DOCSLIB.ORG

Brooklyn Philharmonic Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brooklyn Philharmonic Orchestra IjAIVlbl1l Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" AtoZ Brooklyn Philharmonic Orchestra BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Brooklyn Philharmonic Orchestra Bruce C. Ratner 43rd Season 1996-97 Chairman of the Board Robert Spano-Music Director Harvey Lichtenstein Robert Spano's inaugural season President & Executive Producer is sponsored by Phifip Morris Companies Inc. Lukas Foss-Conductor Laureate Joseph Horowitz-Executive Director present to BAM Opera House December 6 & 7, 1996 at Spm Robert Spano conductor The Persuasions; The Accidentals; Gertrude Thoma Louis Andriessen Frank Zappa De Stijl (New York premiere) with The Perfect Stranger, Gertrude Thoma & The Accidentals Dupree's Paradise intermission I intermission" The Persuasions si ng: John Adams Baby, Baby I Could Love You, The Chairman Dances, Right Around the Corner, Lucille Short Ride in a Fast Machine Has Messed My Mind Up (Zappa), Hot Plate Heaven and the Green Hotel (Zappa), The Meek Shall Inherit Nothing (Zappa) (a cappella arrangements by The Persuasions) Pre-concert presentation at tpm with Robert Spano, Louis Andriessen, and Joseph Horowitz The Brooklyn Philharmonic Orchestra and Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustical Shell. Photos, Steve Shapiro, Deborah Feingold, Marco Borggreve "Most good art has a firm relationship with the vernacular. What's wrong with contemporary music is that it became too divorced from the vernacu­ lar. Both Mozart and Mahler are filled with the potent and accessible fla­ vors of vernacular music. It's very much the lifeblood of their art. This cen­ tury, while "serious" music has become increasingly specialized and self­ referential, popular music has exploded in a thousand different directions. We are in an interesting period where composers are finding raw material in popular culture. Other artists have been doing this for decades-think of Rauschenberg and Warhol. But contemporary music has been late to make this change." -John Adams Andriessen: De Stijl ment and magazine De Stijl, founded in 1917 by a group of Dutch artists that included Mondrian.) Born in Utrecht in 1939, Louis Andriessen grew Although Mondrian is best known for geometric up influenced by Bach and Stravinsky, and by the configurations of solid fields of color separated by American popular music that invaded The stark black lines, Andriessen is interested in the Netherlands after World War II. As a student, he murky metaphysical roots of this cool, mathemat­ was influenced by the formalism of 12-tone music. ical modernism. 'Mondrian's paintings look strict In the seventies, the minimalism of Terry Riley and and rational, but they came about under the Steve Reich fed his predilection for a "democratic" influence of weird Theosophical, Christosophical, music that "brought together highbrow and low­ and Anthroposophical drivel,' Andriessen says. brow." States Andriessen, "I think it's almost a duty, 'What struck me was the relationship between and not only for composers. I hope that the future Mondrian and a certain Dr. Schoenmaekers, a will bring us a better world in which the difference mathematician and crazy Christian philosopher between high and low, rich and poor, is smaller who had a great influence on Mondrian.' than it is now." "De Stijl, therefore, juxtaposes two totally A formidable intellect, Andriessen is today one divergent texts-Mathieu Schoenmaekers' muddled of Europe's best-known composers. If labels must theories on "The Perfectly Straight Line" and Van be applied, he is a "European minimalist," as close Domselaer-Middlekoop's touching reminiscences to Stravinsky as to Riley or Reich. Of American of Mondrian in youth and middle age. Those minimalism he has quipped: "It has a cosmic, reminiscences reveal that Mondrian, like California sound. In American there is not enough Andriessen, was an avid fan of American jazz, Angst! I'm much more aggressive, I would say." particularly boogie-woogie piano-playing. And the Tonight's De Stijl 0984-85), originally con­ boogie-woogie connection suggested that De Stijl ceived as an independent work, ultimately would be closely linked with popular music. became part of a music-theater piece, De Materie, "Andriessen has an almost medieval fascination examining the relationship between matter and with arcane formal puzzles, and so it shouldn't spirit. Twenty-five minutes long, it employs an surprise us that De Stijl, despite its impudent ensemble Andriessen likens to "the terrifying' surface, is strictly structured. What is far more inter­ 21st-century orchestra"-four female voices, esting is the audible structure of De Stijl, for it's winds, brass, keyboard, electric guitars, "heavy there that the pop music roots are most apparent. metal" percussion. In his album note for the "De Stijl rests upon an obsessively repeated Nonesuch recording, K. Robert Schwarz, recently basso ostinato, what Andriessen calls a 'disco the author of Minimalists (Phaidon Press, 1996), bass.' Initially played by amplified keyboards and writes, in part: electric bass guitar, the tricky, syncopated, 24­ "De Stijl, the third movement of De Materie, measure bass line dictates almost the entire course views the relationship between matter and spirit of the movement. 