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2015 ANNUAL REPORT Pictured (Top to Bottom, L-R)
OUR 2015 ANNUAL REPORT Pictured (top to bottom, l-r): Shawn Patterson and vocalist Sammy Allen at the 2015 ASCAP Film & TV Music Awards Latin Heritage Award honorees La Original Banda el Limón at the 2015 ASCAP Latin Music Awards ASCAP Golden Note Award honoree Lauryn Hill at the 2015 R&S Awards Lady Antebellum at the 2015 ASCAP Country Music Awards Dave Grohl congrat- ulates Gene Simmons and Paul Stanley on their ASCAP Found- ers Award at the 2015 ASCAP Pop Awards Cast members from Invisible Thread with Richard Rodgers New Horizons Award winners Matt Gould (at piano) & Griffin Matthews (far right) at the 2015 ASCAP Foundation Awards The American Con- temporary Music En- semble (ACME) at the 2015 ASCAP Concert Music Awards Annual Report design by Mike Vella 2015 Annual Report Contents 4 16 OUR MISSION Our ASCAP Our Success We are the world leader in performance 6 18 royalties, advocacy and service for Our Growth Our Celebration songwriters, composers and music publishers. Our mission is to ensure that 8 20 Our Board Our Licensing our music creator members can thrive Partners alongside the businesses who use our 10 music, so that together, we can touch Our Advocacy 22 Our Commitment the lives of billions. 12 Our Innovation 24 Our Communication 14 Our Membership 25 Financial Overview 3 OUR ASCAP USIC IS AN ART. AND MUSIC IS A BUSINESS. The beauty of ASCAP, as conceived by our visionary founders over 100 years ago, is that it serves to foster both music and commerce so that each partner in this relationship can flourish. -
Anthracite Fields
JULIA WOLFE ANTHRACITE FIELDS JULIA WOLFE ANTHRACITE FIELDS BANG ON A CAN ALL-STARS Ashley Bathgate – cello and lead voice on Breaker Boys Robert Black – bass Vicky Chow – piano and keyboard David Cossin – drums and percussion Mark Stewart – guitar and lead voice on Speech Ken Thomson – clarinets THE CHOIR OF TRINITY WALL STREET Julian Wachner, conductor Soprano: Jennifer Bates, Sarah Brailey, Eric S. Brenner, Linda Lee Jones, Molly Quinn, Melanie Russell, Elena Williamson Alto: Melissa Attebury, Luthien Brackett, Mellissa Hughes, Marguerite Krull, Kate Maroney Tenor: Andrew Fuchs, Brian Giebler, Timothy Hodges, Steven Caldicott Wilson Bass: Adam Alexander, Jeffrey Gavett, Christopher Herbert, Dominic Inferrera, Richard Lippold, Thomas McCargar (choral contractor), Jonathan Woody JULIA WOLFE ANTHRACITE FIELDS Music and text by Julia Wolfe FOUNDATION . 19:35 BREAKER BOYS . 14:24 SPEECH . 6:29 FLOWERS . 6:38 APPLIANCES . 12:32 I grew up in a small town in Pennsylvania – Montgomeryville. When we first moved there the road was dirt and the woods surrounding the house offered an endless playground of natural forts and ice skating trails. At the end of the long country road you’d reach the highway – route 309. A right turn (which was the way we almost always turned) led to the city, Philadelphia. A left turn on route 309 (which we hardly ever took) lead to coal country, the anthracite field region. I remember hearing the names of the towns, and though my grandmother grew up in Scranton, everything in that direction, north of my small town, seemed like the wild west. When the Mendelssohn Club of Philadelphia commissioned me to write a new work for choir and the Bang on a Can All-Stars, I looked to the anthracite region . -
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 58th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2014 through September 30, 2015 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist. and/or Mixer(s) & Mastering Engineer(s), if other than the artist. 1. REALLY LOVE 1. SOUND & COLOR D'Angelo And The Vanguard Alabama Shakes D'Angelo, producer; Russell Elevado & Ben Kane, Alabama Shakes & Blake Mills, producers; Shawn Everett, engineer/mixer; Bob Ludwig, mastering engineer engineers/mixers; Dave Collins, mastering engineer [ATO Records] Track from: Black Messiah [RCA Records] 2. TO PIMP A BUTTERFLY Kendrick Lamar 2. UPTOWN FUNK Bilal, George Clinton, James Fauntleroy, Ronald Isley, Rapsody, Mark Ronson Featuring Bruno Mars Snoop Dogg, Thundercat & Anna Wise, featured artists; Taz Arnold, Jeff Bhasker, Bruno Mars & Mark Ronson, producers; Josh Boi-1Da, Ronald Colson, Larrance Dopson, Flying Lotus, Fredrik Blair, Serban Ghenea, Wayne Gordon, John Hanes, Inaam "Tommy Black" Halldin, Knxwledge, Koz, Lovedragon, Terrace Haq, Boo Mitchell, Charles Moniz & Mark Ronson, Martin, Rahki, Sounwave, Tae Beast, Thundercat, Whoarei & engineers/mixers; Tom Coyne, mastering engineer Pharrell Williams, producers; Derek "Mixedbyali" Ali, Thomas Burns, James "The White Black Man" Hunt, 9th Wonder & Matt Track from: Uptown Special Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer [RCA Records] [TDE/Aftermath/Interscope] 3. -
