INDIANAPOLIS OPERA COMPANY PRESENTS How to Fight Inflation

Total Page:16

File Type:pdf, Size:1020Kb

INDIANAPOLIS OPERA COMPANY PRESENTS How to Fight Inflation INDIANAPOLIS OPERA COMPANY PRESENTS How to fight inflation. * It looks like a piano. And it sounds like a piano. But it's more than a piano. It's a Steinway. And that means that it's not only a fine musical instrument. It's a fine investment as well. So fine, that people with 30 year old Steinways are selling them today for more than they originally paid. What makes a Steinway such a blue chip investment? Work. Experience. Work. Caring. Work. Using mortised joints where butt joints could get by. Making each individual hammer instead of buying them from someone else. Voicing each piano for 8 full hours. A thousand other details. It takes a full year of this kind of work to complete one Steinway grand. A year that pays dividends in tone, touch and power year after year after year. What this means is that although you pay more, a Steinway doesn't really cost more. Because no matter how you decide to play it, a Steinway outperforms the market. For more information visit any of the 5 Wilking Stores and let one of our keyboard counselors relate the complete story or call 293-4717 and we will be pleased to mail you complete descriptive information. The Steinway House of Indiana Downtown: 43 East Washington Street 637-1326 Ayr-Way Greenwood Mall: U.S. 31 S. and County Line Rd. 882-9195 Castleton Square 849-9402 Lafayette Square 297-4121 Washington Square 898-6451 OPEItf. \Ji FOUR ACT5 APRIL 27, 29, 30, 1977 8:00 P.M. in the RANSBURG AUDITORIUM INDIANA CENTRAL UNIVERSITY Based on the novel by PROSPER MERIMEE English Version by RUTH AND THOMAS MARTIN By Arrangement With G. SCHIRMER, INC.-NEW YORK/LONDON Publishers and Copyright Owner with the support of the National Endowment for the Arts and the Indiana Arts Commission Moving is our forte. It's what we do best. Our professional movers are schooled to orchestrate every move smoothly. From overture to finale. The props are specially designed Pride-Pack containers, sized to protect and pamper your possessions. Our expert handling and excellent equipment eliminate tremolo. And our vans are specially designed to eliminate vibrato. Air-Ride suspension systems reduce road shock significandy. Every move is choreographed completely. Agents at origin and destination know the score. Our complex computer system acts as prompter. So we never miss our cues. If you want an impressive moving performance, come to Mayflower. Moving is our forte. n .. ., 6 f\Ma\jHi < SOLO TUTTI < m* MAY-FLOWER MEANS MOV— ING forte < < < _Z3 PIP =*=* V~' The Indianapolis Opera Company, Inc. 6929 Munsee Lane, Indianapolis, Indiana 46260 Telephone 251-0805 BOARD OF DIRECTORS President, Miriam Ramaker June McCarty Secretary, William Byrum Alice McKinney Treasurer, Richard Retterer Charles L. Manning Ardath Burkhart Virginia Rechtoris Allen W. Clowes Dr. Lynn Youngblood Pershing E. MacAUister HONORARY ADVISORS Dr. Boris Goldovsky Mayor William Hudnut Dr. Richard G. Lugar Dr. Gene E. Sease Metropolitan Arts Council INDIANAPOLIS OPERA GUILD OFFICERS President, Mrs. William McCarty First Vice-President, Mrs. David Garrett Second Vice-President, Mrs. Carl M. Sauer Recording Secretary, Mrs. Randall Scott Corresponding Secretary, Miss Henrietta Loftiss Treasurer, Mrs. Nicholas Kaiser The Opera Guild was formed in September 1976 to support the Indianapolis Opera Company, Inc. Membership is open to women and men either in an active or inactive capacity. Members who join the first year are considered charter members and their names will be inscribed in the charter. Functions for our first year have included a champagne reception, salad-dessert luncheon, and champagne brunch. Hostesses for our large parties included Mrs. Fred Schlegel, Mrs. Henry Price, and Mrs. James Strain. The final meeting of the year will be held May 5 at 11:30 a.m. at Hillcrest Country Club. Membership