'The whole funky character of from an artistic perspective, specifically that of the the bass line is a contemporary reinterpretation Dutch abstract painter Piet Mondrian 0872-1944}. of boogie-woogie,' Andriessen says eagerly. 'You (The movement takes its title from the art move- know, I have a great sympathy for Motown; even in the 60s I thought the Supremes were much In '29 I was with him one afternoon in Paris and better than the Beatles.' met the Hoyacks in his atelier. After a while, with­ "This is music with roots in the power of pop, out saying anything, he put on a small gramo­ the repetition of minimalism, the linearity of phone (which stood as a black spot on a small Stravinsky, and the formalism of Bach-none of white tabl~ under a painting of which it seemed which cares much about coddling the ears." to be the extension) and began quietly and stiffly, with Madame Hoyack, to step around the atelier. Texts for "De Stij/" I invited him to dine with me as we used to do in the old days. Walking on the Boulevard Raspail Chorus (sung in Dutch) suddenly I had the feelings that he had shrunk. The line of a perfect ci rcle is not perfection of the It was a strange sensation. In the metro we said first order. The line of a perfect circle is perfect as goodbye; when we heard the whistle he placed a line. But it is not perfect without limitation, it his hand on my arm and embraced me. I saw is not perfect as an unending line, it is not per­ him slowly walking to the exit, his head slightly fection of the first order, it is not the perfect line. to one side, lost in himself, solitary and alone. The perfect straight line is 'the' perfect line. Why? That was ou r last meeti ng. Because it is the only perfection of the first order. Likewise its ray, the perfect eternal ray, is per­ Chorus (sung in Dutch) fection of the first order. The perfect-eternal ray ...a 'cross' relationship. This figure is really 'open'. is also 'the' perfect ray. For only it is as ray a We can prolong it on any side as long as we wish perfection of the fi rst order. without changing its essential character, and The cross-figure. however fa r we prolong th is figu re it never atta ins The figure which objectifies the concept of this pair a perimeter, it never becomes 'closed' thereby, it of perfections of the fi rst order, is the figu re of is thereby totally and utterly boundless: it excludes the perfect right-angled ness: or, in other words, all boundaries. Because this figure is born from the cross-figure. This is the figure that represents itself in our conception, it characterizes the con­ a ray-and-Iine reduced to perfection of the first cept of perfect opposites of the fi rst order, as a order. It characterizes the relationship between concept of the essential 'open', the actual and perfections of the first order as a perfect right­ real 'unbo.unded'. angled relationship, a 'cross' relationship. This figure is actually 'open'. Zappa: The Perfect Stranger and other works Actress (spoken) In those days Piet Mondrian sent a message that After reading an article in Look magazine about he was in Holland and that he could not return Sam Goody, who could even sell a record called to Paris. Mrs. Hannaert invited him to stay and Ionisation by one Edgard Varese that was all awful when one afternoon I arrived he was sitting with drums and noise, Frank Zappa, aged 15, pur­ her at the table. He made a curious impression chased his first LP-of music by Varese. The upon me because of his hesitating way of second LP he purchased was a recording of speaking and the nervous motions of his mouth. Stravinsky's The Rite of Spring, followed shortly During the summer of 1915 he stayed in Laren by a recording of Webern's Symphony Gp. 21, and rented a small atelier in the Noolsestraat. In and some of his string quartet music. Zappa was the evenings we would go to Hamdorf because in awe of all three. "I didn't know anything about Piet loved dancing. Whenever he made a date twelve-tone music then," he later said, "but I liked (preferably with a very young girl) he was notice­ the way it sounded.
