Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006, Subscription, Volume 01
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Elliott Carter Works List
W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) .................................................. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. -
The Proms Listening Service Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
The Proms Listening Service Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom BACH a kaleidoscope of new forms, groups and layers. In his Indian Brandenburg Concertos summer – composing throughout his eighties and nineties until his death at the age of 103 – Carter continued to revisit and reshape Bach’s Brandenburgs are a set of wildly innovative and dizzyingly the concerto principle, from Dialogues I and II for piano and diverse answers to the question of how musical individuals relate orchestra and his Clarinet Concerto to works that take the to larger groups. Bach doesn’t come up with anything so Brandenburg principle of a group of instruments as an ensemble of straightforward as the concerto form as it became ossified in potential soloists into the present day. That’s the effervescent energy the 19th century, in which a single soloist is set against the that drives Carter’s Boston Concerto, written for the Boston massed ranks of the orchestra. Instead, each Brandenburg Symphony Orchestra in 2002, and the Asko Concerto, composed in Concerto proposes a much more fluid solution to the question 1999–2000 for the eponymous Dutch new music group. It’s not of how a solo part or multiple solo parts weave in and out of only the example of Bach that tonight’s composers are up against: the texture of the instrumental ensemble as a whole. It’s all there are the achievements of Musgrave and Carter to contend with done with such seamless invention that it’s like looking at an too! ever-active shoal of fish in the ocean, where your attention is sometimes drawn to the dazzle and glint of individuals but then flows out to the group as a whole, in and out again, in a dance of different relationships between the players and a dance of listening on which Bach leads us in each of these concertos. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time. -
Multi-Layered Construction of Elliott Carter's Violin
MULTI-LAYERED CONSTRUCTION OF ELLIOTT CARTER’S VIOLIN CONCERTO, FIRST MOVEMENT, AND IMMERSED IN AN ETHEREAL BLUE LIGHT FOR CHAMBER ENSEMBLE ! ! ! ! ! ! ! ! by Jonghee Kang B.M. in Music Composition, Yonsei University, 2000 M.A. in Music Composition, New York University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 ! UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jonghee Kang It was defended on March 31, 2015 and approved by Reza Vali, Professor of Music, Carnegie Mellon University Amy Williams, Associate Professor of Music, University of Pittsburgh Mathew Rosenblum, Professor of Music, Chair, Department of Music, University of Pittsburgh Dissertation Advisor: Eric Moe, Andrew W. Mellon Professor of Music, University of Pittsburgh ! ii! Copyright © by Jonghee Kang 2015 ! iii! ! MULTI-LAYERED CONSTRUCTION OF ELLIOTT CARTER’S VIOLIN CONCERTO, FIRST MOVEMENT, AND IMMERSED IN AN ETHEREAL BLUE LIGHT FOR CHAMBER ENSEMBLE Jonghee Kang, PhD University of Pittsburgh, 2015 ! ! Most analytical studies of Elliott Carter’s music focus on how Carter utilizes his system of harmony, pitch material, or polyrhythmic stratification. This study, however, explores the structure of Carter’s Violin Concerto from a different analytic angle. Violin Concerto constitutes a new structural model for the traditional concerto genre based on its multi-layered construction. The background structure of Violin Concerto is derived from pre-compositional planning, utilizing tempo modulation and three-way stratification based on a long-range polyrhythm. The phrase structure of the concerto divides the first movement into seven sections, while the movement’s rhythmic activity largely shows a four-part structure. -
Short History of the Baptist