information or reservations for the spring party may be obtained by calling Mrs. William E. McCarty, 849-4542 or Mrs. Carl Sauer, 255-2303. ARE PROUD TO SUPPORT the INDIANAPOLIS OPERA COMPANY GLENDALE . the Fashion center 62nd and Keystone Avenue Custom Framing — Prints and Wall Accessories 6426 North College Avenue 253-2565 For All Your Printing Needs _ \fft/, DEPUTY PRINTING COMPANY F^ 8010 E.46TH STREET Letterheads Brochures Envelopes Publications Business Cards Booklets Personal Stationa ry Business Forms CUSTOM PRINTING - CONVENIENTLY LOCATED PHONE: 547-0741 Watch for new ideas and developments at Greenwood Shopping Center. East South County Line Road & U.S. 31 Greenwood, Indiana A development of melvin simon & associates, inc. 1712 North Meridian Street • Indianapolis, Indiana 46202 • Phone: (317) 926-6021 First Performed at the Opera-Comique, Paris, March 3, 1875 Characters of the Drama In order of appearance Morales, Officer Clark Watters Micaela, a village maiden Judy Bruner Duenna, Carmen's chaperone Sandra Constantine Don Jose, Corporal of Dragoons Richard Godsey Zuniga, Captain of Dragoons Gary Conway Carmen, a gypsy-girl Susan Grosvenor Haisley Frasquita (Carmen's companion) Jo Anne Ripley Mercedes (Carmen's companion) Rosemarie Gore Dickson El Remendado (Smuggler) Sam Hicks El Dancairo (Smuggler) David Hook Escamillo, Toreador Henry Fregosi-Loyzelle Picadors Dr. James Elkin Terry Taylor Please refrain from using flash cameras or any kind of recording equipment. There will be no seating of latecomers once the performance begins. Chorus SOPRANOS ALTOS Laura Chastain Geneva Griffin Betty Darbro Carol Williams Kincaid Elizabeth Ewing Roberta Lindsey Bo Impola Joyce McClellan Claudette Malloy Cathi Richardson Linda Pierce Syd Stinson-Schaefer Carol Stainbrook Price Judith Siemer Tina Scheele Marilyn Vargo Donna Theising TENORS BASSES Thomas Brown Howard Baetzhold Kerry England Richard Blackard John Koppin Douglas Ellrich John Malloy Gregg Jackson Richard Price Denny Krauser Bruce Thompson Matthew McCardle CHILDREN'S CHORUS James Benjamin Brown Loren Malloy Barry Cockrum Mitchell Malloy Jeffrey Michael Crosby Tonya McKenna Thomas Davis Brad Meyer Lon Paul Ellrich David Millis Rick Fredland Mark Napier Jeff Glover Laura Partridge Darin Jester Karen Smith Kathy Lentz Michael Walsh DANCERS Millie Johnson Armine Leaman Annette Pettigrew Cindy Sparks Sue VanVoorhis SUSAN GROSVENOR (Carmen) has appeared as Musetta in "La Boheme" at Indiana University. She also performed as Mary Magdalene in "The Risen Christ" under the exciting John White, director of Pro Musica in New York City. Susan assisted the Indian­ apolis Opera Company by singing in the chorus of our production, "The Devil and Daniel Webster" and by playing the mother in "Amahl and the Night Visitors". She has studied with Charles Kullman at Indiana University and Miriam Ramaker. She returns from Arizona, where she sang for the National Arts and Letters meeting. JUDY BRUNER (Micaela) studied voice with Mme. Marion Freshl at Julliard Conservatory of Music and at Indiana University with Richard Knoll and Paula Savridi. She was a member of Starlight Musicals and is active at present in Matinee Musicale, Harmonie Club, Irvington Music Study Club and Irvington Drama Club. Judy has also performed for television. Her vocal instructor here in the city is Ruth Devon. RICHARD GODSEY (Don Jose) formerly a stu­ dent of Maxine Schnicke of Indianapolis, is at present studying with William Shriner at Indiana University. He sang in the Indianapolis Opera Company's bi­ centennial production of "The Devil and Daniel Web­ ster." He has sung the role of Caspar in Menotti's "Amahl and the Night Visitors" several times, the last being for the Indianapolis Opera Company tour in 1976. Dick accepted the role of one of the twelve dis­ ciples in Jerome Hines sacred drama "I Am the Way." In Debussy's opera, "The Prodigal Son", he played the role of the son. His interests also include drama and he has