Load more

Recommended publications
  • Doctor Atomic
    What to Expect from doctor atomic Opera has alwayS dealt with larger-than-life Emotions and scenarios. But in recent decades, composers have used the power of THE WORK DOCTOR ATOMIC opera to investigate society and ethical responsibility on a grander scale. Music by John Adams With one of the first American operas of the 21st century, composer John Adams took up just such an investigation. His Doctor Atomic explores a Libretto by Peter Sellars, adapted from original sources momentous episode in modern history: the invention and detonation of First performed on October 1, 2005, the first atomic bomb. The opera centers on Dr. J. Robert Oppenheimer, in San Francisco the brilliant physicist who oversaw the Manhattan Project, the govern- ment project to develop atomic weaponry. Scientists and soldiers were New PRODUCTION secretly stationed in Los Alamos, New Mexico, for the duration of World Alan Gilbert, Conductor War II; Doctor Atomic focuses on the days and hours leading up to the first Penny Woolcock, Production test of the bomb on July 16, 1945. In his memoir Hallelujah Junction, the American composer writes, “The Julian Crouch, Set Designer manipulation of the atom, the unleashing of that formerly inaccessible Catherine Zuber, Costume Designer source of densely concentrated energy, was the great mythological tale Brian MacDevitt, Lighting Designer of our time.” As with all mythological tales, this one has a complex and Andrew Dawson, Choreographer fascinating hero at its center. Not just a scientist, Oppenheimer was a Leo Warner and Mark Grimmer for Fifty supremely cultured man of literature, music, and art. He was conflicted Nine Productions, Video Designers about his creation and exquisitely aware of the potential for devastation Mark Grey, Sound Designer he had a hand in designing.
    [Show full text]
  • Download Booklet
    Acknowledgments This recording was made at the I would also like to thank the Teresa This disc is dedicated to all the Academy of Arts and Letters in Sterne Foundation, Gilbert Kalish, members of my family — especially Manhattan, New York on May and Norma Hurlburt for their gener- my mom, dad, Eve, Henry, and 26-28, 2007. Thank you to osity, which helped to make this my nephews — who have been a Ardith Holmgrain for her help disc a reality. And, a thank you to constant source of love and support in arranging our use of this Lehman College and its Shuster in my life; to my primary teachers magnificent recording space. Grant through the Research Jesslyn Kitts, Michael Zenge, Foundation of the City of New Leonard Hokanson, and Gilbert I would like to thank Max Wilcox, York for their help in the Kalish; to a cherished circle of who very graciously helped to completion of this disc. friends, which grows wider all the prepare and record this disc. time; and, to God who orchestrated Without his help it never could I would also like to thank Jeremy all of these parts. have happened. I also thank Mary Geffen, Ara Guzelemian, Kathy Schwendeman for the use of her Schumann, John Adams, Peter glorious Steinway. Thank you to Sellars, David Robertson, Dawn David Merrill who continuously Upshaw and the Carnegie Hall Publishers: t h r e a d s offered a bright smile and encour- family for giving me so many Andriessen: Boosey & Hawkes aging words during the engineering wonderfully rich treasures in my Music Publishers Limited and recording of this disc and musical experiences thus far.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • The Brooklyn Delegation of the New York City Council for Its Vital Toric Visit to New York Gty
    Cbail'lllln Asher B. Edelman Brooklyn Academy of Music Preside at Harvey Lichtenstein Board of Trustees Vice Ck1irmen Neil D. Chrisman Rita Hillman I. Stanley Kriegel Franklin R. Weissberg Mem~ers Francis M. Austin, Jt Jenne K. Britell SPECIA L FUNDIN G FOR T HI S ANNU AL REPORT HAS BEEN Kevin Burke PROVIDED THROUGH THE GENEROUS SU PPORT OF Joanne L. Cossullo Warren B. Coburn MANUFACT U RERS HANOVER C O RPORATION . Beth DeWoody PRINTED B Y HARD ING Be H ARD ING GRAPHICS, INC. Charles M. Diker Brendan Duggan Choim Edelstein Mallory Foetor Ronald E. Feiner Alan H. Fishman Robert L. Forbes Michael Fuchs Faith G. Golding Morton Gottlieb Stephen R. Greenwald Sidney Kantor Stanley H. Kaplan Andrew K. Klink Bettina