DOCSLIB.ORG

Theatre Society Membership

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Society Membership ST. EDWARD'S UNIVERSITY THEATER ARTS STAFF AND FACULTY Dean of Humanities .. ......... ...... ..... Father Louis T. Brusatti . FULLCIRCLE Artistic Director/Area Coordinator .. .. ...... .. ....... Ev Lunning, Jr. Managing Director . ... .. ...... .. .... .. ...... Michelle S. Polgar Administrative Coordinator .. ... ... ...... Robin Grace Thompson BY Costume Shop Manager .... .. .. .... ...... ... T'Cie Mancuso Technical Director .......... ... ..... ........ ..... Chase Staggs CHARLES L. MEE Master Electrician ............ ... ( . Natalie George Costume Technical Specialist ........ ....... ... ..... Michelle Heath DAVID LONG Assistant Professors . David Long DIRECTOR Sheila Gordon Sara Medina-Pape Michael Massey LEILAH STEWART LAURA CANNON Adjunct Instructors ......... .... .......... ..... Dr. Brooks Barr SCENIC DESIGN COSTUME DESIGN Ann Mary Carney Bhagirit Crow DIANA DUECKER BUZZ MORAN Todd Dellinger LIGHTING DESIGN SOUND DESIGN Diana Duecker Kathy Dunn Hamrick ROBIN LEWIS TARA COOPER Babs George CHOREOGRAPHY MAKEUP/HAIR DESIGN Rachel Magee Bill McMillin MICHAEL MCKELVEY BROOKS BARR Dr. Michael McKelvey MUSIC DIRECTION PRODUCTION DRAMATURG Margita Pencevova Gary M. van der Wege KATE KAMPSCHROEDER* PRODUCTION STAGE MANAGER SPECIAL THANKS Joe Carpenter JILL BLACKWOOD* Pedro Gallardo GREG HOLT* Rude Mechanicals EQUITY GUEST ARTISTS Ike Machamer Mark Porter Isaac Ruiz Sponsored in part by Kerstin Somerholter School of Behavioral and Social Sciences Lindsey C. Taucher Robert Whyburn CHRONICLEliifA · 3 ,_ 9· FULL CIRCLE was originally produced under the title THE BERLIN CIRCLE as a world premiere at the Steppenwolf Theatre, Chicago . Sept. 26-Oct. 7, 2007 Marthy Lavey, Artistic Director, Michael Gennaro, Managing Director. Funding for the original production of FULL CIRCLE was made possible by The Harold and Mimi Steinberg Charitable Trust The Company Production Staff Pamela Dalrymple. Jill Blackwood* Assistant to the Technical Director ..... .. .. .. .... ... Connor Hopkins Mr Market/Warren . David Gallagher** Properties Consultant . ...... .... .. .... .. ..... .. Rachel Magee Translator/Crowd . ... ............ .. ...... .Steffanie Ngo-Hatchie** Assistant Stage Managers .. ... ... ...... Katie Andries, Elliott Dooley, Elizabeth Rische, ChristopherSmith Zhu/Hermann .... ........ ... ... .. ..... ... .. ..... Jarrett King** Properties Design and Construction . .. ..... Hans Klein, Patricia Greenwell, Ping/Crowd/Cook's Assistant ......... .. ....... Stephanie Denson** EvangelineJime nez, Sherry Mauch, Maryann Menzies Ching/Student/Werner . ....... ... .. .... ....... Nathan Osburn** Assistant to the Master Electrician/Board Operator .... .. KristopherCarpenter Sly Modrow/Student/Gunter ............... ...... Maarouf Naboulsi** Assistant to the Sound Designer/Board Operator . .... ... ..... Elle Mahoney Stupid Krenz/Student/Masseur/Helmut. Austin D. Alexander** Spot Operators . ... ..... .. .... .. .. Charles Bryant, Joseph Luedeke Erich Honecker/Crowd/Cook . ... ... .... ........... .. .Clay Cartland** Scene Shop Staff . .. ...... .. .. .Austin Alexander,Michelle Brandt, Heiner Muller . ..... ... ......... .......... .. ... ..... Greg Holt* Amanda Hartley,Stacy Vandervorst Costume Designer/Bui/horn/Concierge . ...... .... ..... Julia Trinidad** Costume Shop Staff. .. .. ... .. .. .. Karina Cooper, Miriam Jurgensen, Christa . ................................... Micaela Garcia-Baab** Heidi Mashaka,Allie Towell Dulle Griet . ........ .... .... .... ....... ... Helyn Rain Messenger** Box Office Staff ... ... .. Shannon Bishop,Tomas Contreas, Kate Eminger, Lisa Maree Chiriboga, Elizabeth Shortall The Band House Manager . ...... ...... ...... .. ... .. Eric Cardona Matthew Hines ... ....... ..... .. ... .Trombone, Keyboard, Guitar House Crew . .. .. .... ..... Brandon Balque, Libby Dees, Austin Lowery, Aisha Melhem, Roy Varney,Jessica Townes Catherine Lippman-Bartkus ... ........... .................. Bass Head Dresser . Miriam Jurgensen Cesar A. Osorio II .............. .. .. .. .. .... .. .. ... .Lead Guitar Dressers . ... ... .. .Charli Brath,Andrew Butler,Whitney Carpenter, Austin D. Alexander .............. .......... ........... .... Drums Sarah Anderson, BlaiseTreuting Laundry. Brook Friesen,Elle Mahoney Setting: Berlin, 1989 Costume Crew ... .Stephanie Denson, Liana Hinojosa, Miriam Jurgenson, Jarrett King, Ashley Moore, Steffanie Ngo-Hatchie, There will be one ten-minute intermission Nathan Osburn, Kari Strunk, Julia Trinidad, and the students of THAR 1331 *Member of Actors ' Equity Association, the union of professional actors and Scenic Crew .. .......... Monica Azcarate, Brandon Balque, LeRoy Beck, stage managers in the United States. Lydia Breed, KristopherCarpenter, **Equity Member Candidate Stephanie Denson, EvangelineJimenez, Hans Klein, Sherry Mauch,Aisha Melhem, ACTORS' EQUITY ASSOCIATION (AEA), founded in 1913, represents more than 45,000 Maryann Menzies, Helyn Messenger,Steffanie Ngo-Hatchie, actors and stage managers in the United States. Equity seeks to advance, pro­ Ema Ramsower,Alex Riegelman,and the students ofTHAR 1330 mote and foster the art of live theater as an essential component of our soci­ Make-Up and Hair Crew ..... .. .... .. ..... Chad Duda, Sarah Shade ety. Equity negotiate s wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL- Lighting Crew ...... Sarah Burkhalter,Kristopher Carpenter, Scott Kyrish, ACTORS' CIO and is affiliated with FIA, an international organization of performing Valerie Lara, Maarouf Naboulsi,Nigel O'Hearn, JacobTrussell, EQ LJfTY arts unions. The Equity emblem is our mark of excellence. and the students from THAR 3323 Assoc111.noN 1913 www.actorsequfry.org Pamela Dalrymple is inspired by the life of the British-born socialite Pamela Beryl Digby From the Dramaturg Churchill Hayward Harriman ( 1920-1997). Harriman made a name for herself first as the The full-bore theatricality of Charles Mee's Full Circleis rooted in Bertholt Brecht's epic wife or lover of a succession of prominent men and later as a doyenne of the Democratic theatre. Brecht preferred to call his theatre a "theatre of dialectic" - the clash of oppos­ Party. Her list of liaisons included Randolph Churchill, Edward R. Murrow, Prince Aly ing ideas and concepts. This c.lash of opposites not only makes up the wildly entertaining Khan, the Fiat automobile heir Gianni Agnelli and Baron Elie de Rothschild. She married dramatic structure ofMee's play, as polarities of diought and behavior are pushed to comic Randolph Churchill, Broadway producer Leland Hayward and diplomat W Averell Har­ (and even offensive) extremes, but it is also the inner-dialogue of the play, as Mee com­ riman. In 1992 Pamela Harriman was made U.S. Ambassador to France, and in 1996 she ments on the story he has inherited from Brecht and his predecessors. was awarded the Commander of the French Legion of Honor's Order of Arts and Letters. BrooksBarr, Dramaturg l Dulle Griet is the central figure in two large paintings by Pieter Breugel the Elder (c. CHARLES MEE ON FULL CIRCLE: 1525-1569). Traditionally known in English as "Mad Meg," Griet is depicted as a heavily Ful{Circle is ... a conversation with an entire dramatic tradition. The original narrative armed thief crossing the mouth of Hell, her sword raised against the grotesque array of comes from a fourteenth-century Chinese play, The Chalk Circle, which was rewritten demons that surround her. Mee invokes this history of a patron "saint" of thieves. b~ the German playwright Klabund in 1924 as Der Kreidekreis.Brecht responded to Erich Honecker (1912-1994) was First Secretary of the Socialist Unity Party and thus Klabund's play in 1926 when he wrote The Caucasian Chalk Circle, and my play, Full head of state of the German Democratic Republic from 1971-1989. He advocated Circle,is an argument with