Bloomsday 2018 Program and Readers List
ULYSSES ULYSSES : CHAPTER-BY-CHAPTER The Rosenbach honors the memory of James Joyce’s novel Ulysses, published in 1922, is one of the most challenging and An irreverent, simple chapter-by-chapter guide to the key events, characters, and rewarding works of English literature. On the surface, the book follows the story of Homeric parallels in James Joyce’s Ulysses, created by Neil Smith for BBC News Online. FRANK DELANEY three central characters—Stephen Dedalus, Leopold Bloom, and Leopold’s wife whose gift for sharing James Joyce touched audiences Molly Bloom—on a single day in Dublin. Ulysses is also a modern retelling of Homer’s Chapters 1–3 Chapter 12 a free day-long program Odyssey, with the three main characters serving as modern versions of Telemachus, The first three chapters introduce would- Bloom has an argument with a pub-bore in Philadelphia on several Bloomsdays. of readings from Ulysses, and Penelope. Joyce’s use of language is genius, employing the stream-of- be writer Stephen Dedalus, familiar to whose blinkered anti-Semitism mirrors consciousness technique to reflect on big events through small happenings in everyday Joyce readers from his earlier novel A Homer’s one-eyed Cyclops. Bloom exits, James Joyce’s masterpiece life. The narrative wanders in a way that celebrates the craft, humor, and meaning of Portrait of the Artist as a Young Man. On closely followed by a cake tin. exploration, thereby imitating the very wandering it depicts. The best way to read Ulysses the morning of June 16, 1904, Stephen BLOOMSDAY COMMUNITY PARTNERS is to let it carry you along, and to return often to the path it has cut through English leaves the disused watchtower he shares Chapter 13 ULYSSES literature, discovering new things along the way each time. -
Season Opener Celebrating 10 Years of Musical Innovation
SEASON SEPTEMBER 12, 2019 7pm OPENER St. Paul’s Chapel TRINITY CHURCH WALL STREET SEASON OPENER CELEBRATING 10 YEARS OF MUSICAL INNOVATION Colleen Daly, soprano Melanie Long, mezzo-soprano Brian Giebler, tenor Soloists from the choir The Choir of Trinity Wall Street NOVUS NY Julian Wachner, conductor SEPTEMBER 12, 2019 7pm St. Paul’s Chapel PROGRAM Given Sound Trevor Weston (b. 1967) Part 3 “learn to fly” from these broken wings David Lang (b. 1957) “Flowers” from Anthracite Fields*† Julia Wolfe (b. 1958) “Anna’s aria” from Anna Christie Edward Thomas (b. 1924) Source Code Jessie Montgomery (b. 1981) “Boy Angel’s aria” from Angel’s Bone* Du Yun (b. 1977) “Credo and Sanctus” from Imaginary World of Wild Order: A Mass Paola Prestini (b. 1975) “Blood Rubies” and “Beyond Paradise” from REV. 23 Julian Wachner (b. 1969) “Lumee’s Dream” and “Lost in the Blue” from prism* Ellen Reid (b. 1983) XII. Dedication from Symphony No. 5 Philip Glass (b. 1937) *Winner of the Pulitzer Prize for Music † Featuring members of Bang on a Can SEASON OPENER: CELEBRATING TEN YEARS OF MUSICAL INNOVATION Trinity celebrates the release of six major recordings this year and reflects on a legacy of commissioning, premiering, and recording multiple new works that Trinity Church Wall Street helped pioneer and develop, including three that won the Pulitzer Prize in Music. Many of these works’ thematic materials focus on Trinity’s core values and mission, exploring issues ranging from climate change and water justice to human trafficking and gender equality. This long weekend of events showcases these works alongside Trinity’s quintessential performances of early and sacred music. -
Shed2 Press Release
shed2 Press Release THE BLOOMBERG BUILDING 545 W 30th Street New York, NY 10001 For more information, please contact: Sommer Hixson Director of Communications The Shed (646) 876-6933 [email protected] Christina Riley Publicist The Shed Reich Richter features music composed by Steve Reich; a moving picture, in (646) 876-6858 collaboration with Corinna Belz; and images © Gerhard Richter 2019 (05042019). [email protected] Photo: Stephanie Berger. Courtesy The Shed. Reich Richter Pärt, Immersive Live Performance Installations Exploring the Amanda Domizio Shared Language of Visual Art and Music, Premieres on Saturday, April 6, Polskin Arts as an Opening Commission of The Shed (212) 583-2798 [email protected] NEW YORK, APRIL 6, 2019—In its opening week, The Shed presents Reich Richter Pärt, a marriage of music and visual art that brings together three @theshedny luminaries of 20th-century culture, in collaboration with each other for the first theshed.org time in their legendary careers. On Saturday, April 6th, celebrated American composer Steve Reich and pioneering artist Gerhard Richter will debut a world premiere commission, as two New York groups — Ensemble Signal and International Contemporary Ensemble — will alternate performances of Reich’s new score in counterpoint with Richter’s new work, including a new moving picture. Created by Gerhard Richter and filmmaker Corinna Belz, the moving picture will screen in an environment that is intentionally intimate for both audiences and musicians. “Gerhard and Corinna specially developed a new moving picture for this project using calculations based on Richter's book, Patterns: Divided, Mirrored, Repeated,” says Hans Ulrich Obrist, The Shed’s Senior Program Advisor. -