Bancroft Klink Robert A. Krasnow lngo Kretzschmar Edgar A. Lampert Eugene H. luntey laurie Mollet Martin F. Mertz Evelyn Ortner David L. Ramsay Bruce (. Ratner Richard M. Roson Jonathon F. P. Rose Robert (. Rosenberg Pippa Scott Mikki Shepard Vaughn (. Williams Ho10r1ry Chlirmen David N. Dinkins Officers Howa rd Go Iden Harvey Lichtenstein, IIHonry Tr11tees President and Executive Producer Seth Faison Koren Brooks Hopkins, leonard Garment Executive Vice President & Managing Director Paul lepercq Douglas W. Allan, Arne Vennemo Vice President for Marfceting and Promotion Ex-officii Jacques Brunswick, Mary Schmidt Campbell Vice President for Administration During the post yeo~ public funding of the arts weathered not only Fuchs and the Recording Industry Council chaired by Elelctro Entertoin­ Amidst a year of uncertainty at the National Endowment lor the intense challenges, but ever declining appropriation levels in the menrs Robert Krasnow, the Golo Committee organized a roving, post­ Arts, and a sense of growing unease with the country's economy, face of budget reductions of all levels of government.
    [Show full text]
  • Minimalism Post-Modernism Is a Term That Refers to Events After the So
    Post-Modernism - Minimalism Post-Modernism is a term that refers to events after the so-called Modern period. The term suggests that we are now using what we learned in the “modern” period, but mixing it with ideas from the more distant past. A major movement within Post-Modernism is Minimalism Minimalism mixes some Eastern philosophical principles involving chant and meditation with simple tonal materials. Basic definition of Minimalism: sustained or repetitive use of simple (often tonal) materials. The movement began with LaMonte Young (b.1935); he used simple textures and consonant materials; often called trance music. Terry Riley (b.1935) is credited with first minimalist work In C (1964). The piece has repeated high C’s on piano maintaining simple pulse. Score has 53 short motives to be played by a group any size; players play all 53 figures, repeating as many times and as frequently as desired. Performance ends when all players are done with all 53 figures. Because figures change in content, there is subtle but constantly shifting texture all the time. Steve Reich (b. 1936) prefers to call his music “Structural” not minimal. His music is influenced by his study of African drumming. Some of his early works use phasing, where a tape loop is set up: the tape records first sounds made by performer; then plays them back while performer continues to play. More layers are added, and gradually live sounds get ahead of play-back. Effect can be hypnotic: trance-like. Violin Phase (1967) is example. In Mid-70’s Reich expanded his viewpoint and his ensemble: Music for 18 Musicians is a little like In C, but there is much more variation in patterns.
    [Show full text]
  • The Desert Music' at the Brooklyn Academy of Music's Next Wave Festival
    Swarthmore College Works English Literature Faculty Works English Literature 1984 Steve Reich's 'The Desert Music' At The Brooklyn Academy Of Music's Next Wave Festival Peter Schmidt Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit Part of the English Language and Literature Commons Let us know how access to these works benefits ouy Recommended Citation Peter Schmidt. (1984). "Steve Reich's 'The Desert Music' At The Brooklyn Academy Of Music's Next Wave Festival". William Carlos Williams Review. Volume 10, Issue 2. 25-25. https://works.swarthmore.edu/fac-english-lit/211 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. 25 Steve Reich's The Desert Music at the Brooklyn Academy of Music's Next Wave Festival "For music is changing in character today as it has always done." -WCW (SE 57) On October 25-27, the 1984 Next Wave Festival at the Brooklyn Academy of Music presented the American premiere of Steve Reich's The Desert Music, a piece for chorus and orchestra setting to music excerpts from three poems by William Carlos Williams, "Asphodel, That Greeny Flower," "The Orchestra," and his translation of Theocritus' Idyl I. Michael Tilson Thomas conducted the Brooklyn Philharmonic Symphony Orchestra and chorus, and he, the musicians, and the composer received standing ovations after the performances. Steve Reich is one of this country's most promising young composers.