BAPTI ST DENO M INATIO N M I L ES M A R K FI S HE R Som e tim e H o y t P rofe ssor of C hurc h H istory T he R ic hm nd T he l ic al Semin ar V ir i nia U ni n ni v er i o o og y , g o U s ty M inist er in the W hit e R o c k B ap tist C hu rc h D urham N r h C ar li a , o t o n SC H O O L P U B LI SHI N G w n end D . Secretar A . M T o s , , y nne ee Nashv ill e, T e ss FOREWO RD This history is written at the invitation of the Na n ’ tio al M inisters Institute . Since no authoritative histo ry of the Baptists has appeared which includes the religious development of its racial constituents other than as distinct and s eparate groups , and that not t e propor ionat ly treated , there is need of a story like this which essays to treat the story of the de o u o n mination as a nified whole . If, however, Negro B t ap ist s s eem to b e stres sed disproportionately, it must not be forgotten that they have more communicants by over a million than there are Baptists in the rest f h o t e world exclusive of the United States , that in America they are about twice as numerous as North ern Baptists and about equal in number to Southern Baptists , and that their history is available nowhere else . -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006, Subscription, Volume 01
BOSTON SYM PHONY ORCHESTRA Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eiqht-acre qated final phase is priced community, at the ^ 2^& from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. LONGYEAB. BROOKLINE www.longyearestates.com CORTIAND PROPERTIES rXC. s A'V rj * :2&& *&& recovery... "he path to m -McLean Hospital *-'!» «*3S The nation's top psychiatric hospital. 4t:\ U.S. News & World Reports i0 £ +si<*m* d --. i? .* L - <^d j^^v lB::tlDD:tlDfl H ft* ^§ Pavilion at Hospital ^-^SK- The McLean Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ ^s===^ McLean is the largest psychiatric clinical care, teaching and research affiliate F/^RTNERS of Harvard Medical School, an affiliate of Massachusetts General Hospital Hi \ I I H C A R E and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. -
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009, Subscription, Volume 01
BOSTON SYMPHON ORCHESTRA 4i 2008-2009 M SEASON WEEK 11b Music Director lk I Conductor Emeritus [Music Director Laid4 ' the Clarendon BACK BAY The Way to Live 'i !l II i i! iilli I !i' ! II HP' !lil II ^i^iwttnrt tv- niKJ iWBKi •v'V oxer i i w: III nit f hi - w m: m-r- * • « II lj | L«IH ill H)j ' « » ' * !! ftgr IP IMjj 1 ? IIU 1 (J ' " in !"H- i s mil litis III I I I RENDERING BY NEOSCAPE - INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOR CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED LjL/aLcow REGISTERED GREEN BUILDING COUNCIL WITH ANTICIPATED CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which ,i< subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. No Fedet agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where prohibited Table of Contents Week iib 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM 32 FROM THE MUSIC DIRECTOR Notes on the Program 35 Ludwig van Beethoven 43 Elliott Carter 51 Igor Stravinsky 63 To Read and Hear More. -
A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A MULTIFACETED APPROACH TO ANALYZING FORM IN ELLIOTT CARTER'S BOSTON CONCERTO By ALAN THEISEN A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Alan Theisen defended on June 8, 2010. ____________________________________ Michael Buchler Professor Directing Dissertation ____________________________________ Denise Von Glahn University Representative ____________________________________ Jane Piper Clendinning Committee Member ____________________________________ Evan Jones Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS First, I would like to thank my dissertation advisor and good friend Michael Buchler, for his guidance on this project and throughout my stay at Florida State University. I would also like to thank my committee, Jane Piper Clendinning, Denise Von Glahn, and Evan Jones, for their encouragement and insightful comments during the writing process. My family also deserves thanks for the endless supply of support they have provided over the years; a special thanks go to my parents for insisting that I follow my passion rather than simply chasing the Almighty Dollar. I would also like to thank Joseph Brumbeloe at the University of Southern Mississippi for his support over the years and for encouraging me to continue my music theory studies, particularly those on post-tonal topics. -
The Black Preacher As Educator from 1787 to 1909