appeared in several roles at the Christian Theological Seminary Repertory Theatre. JO ANNE RIPLEY (Frasquita) received her Bach­ elor of Music Education degree from Indiana Uni­ versity where she studied voice with Agnes Davis and Charles Kullman. She was also a member of the Belles of Indiana. She has performed one season at Starlight Musicals, and has been a member of the Indianapolis Symphonic Choir for four years. Last year, she appeared in Butler University's production of the Bernstein opera, "Trouble in Tahiti", and was soloist with the Butler University Symphony Orches­ tra as a winner of the Concerto Competition. She is currently working toward her Master in Music Educa­ tion degree at Butler University. ROSEMARIE GORE DICKSON (Mercedes) returns to Indianapolis Opera Company following her successful lead in "Die Kluge" by Carl Orff. She has also played Susannah in the opera by the same name by Carlisle Floyd and Miss Pinkerton in Menotti's "Old Maid and the Thief. She studied with Adele Addison after winning the Indiana district competition of the 1974 Aspen Music Festival competition. She has toured under the baton of Thor Johnson, and has studied at Indiana Central University, University of Michigan and Interlochen Arts Academy. Her vocal instructors include Barr Hill, Eva Likova Baca and Farrell Scott. SAMUEL HICKS (Remendado) has previously sung for us as the Devil in "The Devil and Daniel Webster". He is finishing his Doctorate at Indiana University and is an Associate Professor at Franklin College. Previously, he sang the role of Remendado in Indiana University Opera Theatre. His other character roles at Indiana University include Goro in "Madame Butterfly"; Gherardo in "Gianni Schicci"; Missail in "Boris Goudonov"; Mavra in "Mavra"; Slender in "Merry Wives of Windsor"; Spalanzani in "Tales of Hoffman"; First Knight in "Parsifal"; and Cocenille in "Tales of Hoffman". HENRY FREGOSI-LOYZELLE (Escamillo) began his career in drama. He appeared with Diana Torrieri, Italy's most celebrated stage actress, while still in his teens. He toured the United States with her company, and returned to Italy to appear in many Italian stage plays, including works by Pirandello, Goldoni and Rovetta.
Recommended publications
  • 757.Pdf (140.1Kb)
    THE fESTIVll..L OPE!:'..'. RDDllCT:f;~''i STAFF .?-V{ Musical Direction-------------------------Stanley Chapple f'SO' Musical Preparation-----------------------Alexander Kuchunas Stage Direction---------------------------Ralph Rosinbum /' Scenic Design-----------------------------John Ashby Conway UNIVERSITY OF WASHINGTON Costnme Design----------------------------James Crider FESTIVAL OPERA Technical Director------------------------Don Klovstad Lighting Design---------------------------Lee Harmon Stage Manager-----------------------------Daniel Brenner and the Office of Lectures and conce~ Assistant Stage Directors-----------------Richard Krueger Randall Holden Repetiteur--------------------------------Marlene ThaI present Performance rights granted by: Mills Music, Inc. (Hello Out There); Schotts Music Publishing Co. (Wise Woman). HELLO OUT THERE 56 10 ORCHESTRA "Hello Out There" based on the play by William Saroyan String Quintet Wood Winds Music by Jack Beeson **Martin Friedmann *Felix Skowronek **David Buck *Laila Storch Carol Kapek *William McColl **Michael Matesky *Arthur Grossman AND Harold Johanson Brass Pe raussion *Christopher Leuba .. *David Shrader **Timothy Dunlop THE WISE WOMAN (DIE KLUGE) sG Ii *Faaulty Member Piano Sbl~ **Graduate Student James van Horn Music by Carl OIff "Wise Woman" Violin Bass Trumpet Cynthia Cole Glenn Stallcop Keith Baggerly \ Sherry Peterson Flute & Piaaol-o Jeffrey Cole / Loryn Davidson Leslie Hall Charles Stowell Roger Faris Grace Millay Terry Nickels Phyllis West Betsy Raleigh Trombone Mark Lutz
    [Show full text]
  • Kodály and Orff: a Comparison of Two Approaches in Early Music Education
    ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir.