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. -
Pulitzer Winner for Music Found Inspiration in Pennsylvania Coal Mines by Michael Cooper April 20, 2015 6:59 Pm
Pulitzer Winner for Music Found Inspiration in Pennsylvania Coal Mines By Michael Cooper April 20, 2015 6:59 pm The composer Julia Wolfe’s oratorio “Anthracite Fields,” which won the Pulitzer Prize for music on Monday, had its origins in curiosity about the road not taken. Ms. Wolfe, a co-founder of the music collective Bang on a Can, said that when she was commissioned to write a choral piece by the Mendelssohn Club of Philadelphia, her thoughts turned to her childhood in a small town north of Philadelphia, when excursions almost always meant turning right onto the road that headed toward the city. “I thought, why don’t I look in this other direction?” Ms. Wolfe said in an interview. That was the way toward Scranton and Wilkes-Barre, and the anthracite coal mining regions of Pennsylvania — which became the inspiration for her work. Her research led her to museums and mines and books, which helped her create a libretto from historical texts and first-person accounts. “I wanted to honor the people that worked in the mines,” Ms. Wolfe, 56, said. “To really get a sense of what the life was like: lots of integrity, lots being dependent on each other in this very dangerous work. And basically, the work fueled the nation.” “Anthracite Fields” was given its premiere by the Mendelssohn Club of Philadelphia, and was later included in the New York Philharmonic’s inaugural NY Phil Biennial festival. Reviewing the New York performance, Corinna da Fonseca- Wollheim wrote in The New York Times that it “contains a raw indictment of the exploitation of workers, particularly the children employed in the mines as breaker boys, sifting through coal and debris with bleeding fingers.” She added that in “Ms. -
SYMPHONY No.5 PHILIP GLASS SYMPHONY No.5
SYMPHONY No.5 PHILIP GLASS SYMPHONY No.5 PHILIP GLASS Symphony No. 5 Requiem, Bardo, Nirmanakaya NOVUS NY THE CHOIR OF TRINITY WALL STREET 1. Movement I, Before the Creation DOWNTOWN VOICES 2. Movement II, Creation of the Cosmos TRINITY YOUTH CHORUS 3. Movement III, Creation of Sentient Beings Julian Wachner, conductor 4. Movement IV, Creation of Human Beings 5. Movement V, Love and Joy Heather Buck, soprano 6. Movement VI, Evil and Ignorance Katherine Pracht, mezzo-soprano 7. Movement VII, Suffering Vale Rideout, tenor 8. Movement VII, Compassion Stephen Salters, baritone 9. Movement IX, Death David Cushing, bass 10. Movement X, Judgement and Apocalypse 11. Movement XI, Paradise Recorded May 17 - 20, 2017 12. Movement XII, Dedication of Merit Trinity Church in New York City I. BEFORE THE CREATION II. CREATION OF THE COSMOS There was neither non-existence nor existence then; When He decrees a thing, “White clouds shall float up there was neither realm of space nor the sky which is He but says to it, from the great waters at the border of the world beyond. “Be,” and it is. clustering about the mountain terraces. What stirred? Where? In whose protection? They shall be borne aloft and abroad —The Qur’an 2:117 by the breath of the surpassing soul-beings, Was there water, bottomlessly deep? In the beginning by the breath of the children, There was neither death nor immortality. when God made heaven and earth, they shall be hardened and broken by your cold, There was no sign of night nor of day. the earth was without form and void, shedding downward, in rain-spray, the water of life That One breathed, windless, by Its own impulse. -
CHALLENGING the EXCLUSIVE PAST 16 - 19 March 2016 // Baltimore, Maryland