Brecht and the earlier versions of the story, which seem to me modest consumerism but strict social controls. Under Honecker's rule, the GDR adopted romantic and na"ive. a program of "consumer socialism," which resulted in a marked improvement in living 1b'e Chalk Circleplays all conclude with a famous trial scene. A baby is placed in the mid­ standards. Still, internal dissent remained oppressively · subdued. A number of East dle of a circle and his adoptive and birth mothers stand on opposite sides of the circumfer­ German citizens were killed during this period while trying to cross the border into West ence. Both women try to pull the baby to them until one of them lets go, whereupon the Berlin . Honecker's career was inextricably linked with the Berlin Wall, from 1961 when judge declares that the true mother is the one who released her son for fear of hurting him. he was put in charge of its construction, through 1989 when the Wall was breached in So much for the myth. I want~d to return to the ancient roots of the Chalk Circle nar­ the bloodless revolution that overthrew his communist regime, to 1993 when criminal rative. CaucasianChalk Circleis one of Brecht's greatest plays - it certainly contains his charges were filed that he had issued "shoot-to-kill" orders to East German border guards. best argument for Marxism - but I wanted to escape Brecht, to turn him upside down. Honecker emigrated to Chile in 1993 and died the following year. My first decision was therefore to take the play back to Brecht's hometown, indeed to his Heiner Miiller (1929-1996) joined Bertolt Brecht's Berliner Ensemb .le in 1951, working
Load more

Recommended publications
  • University of California Santa Cruz Dissecting
    UNIVERSITY OF CALIFORNIA SANTA CRUZ DISSECTING DRAMATURGICAL BODIES: Self, Sensibility, and Gaze in Contemporary Dramaturgy A thesis submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in THEATER ARTS by Patrick Denney This thesis of Patrick Denney is Approved by: _____________________________________ Professor Michael Chemers, PHD, Chair _____________________________________ Professor Gerald Casel, MFA _____________________________________ Professor Philippa Kelly, PHD _____________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents Abstract………………………………………………………………………………………………………………………………………………….iv Dedication………………………………………………………………………………………………………………………………………………v “Killing” Theater: A Survey of Popular Depictions of Dramaturgy……………………………………………………………1 Brecht’s Electrons: Positioning the Dramaturg in The Messingkauf Dialogues and Beyond…………………….5 Doctor to Dramaturg, and Back Again: Defining the Dramaturgical Gaze………………………………………………10 Pharmaturg to Dramaturg: Pharmakos and Dionysian Dramaturgy………………………………………………………18 Works Cited………………………………………………………………………………………………………………………………………….33 iii ABSTRACT: DISSECTING DRAMATURGICAL BODIES: Self, Sensibility, and Gaze in Contemporary Dramaturgy By Patrick Denney Dramaturgy is an art form that is still, after decades of existence in the American theater, misunderstood, and often feared, by many theater artists. From quasi-realistic portrayals of TV Shows such as SMASH, to the pulpy B-movie depiction of Law and Order: Criminal
    [Show full text]
  • To View Our Program
    About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the Univer- sity’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff, and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly, Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 Peter J. Lavezzoli ’60 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. Villanova Theatre gratefully acknowledges the generous support of its many patrons & subscribers We wish to offer special thanks to our 14-15 Benefactors: This list is updated as of November 1, 2014 A Running Friend Delia Mullaney Bill & Mimi Nolan John L. Abruzzo, M.D. Peggy & Bill Hill Beverly Nolan Donna Adams-Tomlinson Nancy & Joseph Hopko Dr. & Mrs. Bruce Northrup Loretta Adler Kerri L.
