LOC: When do you compose? Day? Night? Do you set aside a specific time during the day to work on your music? JH: I try to compose just about every day. Usually morning is the best time for me, right after yoga and breakfast when my head is still clear. Before I start to compose, I don't read emails or look at the news. I try to get in 4-6 hours a day of writing, so that usually means a chunk in the morning and then a chunk in the afternoon. LOC: When you began work on Percussion Concerto, did you approach this new piece with something particular in mind? What did you want to create? JH: I did indeed have some distinctive ideas in addition to the commissioning orchestra's requirements regarding orchestra instrumentation and duration. I met with Colin Currie before writing any music so I had an idea of what particular percussion instruments he loves to play and what he thinks works for percussion. Colin loves the marimba, for example, so the work begins with the soloist playing a quiet marimba solo.
    [Show full text]
  • Gershwin and Copland SATURDAY, JANUARY 25, 2020 • 7:30 P.M
    CLASSICAL THREE Gershwin and Copland SATURDAY, JANUARY 25, 2020 • 7:30 p.m. • MARK C. SMITH CONCERT HALL, VON BRAUN CENTER Sean Ritenauer, percussion Huntsville Symphony Orchestra • GREGORY VAJDA, Music Director & Conductor George Gershwin Cuban Overture (1898–1937) Andy Akiho Percussion Concerto (2019) (b. 1979) Prelude I II III Interlude IV Sean Ritenauer, percussion INTERMISSION Aaron Copland Symphony No. 3 (1900–1990) I. Molto moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato—Allegro risoluto Davidson Classical Series Concert Sponsor: IBERIABANK Guest Soloist Sponsor: HOWARD AND TROTH FAMILY FUND OF THE COMMUNITY FOUNDATION OF COLLIER COUNTY, FLORIDA Production Sponsor: DESE RESEARCH, INC. 62 • HSO SEASON 65 • FALL has performed with both the Carolina Crown and The Cadets drum and bugle corps, and is also an accom- Program Notes plished classical solo, chamber, and orchestral per- cussionist. A composition student of Julia Wolfe and of David Lang at Yale University, Akiho writes primarily for percussion instruments, seeking to provide players an GERSHWIN outlet for modern virtuosity while engaging audiences in novel ways. His Ricochet (2015), a concerto grosso in Cuban Overture which a ping pong match acts as a percussion ensem- ble, has become an internet sensation. The island nation of Cuba was the object of an Amer- ican obsession in the early twentieth century. Clubs, The Percussion Concerto was commissioned by the Or- restaurants, and hotels catering to affluent tourists lined egon Symphony Orchestra and premiered with soloist the streets of balmy Havana, where George Gershwin Colin Currie in October 2019. Akiho first heard Currie went on holiday in 1932.
    [Show full text]
  • An Annotated Bibliography and Performance Commentary of The
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-1-2016 An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble Stephen Andrew Hunter University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Fine Arts Commons, Music Education Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hunter, Stephen Andrew, "An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble" (2016). Dissertations. 333. https://aquila.usm.edu/dissertations/333 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. AN ANNOTATED BIBLIOGRAPHY AND PERFORMANCE COMMENTARY OF THE WORKS FOR CONCERT BAND AND WIND ORCHESTRA BY COMPOSERS AWARDED THE PULITZER PRIZE IN MUSIC 1993-2015, AND A LIST OF THEIR WORKS FOR CHAMBER WIND ENSEMBLE by Stephen Andrew Hunter A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Catherine A. Rand, Committee Chair Associate Professor, School of Music ________________________________________________ Dr.
    [Show full text]