    [Show full text]
  • Carl Orff Die Kluge Mp3, Flac, Wma
    Carl Orff Die Kluge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Die Kluge Country: Germany Style: Modern, Opera MP3 version RAR size: 1909 mb FLAC version RAR size: 1356 mb WMA version RAR size: 1620 mb Rating: 4.3 Votes: 411 Other Formats: AC3 XM WAV DXD DMF VQF MOD Tracklist Die Geschichte Von Dem König Und Der Klugen Frau A Carl Orff Spricht Den Prolog, 1.-3. Szene B 4.-6. Szene C 7.-8. Szene, 9. Szene (1. Teil) D 9. Szene (Schluß), 10.-12. Szene, Carl Orff spricht den Epilog Credits Baritone Vocals [Der König] – Marcel Cordes Baritone Vocals [Zweiter Strolch] – Hermann Prey Bass Vocals [Der Bauer] – Gottlob Frick Bass Vocals [Der Kerkermeister] – Georg Wieter Bass Vocals [Der Mann Mit Dem Maulesel] – Benno Kusche Bass Vocals [Dritter Strolch] – Gustav Neidlinger Composed By, Narrator [Speaker], Other [Recording Supervisor] – Carl Orff Conductor – Wolfgang Sawallisch Liner Notes – K. H. Ruppel Orchestra – Philharmonia Orchester London* Soprano Vocals [Die Kluge] – Elisabeth Schwarzkopf Tenor Vocals [Der Mann Mit Dem Esel] – Rudolf Christ Tenor Vocals [Erster Strolch] – Paul Kuen Notes Recorded under the personal supervision of Carl Orff Recorded in London · May 1956 Other versions Category Artist Title (Format) Label Category Country Year Angel ANGEL 3551 Records, ANGEL 3551 B/L, ANG. Die Kluge (2xLP, Angel B/L, ANG. Carl Orff US 1956 35389, ANG. Mono + Box) Records, 35389, ANG. 35390 Angel 35390 Records Elisabeth Schwarzkopf / Elisabeth Marcel Cordes / Schwarzkopf / Gottlob Frick / Marcel Cordes / Rudolf Christ / The Record Gottlob Frick / Benno Kusche / Society, Rudolf Christ / Paul Kuen / World 40-6040, No.