// CHALLENGING THE EXCLUSIVE PAST 16 - 19 March 2016 // Baltimore, Maryland A Joint Annual Meeting of the National Council on Public History and the Courtesy of the Maryland Historical Society, Image ID# B64-9 (top) and ID# PP177-101A Society for History in the Federal Government (bottom). RENAISSANCE BALTIMORE HARBORPLACE HOTEL A Joint Annual Meeting of the National Council on Public History and the Society for History in the Federal Government 16-19 March 2016 Renaissance Baltimore Harborplace Hotel Baltimore, MD Picketers outside Ford’s Theatre in Baltimore. Courtesy of the Maryland Historical Tweet using #ncph2016 Society, Image ID# HEN-00-A2-178. CONTENTS Schedule at a Glance .............................. 2 Registration ................................................ 5 Hotel Information ...................................... 5 Travel Information .................................... 6 History of Baltimore ..................................7 Tours and Field Trips ..............................14 Special Events ..........................................16 Workshops ...............................................20 Conference Program .............................23 Index of Presenters ................................42 NCPH Committees .................................44 Registration Form ...................................59 2016 PROGRAM COMMITTEE MEMBERS Gregory Smoak, The American West Center, University of Utah (Chair) Carl Ashley, U.S. Department of State (Co-Chair) Kristin Ahlberg, U.S. Department of State Michelle Antenesse Laurie -
Reinventing the Concert Experience: Investigating the Effect of Staging on the Performance of Choral Music
Reinventing the Concert Experience: Investigating the Effect of Staging on the Performance of Choral Music A document submitted to The Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTORAL OF MUSICAL ARTS In the Ensembles and Conducting Division of the College-Conservatory of Music Choral Conducting March 4, 2020 by Molly Ann Getsinger B.M.E., Shepherd University, 2012 M.M., Westminster Choir College, 2017 Committee Chair: Dr. L. Brett Scott, D.M.A. Committee Member: Dr. Earl Rivers, D.M.A. Committee Member: Dr. Quinn Patrick Ankrum, D.M.A. ABSTRACT This document will explore the current practice of the addition of staging in choral performance. In an effort to counteract the current trajectory of decreasing attendance figures for classical music performances, artistic directors and ensembles are seeking to redefine the concert experience. The addition of staging is becoming an increasingly popular option within choral music performance. Seeking to both enhance the dramatic narrative of a work and engage differently with modern audiences, conductors are adding staging to choral works that were not originally conceived or intended to be performed with theatrical elements. Choral ensembles (professional, collegiate, and volunteer alike) are collaborating with dance companies, hiring actors, or choosing to incorporate movement for the singers themselves. Dramatic staging of traditional choral literature as discussed in this document is a comparatively recent phenomenon within the history of choral music. As a result, there is relatively little published research or writings on the subject. The aim of this study is to provide a framework for interpretation as to why the trend has emerged and its potential future applications. -
“Parisian Spring” at Kennedy Center
FOR IMMEDIATE RELEASE April 4, 2016 CONTACT: The Washington Chorus (202) 342-6221 [email protected] The Washington Chorus Presents “Parisian Spring” at Kennedy Center Washington (DC) ‐ On Sunday, May 1, 2016, The Washington Chorus (TWC) will present a concert entitled “Parisian Spring” in which it will celebrate the French aesthetic through the music of French composers Maurice Duruflé, Gabriel Fauré and Louis Vierne, as well as a piece composed by TWC’s Music Director Julian Wachner. The concert will take place at 5:00 PM in the Concert Hall of The John F. Kennedy Center for the Performing Arts. In addition, the program will feature the renowned organist and composer Thierry Escaich on the Kennedy Center’s Rubenstein Family Organ. Joining on the program will be the Washington National Cathedral Choir of Boys and Girls. Tickets for the concert are priced from $18 - $72 and may be purchased by calling The Washington Chorus Box Office at (202) 342-6221 or ordering securely online at www.thewashingtonchorus.org. Two major works by Maurice Duruflé will bookend the evening. The concert will open with Duruflé’s Messe Cum Jubilo, performed by the men’s sections of the chorus and Mr. Escaich, and will close with the Duruflé Requiem, performed by the entire chorus, Cathedral choir, and Mr. Escaich. Both of these major works, written in 1966 and 1947 respectively, are, like all of Duruflé’s choral works, based on the French Catholic chant tradition which is the basis for the modern French aesthetic. The Requiem, for example, began as a set of organ improvisations based on the Gregorian chants used in the Mass for the Dead.