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • 2020-21 Msg Theatre Lab Play Development Program in Partnership with Playwrights Theatre Centre
    PRESENTS 2020-21 MSG THEATRE LAB PLAY DEVELOPMENT PROGRAM IN PARTNERSHIP WITH PLAYWRIGHTS THEATRE CENTRE January 15, 16 & 17, 2021 Online ABOUT THE MSG THEATRE LAB vAct’s MSG Theatre Lab is an annual play development program. Three playwrights are selected to receive professional dramaturgy for their new play culminating in a staged reading for further feedback from actors, directors and audience members. This year, vAct’s MSG Lab is proud to present works by Meghna Haldar, Grace Chin and Jenna Masuhara. The 2020-21 MSG Theatre Lab is generously funded by The Department of Canadian Heritage and Province of BC Please fill out the Dramaturgy Questionnaire and vAct Survey to provide further feedback CALL FOR PLAY SUBMISSIONS Want to be a part of our MSG Lab Play Development Program? We will be accepting submissions spring of 2021. Please visit www.vact.ca for more details. The MSG Lab readings are presented on the unceded traditional territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səlílwətaɬ̓ (Tsleil-Waututh) Nations. THE 2020-21 MSG LAB PLAYS MSG TEAM MSG Producer June Fukumura 2020-21 Emerging Dramaturg Davey Calderon Termite — Saturday, January 15 @ 7:00pm CREATIVE TEAM Playwright Meghna Haldar Dramaturg Kathleen Flaherty Director Paneet Singh Cultural Consultant Saattvic CAST Chirag Naik, Adele Noronha, Nadeem Phillip, Munish Sharma, Parm Soor A Funny Thing Happened On My Way To Canada — Saturday, January 16 @ 7:00pm CREATIVE TEAM Playwright Grace Chin Dramaturg Heidi Taylor Director Jasmine Chen CAST Jaymee Mak Before They Cut Down Our Tree — Sunday, January 17 @ 7:00pm CREATIVE TEAM Playwright Jenna Masuhara Dramaturg Davey Calderon Director Anjela Magpantay Cultural Consultant Sally Lee CAST Diana Bang, Angela Chu, Melissa Oei, Stephanie Wong June Fukumura – MSG LAB PRODUCER June Fukumura is a Japanese-Canadian inter-disciplinary theatre artist with a BFA in Theatre Performance from Simon Fraser University.
    [Show full text]
  • 6 X 10 Long.P65
    Cambridge University Press 0521849632 - Dramaturgy: A Revolution in Theatre Mary Luckhurst Excerpt More information 1 Introduction In Germany, Eastern Europe, Scandinavia and the Netherlands drama- turgs and literary managers are a lynchpin of mainstream, state-funded theatre, and have been officially employed for well over two centuries. Playreaders, advisers on repertoire and textual, critical and practical experts working in partnerships with directors and/or writers are accepted as an integral part of theatre-making. Similarly, though the history is much more recent, advances in American theory and practice since the 1960s mean that dramaturgy and literary management are now embedded both in subsidised theatre and as recognised disciplines in academic curri- cula at over forty universities.1 The latest edition of Brockett’s standard theatre history contains significant new sections on both fields, seeking to define differences while acknowledging that the concept of the dramaturg is still not widely understood.2 England is now belatedly following in the wake of continental and US practice, and its dramaturgical cultures have undergone an extraordinary transformation, particularly in the last decade – a pace of change still so great that it is difficult to keep abreast of developments. Though literary managers became official only in 1963 with the arrival of Tynan at the National Theatre, and professionalisation was at first slow, it quickened exponentially in the 1990s and the number of appointments continues to rise. Literary managers are now key figures intheartisticrunningofmanytheatres,andthedeploymentofdrama- turgs, who in England most commonly develop new plays, has become widespread. This book explores the origins and causes of this recent and revolutionary sea change in English theatre culture: the profession- alisation of literary management and dramaturgy.