    [Show full text]
  • HANS-URS WILI CARL ORFF: Carmina Burana
    HANS-URS WILI 1 CARL ORFF: Carmina Burana (1937) 19.04.2012/huw (Wohlen2012NovORFF0.docx) Zum Konzert des Singkreises Wohlen vom 10. November 2012 im Casino Basel und vom 11. November 2012 im Casino Bern: CARL ORFF (1895-1982): Carmina Burana. Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (1937) Bst. Inhalt Rz. S. A Einleitung ……………………………………………………………… 1-2 1 B CARL ORFFs Leben ……………………………………………………. 3-32 2-16 C Carmina Burana ……………………………………………………. 33-91 16-37 Ca Zum Inhalt der Carmina Burana …………………………………. 35-37 17-18 Cb Historische Hintergründe …………………………………. 38-69 18-31 Cb.I Eigenkirchenwesen …………………………………. 38-42 18-21 Cb.II Kreuzzugswirren …………………………………. 43-46 21-23 Cb.III Zölibat und klerikale Elitenentwicklung ………………. 47-54 23-27 Cb.IV Universität und Gelehrte ………………………… 55-60 27-28 Cb.V Latein …………………………………………………….. 61 29 Cb.VI Elitäre Obszönitäten ………………………………….. 62-64 29-30 Bc.VII Leichs ……………………………………………………... 65-69 30-31 Cc Zur Musik der Carmina Burana ………………………………….. 70-91 31-37 Cc.I Persiflagen ………………………………...…………. 70-75 31-33 Cc.II Zitate ……………………………..………………………. 76-77 33-34 Cc.III Charakter der Musik ………………………………….. 78-91 34-37 D Benediktbeuren ………………………………………………………………. 92-94 38-39 E Fortuna und (Anankè) …………………………………………… 95 39 F Literatur ………………………………………………………………. - 39-42 A Einleitung 1 Mit CARL ORFFS Carmina Burana singen der Projektchor SMW Frick und der Singkreis Wohlen gemeinsam das wohl populärste Werk der E-Musik des 20. Jahrhunderts.1 Dabei kann man sich fragen, inwieweit das Werk überhaupt zu Recht der E-Musik zugerechnet wird. Derbheit und karikierende Parodie verschiedener Gesänge haben musikalisch Schlager inspiriert und führen Bilder einer Spottlust vor Augen, die landläufig weit eher der U-Musik zugeordnet werden könnte.
    [Show full text]
  • Orff's OPERAS: Suitable Even for the Unexperienced EARS
    PRESS RELEASE opera Mgr. SILVIA HRONCOVÁ Director of Opera ORff’S OPERAS: SUITABLE EVEN FOR THE UNEXPERIENCED EARS Prague, 13 October 2016 The National Theatre Opera prepared two opera specialities for its audience that can be seen and heard during one evening: the two one-act fairytale operas Die Kluge and Der Mond by Carl Orff, globally known for the famous cantata Carmina Burana. These operas premiere on 20 and 21 October 2016 under the baton of Zbyněk Müller and the director will be Jiří Nekvasil. Both operas retell in the form of entertainment and epic folk theatre the respective fairytales of the Grimm brothers. Die Kluge (The Wise Girl) is about a poor but shrewd peasant girl who can answer any riddle, outwits the three swindlers and even wins the love of the king. Der Mond (The Moon) is a story about foolish people who steal the Moon for themeselves until Peter, the guard of heaven retrieves it and hangs it in the sky, out of reach of their meddlesome hands. “Orff’s intention was to entertain and educate in a noble way, particularly the more adult audience. The composer found the operatic form that can captivate audiences of the late 20th century,“ says conductor Zbyněk Müller and continues: “The combination of an innocent child‘s world with the corruption of the adult world seems really attractive and original. This contrast certainly highlights one of the small messages that we can find in this piece.“ “Tales of the Brothers Grimm are quite excentric in comparison with the traditional ones.