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1979 The Black preacher as educator from 1787 to 1909. William Charles Larkin University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Larkin, William Charles, "The Black preacher as educator from 1787 to 1909." (1979). Doctoral Dissertations 1896 - February 2014. 3505. https://scholarworks.umass.edu/dissertations_1/3505 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE BLACK PREACHER AS EDUCATOR FROM 1 78? TO 1909 A Dissertation Presented By WILLIAM CHARLES LARKIN Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May 197Q Fduca t i on William Charles Larkin 1979 ( c ) All Fights Reserved THE BLACK PREACHER AS EDUCATOR FROM 178? TO 1909 A Dissertation Presented 3y WILLIAM CHARLES LARKIN Approved as to style and content by; // / / / y , Dr. Norma Jean Anderson, Chairperson of Committee wemoer ember Mario Fantini, Dean School of Education ACKN OWLEDCtEMSNTS T am indebted to God and to Dr. Norma Jean Anderson, without whose continous encouragement and guidance I would not have had the perseverance to complete this dissertation. Also, for the guidance and scholarly criticism of the committee: Dr. Norma Jean Anderson, Chairperson, and Dr. O.C. Bobby Daniels and Dr. -
APPENDIX 1 List of 35 Auditions
APPENDIX 1 List of 35 Auditions Orchestra AuditionDate Position Boston Symphony Orchestra 1/2012 Section Percussion Canton Symphony Orchestra 9/17/2012 Section Percussion Cape Cod Symphony Orchestra 3/2010 Permanent and Substitute Percussion Charleston Symphony Orchestra 2007 Percussion 2 Colorado Springs Philharmonic Percussion 2 Demoine Metro Opera 3/15/2012 Percussion Detroit Symphony Orchestra 5/2006 Section percussion Detroit Symphony Orchestra 6/18/2012 Principal and Asst Principal Percussion Evansville Philharmonic Orchestra 2012 Consortium Percussion Ft Wayne Philharmonic 5/19/2008 Principal Percussion Helena Symphony Orchestra 2005 Section Percussion Jacsonville Symphony Orchestra 11/14/2011 Principal Percussion Kansas City Symphony 4/27/2009 Associate Principal Percussion Kwazulu-Natal Philharmonic Orchestra -Durbin, S.A. 11/3/2013 Principal Percussion Louisiana Philharmonic Orchestra 4/5/2008 Section Percussion Milwaukee Symphony Orchestra 2007 substitute percussion Nashville Symphony 3/26/2011 Section Percussion National Symphony Orchestra 1/2012 Principal Percussion North Carolina Symphony 3/2014 Asst Principal Percussion Orchestre Philharmonique de Radio France 2/2013 Second Percussion Oregon Symphony 2010 Percussion Pittsburgh Symphony Orchestra 7/2008 Associate Principal Percussion San Diego Symphony 10/19/2008 Principal Percussion Santa Rosa symphony 5/3/2011 Percussion 3 Sarasota Orchestra 4/2012 Principal Percussion Seoul Philharmonic Orchestra 2007 Associate Principal Percussion Syracuse Symphony 10/26/2009 Section -
Form and Dialectical Opposition in Elliott Carter's Compositional
Form and Dialectical Opposition in Elliott Carter’s Compositional Aesthetic Marguerite Boland A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. 2017 © Copyright by Marguerite Maree Boland 2017 ii Declaration of Authorship I, Marguerite Maree Boland, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ________________________ Date: ________________________ iii For my daughter Alice Louisa Claire v Acknowledgements The writing of this dissertation has been a ten-year journey: a journey of research scholarship and a journey of ever-expanding appreciation of the music of Elliott Carter, for certain. But the writing of this dissertation has also accompanied me during numerous very significant personal journeys: a journey into motherhood, a journey of relationship transformations, a journey into deeper awareness of the social disconnect between the life of work and the work of raising our next generation, and the gender inequality that is often a part of that disconnect. On some level these personal travels have been woven into the fabric of my writing along side my academic reading, listening and discussions with colleagues. The reverse is also true: the research I have undertaken during the last decade has given me tools to understand not only my academic adventures but also my personal ones. This project is incomplete but it cannot be otherwise; there is so much to explore in Carter’s music and there is so much that life demands of an individual that to attempt to neatly close off or constrain one for the sake of the other becomes an unsustainable conceit.