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For Release: Tk, 2013
FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today. -
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. -
Boston Symphony Orchestra Concert Programs, Season 119
S E I J I O Z A W A MUSIC Dl R ECTO R * *r u u -- w la BQS TO N <_' M-Tiir—H i>— 'ts^c»»-- YMPHONY TESTRA IV 1* 3^ J >' . <i , ^ Yx 1QQQ-20U SEASON m 'JGV&V . iifUB96fsi\SBi1l Ju p-m .*;.•. • Bring your Steinway: ^iJn&f^&dB^i SH9B £99 ftU H r*i nl ^5 raj C$8 BB **CSv 1111tr/SBl Wft/i /7(w p/tfHS /row acre gated community atop I * 1 if* 2,100 to 5,000 square feet, prestigious Fisher Hill IBB 1 -4 8? bW3I |H -A> 1 «£[i you can bring your Concert Jointly marketed by Sotheby's • v* V . 1 wSi - 1 Grand to Longyear. International Realty and bbbbb^Bf 1 Hi Bfcg .••**-i *Djjy You 11 be enjoying full-service, Hammond Residential Real Estate. » < mnn^H tU EbbbbbbbI BBB BB r*2*». <* single-floor condominium living at Priced from $1,400,000. ill V BBl Pa ?f^tla( Efl^srvrf £SnA >»'i3 its absolute finest all harmoniously Call Hammond Real Estate at qkS mi nfit *lr SlSS ^« located on an extraordinary eight- 731-4644, ext 410. Kp '^.CyS (617) H 1 jUm£' TSW 1 ISIl J<*S uJme BEI jSbbbSHI BBj ttLZMt ' 1 t^ |PKJt£ rtw^ CTJspt flSj BJ '^**v£5 BBB^ttBl LONGYEAR rftrTh v*v-H>''^\1k f$Xsp •xJK ^8 bbbvAWIH * *» > H a/ Lr/sner Jiill S& BROOKLINE \ B^L^LH 1 • ,*/* ^*$£j Bh HflH fci/TE li PrEJj fSm SlawS a^ySwaNi fjySjji jjBJy >k''s *! {MR ^>»~#*5S$Z, • '.?-v. -
Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990
BOSTON SYMPHONY ORCHESTRA SEIJl OZAWA MUSIC DIRECTOR '*. v + * y Si J .Wiiii^ *"% it * W* " ; IjL mW kmW m III WWff By * 109TH SEASON 1989-90 ^f* .•'" IMPORTED .* * "4£ If ' '-€£ 4 ',;- «* vUfi//e#6 m $ "-*: V T0 CHARLES TANQUERAY & C° L J LONDON. ENGLAND. "ODUCE f OF ENGIAND • IOO% GRAIN NEUTBAl 5? I s«x.,..i; After he limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, NY. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus I J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. -
CHRISTOPHER ROUSE the Marie-Josée Kravis Composer-In-Residence at the New York Philharmonic, 2012-2015
CHRISTOPHER ROUSE The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2012-2015 Odna Zhizn · Symphonies Nos. 3 & 4 · Prospero’s Rooms New York Philharmonic · Alan Gilbert, Conductor CHRISTOPHER ROUSE 1 Odna Zhizn (2008) for orchestra �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16:05 The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2012-2015 Symphony No. 3 (2011) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 28:24 Odna Zhizn · Symphonies Nos� 3 & 4 · Prospero’s Rooms 2 Allegro �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8:33 3 Theme � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:16 4 Variation 1 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:29 New York Philharmonic 5 Variation 2 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:07 Alan Gilbert, Conductor 6 Variation 3 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:30 7 Variation 4, 5, and Theme �� � � � � � � � � -
Christopher Rouse's Symphony No. 1
CHRISTOPHER ROUSE’S SYMPHONY NO. 1 (1986): HEROISM IN A LYRIC CONTEXT Michael J. Morey Abstract Christopher Rouse’s Symphony No. 1 (1986) not only helped secure his position as one of America’s more prominent composers, but it also helped to elevate the Baltimore Symphony Orchestra’s reputation as a welcoming venue to performances of challenging new works. Cast in the form of a single-movement adagio, the Symphony was meant to pay homage to those Rouse admired as composers of adagios—Shostakovich, Sibelius, Hartmann, Pettersson, and Schuman. However, the music of only one composer is recognizably quoted: the famous opening theme from the second movement of Bruckner’s Symphony No. 7, which is performed in Rouse’s Symphony by a quartet of Wagner tubas. While Rouse’s Symphony is set in the lyric mode of the adagio, the cumulative quotation procedure provides a