    [Show full text]
  • Darmstadt Laudatio John Dew 03 03 12
    LAUDATIO Sehr geehrter, lieber John Dew, meine sehr geehrten Premierengäste beim MOND von Carl Orff! Im vergangenen Jahrhundert gab es einige Regisseure, die sich kontinuierlich und intensiv mit dem Werk von Carl Orff auseinandergesetzt haben. Günther Rennert Oskar Fritz Schuh Rudolf Hartmann Wieland Wagner Heinz Arnold Gustav Rudolf Sellner August Everding Alle diese Regisseure haben in enger Zusammenarbeit mit Orff dessen Stücke entwickeln und aufführen können Wichtig ist aber, wie Orff immer wieder betonte, nicht nur, dass die Stücke uraufgeführt werden, sondern dass man sie nachspielt. Everding klagte oft, dass etwa 95% der Komponisten, deren Werke er inszenierte, tot waren und nicht mehr befragt werden konnten. Wieland Wagner hatte sogar geplant, PROMETHEUS im Rahmen der Bayreuther Festspiele uraufzuführen, was leider durch seinen frühen Tod 1966 vereitelt wurde. Hellmuth Matiasek hatte als künstlerischer Leiter von ORFF IN ANDECHS im dortigen Florianstadl die Märchenopern DER MOND, DIE KLUGE, den SOMMERNACHTSTRAUM, ASTUTULI und DIE BERNAUERIN herausgebracht. Marcus Everding setzt nun diese Tradition fort in Zusammenarbeit mit der Orchesterakademie des Münchner Rundfunkorchesters. Sie, lieber John Dew, sind der erste und einzige in diesem Jahrhundert, der es gewagt hat, als Intendant eines Opernhauses das Bühnenwerk von Carl Orff konsequent auf die Bühne zu bringen. Sie begannen gleich mit dem Schwierigsten: mit den Griechendramen OEDIPUS und ANTIGONAE, jenen Werken, in denen sich Orff am radikalsten vom Operntheater entfernt und sich mit dem traditionellen japanischen Theater auseinandergesetzt hat. Er sagte mir einmal nach dem Besuch einer No-Theater-Aufführung im Münchner Marstalltheater: “Selbst wenn es nicht so ist, i c h glaube an die Wiedergeburt der griechischen Tragödie durch das japanische Theater!“ Sie haben die beiden Sophoklesdramen in der deutschen Übertragung von Friedrich Hölderlin überzeugend auf die Bühne gestellt und damit gezeigt, wie aktuell diese Orffsche Sophoklesdeutung noch heute ist.
    [Show full text]
  • Inhaltsverzeichnis
    Carl Orff Zur Navigation springen Zur Suche springen Orff ist eine Weiterleitung auf diesen Artikel. Weitere Bedeutungen sind unter Orff (Begriffsklärung) aufgeführt. Carl Orff (1956) Carl Orff um 1970 Carl Orff (* 10. Juli 1895 in München; † 29. März 1982 ebenda) war ein deutscher Komponist und Musikpädagoge. Sein bekanntestes Werk ist die szenische Kantate Carmina Burana, die zu einem der populärsten Chorwerke des 20. Jahrhunderts wurde. Inhaltsverzeichnis • 1 Leben o 1.1 Verhältnis zum NS-Staat o 1.2 Weitere Tätigkeiten o 1.3 Privatleben • 2 Werke o 2.1 Bühnenwerke o 2.2 Andere Werke • 3 Ehrungen (Auswahl) • 4 Nachwirken und Rezeption • 5 Schüler • 6 Siehe auch • 7 Literatur • 8 Weblinks • 9 Einzelnachweise Leben Carl Orff, 1895 in der Maillingerstraße 16 (heute: Hausnr. 30[1]) im Münchener Stadtteil Neuhausen geboren,[2] war der Sohn des Berufsoffiziers Heinrich Orff und erhielt ab 1900 Klavier-, Cello- und Orgelunterricht. In diesem Jahr erschien auch seine erste Komposition. Frühe Erfahrung im Musizieren in der Gruppe sammelte er als Schüler des Wittelsbacher- Gymnasiums, wo er das Schulorchester auf der Orgel, dem Klavier oder Harmonium begleitete und im Schulchor Solopartien als Sopran übernahm. Außerdem sang er sonntags im Kirchenchor, und zuhause, von seiner Mutter am Klavier begleitet, Opernpartien nach Klavierauszügen. Mit 14 Jahren war er nach dem Besuch der Oper Der Fliegende Holländer von Richard Wagner tagelang so erregt, dass er diese bald darauf mit einem Klavierauszug ausgestattet erneut besuchen musste, um wieder ansprechbar zu werden.[3] Nachdem Carl Orff 1911 unter anderem Gedichte von Hölderlin und Heine für Gesang und Klavier vertont hatte, studierte er von 1913 bis 1914 an der Königlichen Akademie der Tonkunst in München und widmete sich daneben der Musikpädagogik.