    [Show full text]
  • Harmonic Vocabulary in the Music of John Adams: a Hierarchical Approach Author(S): Timothy A
    Yale University Department of Music Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach Author(s): Timothy A. Johnson Source: Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), pp. 117-156 Published by: Duke University Press on behalf of the Yale University Department of Music Stable URL: http://www.jstor.org/stable/843946 Accessed: 06-07-2017 19:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Department of Music, Duke University Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of Music Theory This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:50:30 UTC All use subject to http://about.jstor.org/terms HARMONIC VOCABULARY IN THE MUSIC OF JOHN ADAMS: A HIERARCHICAL APPROACH Timothy A. Johnson Overview Following the minimalist tradition, much of John Adams's' music consists of long passages employing a single set of pitch classes (pcs) usually encompassed by one diatonic set.2 In many of these passages the pcs form a single diatonic triad or seventh chord with no additional pcs. In other passages textural and registral formations imply a single triad or seventh chord, but additional pcs obscure this chord to some degree.
    [Show full text]
  • An HD Odyssey
    The Earth - An HD Odysse y Grades 9-12 Young Peopl e's Concert Listening Guide PERFORMERS Nashville Sympho ny Giancarlo Guerrero, condu ctor PROGRAM John Adams – Short Ride in a Fast Machine R. Strauss – Also sprach Zarathustra The program will be accompanied by high-definition images taken from NASA missions to Earth’s orbit JOHN ADAMS Born on February 15, 1947, in Worcester, Massachusetts; currently lives in Berkeley, California John Adams, whose new opera Girls of the Golden West received its world premiere at the end of last year at San Francisco Opera, is equally at home on the stage and in the concert hall. In fact, Short Ride in a Fast Machine is a concert-opening fanfare that Adams wrote during the period, in the mid-1980s, when he was busy composing his first opera, Nixon in China. It also shows a kinship with the exultant passages of Harmonielehre, Adams’s breakthrough orchestral work that preceded Nixon. Adams had an opportunity around this time to experiment twice with the format of the stand-alone concert fanfare. Preceding Short Ride in a Fast Machine was Tromba Lontana (“Distant Trumpet”). The composer characterizes both pieces as “in extremis versions of the traditional fanfare.” As a pair, they form a kind of fanfarish yin-and-yang: Tromba being a reserved, ruminative “anti-fanfare,” while Short Ride is a boisterously in-your-face, virtuoso roller coaster ride of orchestral sonorities. Although both are sometimes presented as companion pieces, Adams points out that he never actually intended them to be played together. WHAT TO LISTEN FOR: Short Ride in a Fast Machine Composed: 1986 First performance: June 13, 1986, with Michael Tilson Thomas conducting the Pittsburgh Symphony Short Ride might almost be heard as a concise primer on how Adams forged a freshly powerful musical language all his own from the building blocks of Minimalism as well as from the vernacular idioms of his upbringing—all transmogrified by his buoyant imagination.
    [Show full text]
  • September-October 2018 from the Editor: Welcome to the September/October Edition of the 2018 AAA Newsletter
    AMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the AmericanNewsletter Accordionists’ Association September-October 2018 From the Editor: Welcome to the September/October edition of the 2018 AAA Newsletter. As we reflect on the outstanding success of the 80th Anniversary Festival in Alexandria, VA, the summer draws to a close bringing with it a sense of great pride and accomplishment. The array of talent fea- tured during our gala Anniversary festival showcased the accordion at its finest, in a variety of genres and settings. A wonderful review with pictures and videos can be found online at www.ameraccord.com and serves as a lasting souvenir of the spectacular gathering. As always, I would like to offer my sincere thanks to the AAA Past- President, Linda Reed and Board of Director, Rita Davidson for their kind assistance with the AAA Newsletter. We invite you to submit your news items for publication so that your fellow members can see the incredible array of accordion activities happening throughout the country. Items for the 2018 November/December Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attach- ment. Pictures should be sent as a high quality .jpg file, and the larger the file size the better. We can always reduce/crop the picture if necessary, however we are unable to increase the quality from smaller pictures.