catalyst for the work’s narrative listening potential. The lyric context offers analytical advantages to adagios as stand-alone movements. By applying portions of Karol Berger’s lyric theory to Rouse’s Symphony No. 1, I highlight the intersection of specific categories often associated with adagio rhetoric—such as color and timbre, a sense of atemporality, and melodic expansion and contraction—with more traditional narrative-like properties—such as the carefully prepared climaxes, periodicity, and the return of various materials at critical formal junctures. I conclude by noting that while the adagio rhetoric is present throughout most of Rouse’s Symphony, the potency and referential content of the Bruckner quotation acts as the critical point of departure that counterbalances the lyric with narrative modes of perception. -
Library Orders - Music Composition/Electronic Music
LIBRARY ORDERS - MUSIC COMPOSITION/ELECTRONIC MUSIC COMPOSER PRIORITY TITLE FORMAT PUBLISHER PRICE In Collection? Babbitt, Milton A Three Compositions for Piano score Boelke-Bomart 9.50 Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 1, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 2, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 3, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 4, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 5, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 6, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Music for strings, percussion, and celesta score Boosey & Hawkes Inc. 0.00 YES Berbarian, Cathy A Stripsody : for solo voice score C.F. Peters Corp. 18.70 Berg, Alban A Violin Concerto score Warner Brothers Music Pub. 0.00 YES Berio, Luciano A Sequenza V, for trombone score Warner Brothers Music Pub. 19.95 Berio, Luciano A Sequenza VII; per oboe solo score Warner Brothers Music Pub. 15.95 Berio, Luciano A Sequenza XII : per bassoon solo score Warner Brothers Music Pub. 35.00 Berio, Luciano A Sinfonia, for eight voices and orchestra score Warner Brothers Music Pub. 125.00 Boulez, Pierre A Marteau sans maître : pour voix d'alto et 6 instruments score Warner Brothers Music Pub. -
Shepherd School Symphony Orchestra
SHEPHERD SCHOOL SYMPHONY ORCHESTRA LARRY RACHLEFF, music director MAIKO SASAKI, clarinet Friday, February 17, 2006 8:00 p.m. Stude Concert Hall 1975-2005 Ce l e b rating ~I/} Years THE SHEPHERD SCHOOL ~ SlC RlCE UNIVERSITY PROGRAM The Infernal Machine Christopher Rouse (b. 1949) Clarinet Concerto, Op. 57 Carl Nielsen / Allegretto un poco - Paco adagio - (1865-1931) Allegro non troppo -Allegro vivace Maiko Sasaki, soloist David West, snare drum Daniel Myssyk, conductor / INTERMISSION Symphony No. 8 in G Major, Op. 88 Antonin Dvorak Allegro con brio (1841-1904) Adagio Allegretto grazioso Allegro, ma non troppo The reverberative acoustics of Stude Concert Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin I Viola (cont.) English Horn Tuba \. Cecilia Weinkaujf, Nicholas Mauro Lillian Copeland Jason Doherty concertmaster Anna Van Devender Aubrey Foard ANNE AND CHARLES DUNCA CHAIR Clarinet f Jessica Blackwell Cello Sergei Vassiliev Harp Steven Zander Peng Li, principal Melanie Yamada Emilia Perfetti Jessica Tong Christine Kim Sadie Turner Rebecca Corruccini Stephanie Hunt E-flat Clarinet Kristiana Matthes Jennifer Humphreys Brian Viliunas Keyboard Sonya Harasim Mira Costa Levi Hammer Kaoru Suzuki Jay Tilton Bass Clarinet CHARLOTTE A. ROTHWELL CHAIR Pei-Ju Wu Madeleine Kabat Philip Broderick Timpani David Mansouri Marie-Michel Beauparlant Craig Hauschildt ' Martin Dimitrov Sarah Wilson -
Works Written As Ballets
Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/dance Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946. -
AMERICAN SYMPHONIES Composers
AMERICAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Composers P-Z JOHN KNOWLES PAINE (1839-1906) Born in Portland, Maine. He studied organ, piano, harmony and counterpoint with Hermann Krotzschmar as well as organ with Carl August Haupt and orchestration and composition with Wilhelm Wieprecht in Berlin, Germany. He then toured in Europe for three years. After returning to the U.S. and settling in Boston, he became a member of the faculty of Harvard where he remained for over 4 decades teaching composition to a whole generation of American composers. His catalogue includes operas, incidental music, orchestral, chamber and choral works. Symphony No. 1 in C minor, Op. 23 (1875) JoAnn Falletta/ulster Orchestra ( + The Tempest and As You Like It Overture) NAXOS 8.559747 (2013) Karl Krueger/American Arts Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-103 (LP) (1959) Zubin Mehta/New York Philharmonic ( + As You Like It Overture) NEW WORLD RECORDS NW 374-2 (1989) Symphony No. 2 in A major, Op. 34 "In Spring" (1879) JoAnn Faletta/Ulster Orchestra ( + Oedipus Tyrannus: Prelude and Poseidon and Amphitrite) NAXOS 8.559748 (2015) Karl Krueger/Royal Philharmonic Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-120 (LP) (1965) Zubin Mehta/New York Philharmonic NEW WORLD RECORDS NW 350-2 (1987) THOMAS PASATIERI (b. 1945) Born in New York City. He began composing at age 10 and, as a teenager, studied with Nadia Boulanger., before entering the Juilliard School at age 16. He has taught composition at the Juilliard School, the Manhattan School of Music, and the Cincinnati College-Conservatory of Music. -
The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 1: the Middle Ages
The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 1: The Middle Ages The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ziolkowski, Jan M. The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 1: The Middle Ages. Cambridge, UK: Open Book Publishers, 2018. Published Version https://www.openbookpublishers.com/product/697 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40880853 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 1: THE MIDDLE AGES JAN M. ZIOLKOWSKI THE JUGGLER OF NOTRE DAME VOLUME 1 The Juggler of Notre Dame and the Medievalizing of Modernity Vol. 1: The Middle Ages Jan M. Ziolkowski https://www.openbookpublishers.com © 2018 Jan M. Ziolkowski The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Jan M. Ziolkowski, The Juggler of Notre Dame and the Medievalizing of Modernity. -
BARBER Medea's Meditation and Dance of Vengeance, Op. 23A
Cristian Ma˘celaru, conductor Friday, November 16, 2018 at 10:30AM Andrew Cuneo, bassoon Saturday, November 17, 2018 at 8:00PM BARBER Medea’s Meditation and Dance of (1910-1981) Vengeance, op. 23a (1955) CHRISTOPHER ROUSE Bassoon Concerto (2017) (b. 1949) World Premiere Allegro— Adagio tenebroso— Allegro Andrew Cuneo, bassoon INTERMISSION COPLAND Symphony No. 3 (1944-1946) (1900-1990) Molto moderato–with simple expression Allegro molto Andantino quasi allegretto— Molto deliberato; Allegro risoluto ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Andrew Cuneo is the Graybar Electric Company Guest Artist. The concert of Friday, November 16, is underwritten in part by a generous gift from Gordon and Susie Philpott. The concert of Saturday, November 17, is supported by Fifth Third Bank. The concert of Saturday, November 17, is underwritten in part by a generous gift from David and Susan Hutchinson. Pre-concert conversations are sponsored by Washington University Physicians. 19 PROGRAM NOTES BY TIM MUNRO Editor’s Note: This season, our program notes are a little different. We are presenting a broad range of voices, a sort of “festival of ideas.” Some voices are conventional, some experimental. Some tell stories, some mine personal experience, some lean towards the experiential. This week’s notes are quite traditional, but I couldn’t shake one particular image: of composer Christopher Rouse seated at a table between the two older American titans on this program, Copland and Barber. In 1990, Aaron Copland died. At the time, a young composer named Christopher Rouse was writing his first piece for soloist and orchestra, the Trombone Concerto.