    [Show full text]
  • Jean Berger (1909–2002): a Biographical Chronology
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 18 2010 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009 –2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • Carl Orff in His Time
    Carl Orff in his Time Speech on the occasion of Carl Orff's 100th birthday Munich, Prinzregententheater, 7 July 1995 By Hans Maier Carl Orff's hundredth birthday had hardly begun to approach than there erupted fierce arguments about the composer. They were concerned less with his work than with his life, and particularly with his behaviour during the Third Reich and in the years immediately after the war. New investigations into Orff's life and work, to which the Orff Centre in Munich rendered an outstanding service, went round the world in crassly-expressed news flashes that raised some (false) points. This triggered off confusion and consternation: Was Orff a Nazi? Was Orff a liar - someone who, like a Bavarian Astutulus, had cunningly led the occupying authorities by the nose? This was grist to their mill for those who had always known, like Gerald Abraham, who had always maintained that there were suspicious elements in the German's work, that "rhythmically hypnotic, totally diatonic neo-primitivism" that allows itself to be so easily connected with the stamping columns of the Third Reich. And promptly on the 28th January of this year, London Weekend Television, in a polemic disguised as "Documentation" presented SS-troops marching to Orff's music and showed pictures of dead bodies in concentration camps. O Fortuna velut luna! Carl Orff has often been portrayed and also misrepresented in his long life, though hardly ever with such malicious over-simplification as in this year of celebration and jubilation. There has never been any lack of distorted pictures, of mischievous personal descriptions of such multiform and protean characters.
    [Show full text]
  • MUSC 2010.09.23 Symorchprog
    Season Pass Now Available COLORADO STATE UNIVERSITY SCHOOL OF THE ARTS Enjoy a discount on Department of Music fall 2010 performances with the Music Flex Pass. Receive admission to all music events for just $100/adult, and $75/CSU students. With several dozen Meet Me at the UCA performances this fall, the pass provides tremendous savings over buying Individual tickets. Contact the UCA Ticket Office at 970-491-2787 or in person at the window in the Griffin Lobby. Fall 2010 CONCERT SEASON Upcoming Events at the University Center for the Arts Monday, September 27—Music: Virtuoso Series Concert, Guest Joyce Jones, Organ 7:30 p.m. Organ Recital Hall Thursday, September 30—Music: Wind Ensemble/Symphonic Band 7:30 p.m., Griffin Concert Hall Oct. 1—Dec. 17—2 New Art Exhibitions University Art Museum Thursday, September 30—Music: Wind Ensemble/Symphonic Band 7:30 p.m., Griffin Concert Hall Friday, October 1—Art: Friday Finales in conjunction w/First Friday Gallery Walk 6—9 p.m., University Art Museum Monday, October 4—Music: Virtuoso Series Concert, Gary Moody, Oboe 7:30 p.m., Organ Recital Hall Tuesday, October 5—Music: Jazz Classics Duke Ellington Concert 7:30 p.m., Griffin Concert Hall October 7—17—Theatre: Dog Sees God by Bert V. Royal University Theatre, see website for dates and times. FREE Student Recitals See www.CSUSchooloftheArts.com for Student Recital Schedule Meet Me at the UCA Season “Green” Sponsor event calendar • e-newsletter registration www.CSUSchooloftheArts.com Tickets: (970) 491-ARTS (2787) www.CSUArtsTickets.com Information: (970) 491-5529 Thank you for your continued support Applied Faculty CSU Symphony Orchestra Wes Kenney, Conductor Barbara Thiem, Cello Violin Horn September 23-24, 2010 7:30 PM Ron Francois Matthew Evans Leslie Stewart Trumpet Second Essay, Op.