    [Show full text]
  • YOUNG PEOPLE's CONCERT the Ages of Music
    04-02 YPC:Layout 1 3/18/11 11:57 AM Page 1 YOUNG PEOPLE’S CONCERT The Ages of Music: Modern Saturday, April 2, 2011, 2:00 p.m. 15,167th Concert Global Sponsor Daniel Boico, Conductor Alan Gilbert, Music Director, holds Theodore Wiprud, Host, The Yoko Nagae Ceschina Chair . The Sue B. Mercy Chair Major support provided by the William Randolph Hearst Anna Lee, Violin Foundation , with additional support (New York Philharmonic debut) from The Theodore H. Barth Adam Alexander, Baritone Foundation . Tom Dulack, Scriptwriter and Director MetLife Foundation is the Lead Corporate Underwriter for the New York Philharmonic’s Education Programs. Guest artist appearances are made possible through the Hedwig van Ameringen Guest Artists Endowment Fund . Kidzone Live! is made possible by the Mercy family in memory of Sue B. Mercy . Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Department of Cultural This concert will last approximately Affairs , New York State Council on the Arts , one hour , with no intermission . and the National Endowment for the Arts . It is preceded by Kidzone Live!, Instruments made possible, in part, by The Richard S. which begins at 12:45 p.m. on the and Karen LeFrak Endowment Fund . Grand Promenade and upper Tiers Steinway is the Official Piano of the New York of Avery Fisher Hall . Philharmonic and Avery Fisher Hall. Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic April 2011 04-02 YPC:Layout 1 3/18/11 11:57 AM Page 2 New York Philharmonic Daniel Boico, Conductor Theodore Wiprud, Host, The Sue B.
    [Show full text]
  • Aaron Jay Kernis.” – Forbes
    “In the 20th century there were giants in the land. Charles Ives, Duke Ellington, George Gershwin, Aaron Copland, and Leonard Bernstein. But who is filling those shoes now? Heading many lists is Aaron Jay Kernis.” – Forbes Winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever to be awarded the Pulitzer Prize, AARON JAY KERNIS is among the most esteemed musical figures of his generation. With "fearless originality [and] powerful voice" (The New York Times), each new Kernis work is eagerly awaited by audiences and musicians alike, and he is one of today's most frequently performed composers. His music, full of variety and dynamic energy, is rich in lyric beauty, poetic imagery, and brilliant instrumental color. His works figure prominently on orchestral, chamber, and recital programs world-wide and have been commissioned by many of America‘s foremost performers, including sopranos Renee Fleming and Dawn Upshaw, violinists Joshua Bell, Pamela Frank, Nadja Salerno-Sonnenberg and James Ehnes (for the BBC Proms), pianist Christopher O'Riley and guitarist Sharon Isbin, and such musical institutions as the New York Philharmonic, Philadelphia Orchestra (for the inauguration of its new home at the Kimmel Center), Walt Disney Company, Rose Center for Earth and Space at New York’s American Museum of Natural History, Ravinia Festival (for James Conlon’s inaugural season), San Francisco and Singapore Symphonies, Minnesota Orchestra, Lincoln Center Great Performers Series, American Public Radio; Los Angeles and Saint Paul Chamber Orchestras, and Aspen Music Festival and programs from Philadelphia to Amsterdam (Concertgebouw, Amsterdam Sinfonietta), Santa Barbara to France (Orchestra National De France) throughout Europe and beyond.
    [Show full text]
  • Aspects of Closure in the Music of John Adams by Catherine Pellegrino
    Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared.
    [Show full text]