    [Show full text]
  • Berliner Zeitgeist
    CHLAGER S T S WIN ET SENKIN G/J AR MU DER H AZ AB OP Ö Z K /P RB CK UC W O H E N R L O T S M N U A S I H K C BerBerlinelinerr ZZeieittgegeisistt 1901 bis 2012 & duo-phon classic & CANTICA - Musik der Ostkirchen Inh. Alfred Wagner Künstlerportraits Claire Waldoff Es gibt nur ein Berlin Bestellnr.: 01 20 3 Es gibt nur ein Berlin / Warum liebt der Wladimir j’rade mir / Kremserlied / Warum soll er nicht mit ihr / Wat braucht der Berliner um glücklich zu sein / Nach meene Beene is ja janz Berlin verrückt / Wegen Emil seine unanständ’ge Lust / Ne dufte Stadt ist mein Berlin / Die Radpartie / Fritze Bollmann / Warum willst Du mich denn ganz verlassen / Hätt’ste det von Ferdinand gedacht / Hannelore / Das Lied vom Vater Zille / Hermann heest er...! / Wer schmeißt denn da mit Lehm Immer ran an' Speck Bestellnr.: 01 32 3 Mir hab’n se die Gurke vom Schnitzel weggemopst / Na dann laß es dir mal jut bekommen / Warum soll er nicht mit ihr? / Immer ran an’ Speck / Raus mit den Männern aus dem Reichstag / Im Nussbaum links vom Molkenmarkt / Mich hat ein fremder Mann geküßt in der Nacht / Wat braucht der Berliner um glücklich zu sein? / Mein Maxe / Emilie vom Kurfürstendamm / Der Schlips im Kohlenkasten / Lied der Harfenjuhle / Er ist nach mir ganz doll / Wenn der Bräutigam mit der Braut u.a. Die Berliner Pflanze Bestellnr.: 05 11 3 Det Scheenste sind die Beenekens / Kuno, der Weiberfeind / Wenn der Bräut’gam mit der Braut so mang die Wälder geht / Was liegt bei Lehmann unterm Apfelbaum? / Der Puls von Witwe Schulz / Er ist nach mir verrückt / Die Tante aus Hamburg (Er stand beim Train) / Krause! / Klärchen aus dem Gartenhaus / Die Berliner Pflanze / Hermann heeßt er! / Moritat / Die Flundern, die werden sich wundern / Man ist nur einmal jung! / Die Laubenkolonie / Wozu hat der Soldat eine Braut? / Maxe von der schweren Artillerie / Morgens willste nicht und abends kannste nicht / Mensch, komm’ mal rüber u.a.
    [Show full text]
  • 732.Pdf (140.3Kb)
    THE FESTIVAL OPEFJc FRODUCTIO\, STAFF Musical Direction-------------------------Stanley Chapple Musical Preparation-----------------------Alexander Kuchunas Stage Direction---------------------------Ralph Rosinbum \ Scenic Design-----------------------------John Ashby Con~ UNIVERSITY OF WASHINGTON ~ Costume Design----------------------------James Crider Technical Director------------------------Don Klovstad FESTIVAL OPERA Lighting Design---------------------------Lee Harmon Stage Manager-----------------------------Daniel Brenner and the Office of Lectures and Concerts Assistant Stage Directors-----------------Richard Krueger Randall Holden Repetiteur--------------------------------Marlene ThaI present Performance rights granted by: Mills Music, Inc. (Hello Out There); Schotts Music Publishing Co. (Wise Woman). HELLO OUT THERE .5GOS­ ORCHESTRA "Hello Out There" based on the play by William Saroyan String Quintet Wood Winds Music by Jack Beeson **Martin Friedmann *Felix Skowronek **David Buck *Laila Storch Carol Kapek *William McColl **Michael Matesky *Arthur Grossman AND Harold Johanson Brass Pereussion *Christopher Leuba " *David Shrader **Timothy Dunlop THE WISE WOMAN (DIE KLUGE) S(;OG *Facu'Lty Member Piano 5607 **Graduate Student James van Horn Music by Carl Orff "Wise Woman" Violin Bass Trumpet Cynthia Cole Glenn Stallcop Keith Baggerly Sherry Peterson & \ Ftu te Picco lo Jeffrey Cole J Loryn Davidson Leslie Hall Charles Stowell Roger Faris Grace Millay Terry Nickels Phyllis West Betsy Raleigh Trombone Mark Lutz Clarinet Alan Dorsey
    [Show full text]