    [Show full text]
  • February 19 - March 22, 2020
    Based on the Motion Picture Written and Directed by JOHN CARNEY Directed by MARK CUDDY Book by ENDA WALSH Music Director Music and Lyrics by DON KOT GLEN HANSARD Choreography by and MARKÉTA IRGLOVÁ WHITNEY G-BOWLEY A Co-production with SYRACUSE STAGE February 19 - March 22, 2020 Lead Co-Producers: Co-Producer: Associate Producer: Media Sponsors: Honorary Producers: Ken & Joan Slater 1 ABOUT GEVA THEATRE CENTER Geva Theatre Center is your not-for-profit theatre company dedicated to creating and producing professional theatre productions, programs and services of a national standard. As Rochester’s flagship professional theatre, Geva is the most attended regional theatre in New York State, and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, including 20,000 students. Founded in 1972 by William Selden and Cynthia Mason Selden, Geva was originally housed in the Rochester Business Institute building on South Clinton Avenue. In 1982, Geva purchased and converted its current space – formerly a NYS Arsenal designed by noted Rochester architect Andrew J Warner and built in 1868 – and opened its new home at the Richard Pine Theatre in March 1985. Geva operates two venues – the 516-seat Elaine P. Wilson Stage and the 180-seat Ron & Donna Fielding Stage. As one of the country’s leading theatre companies and a member of the national League of Resident Theatres, Geva produces a varied contemporary repertoire from musicals to world premieres celebrating the rich tapestry of our diverse community. We draw upon the talents of some of the country’s top actors, directors, designers and writers who are shaping the American Theatre scene.
    [Show full text]
  • DAS WESENTLICHE IST DIE MUSIK Das Ewige Wunderkind Fazil Say, Verliebt in Mozart, Mittlerweile 45 Jahre Alt, Hat Schon Immer Mit Seiner Heimat Gehadert
    DAS WESENTLICHE IST DIE MUSIK Das ewige Wunderkind Fazil Say, verliebt in Mozart, mittlerweile 45 Jahre alt, hat schon immer mit seiner Heimat gehadert. Die Türkei ist ihm einfach zu religiös, zu nationalistisch und, unter dem kunstfernen Übervater Recep Tayyip Erdoğan, dem Präsidenten, viel zu autoritär. Süddeutsche Zeitung, 17. Juli 2015 4 PROGRAMM 5 29. MAI 16 Sonntag 16.00 Uhr Abo-Konzert D/6 PHILHARMONIE BERLIN MARKUS POSCHNER FELIX MENDELSSOHN ALEXANDER ZEMLINSKY Ferhan & Ferzan Önder / BARTHOLDY (1871 – 1942) Klaviere (1809 –1847) „Die Seejungfrau“ – Rundfunk-Sinfonieorchester „Die Hebriden“ – Fantasie in drei Teilen für Berlin Konzertouvertüre h-Moll op. 26 großes Orchester nach dem Märchen von 14.45 Uhr, Südfoyer FAZIL SAY Hans Christian Andersen Einführung von Steffen Georgi (geb. 1970) > Sehr mäßig bewegt „Gezi Park I“ – > Sehr bewegt, rauschend Konzert für zwei Klaviere und > Sehr gedehnt, mit Konzert mit Orchester op. 48 schmerzvollem Ausdruck > Abend und der > Nacht > Polizeirazzia Übertragung heute Abend, 20.03 Uhr. Bundesweit. In Berlin auf 89,6 MHz. PAUSE Das Konzert wird außerdem übernommen von › Schwedischer Rundfunk › Portugiesischer Rundfunk › Tschechischer Rundfunk › Katalanischer Rundfunk › Australian Broadcasting Company 6 7 ROMANTIK VOM ATLANTIK Die Oper und die sinfonische WILDE WINDE UM Dichtung waren Mendelssohns und Brahms’ Sache nicht. Aber EINEN FALSCHEN deswegen ist ihre Musik nicht SÄNGER weniger beredt. Angesichts der mit Händen zu greifenden Natur- Im Frühjahr 1829 dirigierte schilderungen in der so genann- der 20-jährige Mendelssohn in ten absoluten Musik löst sich London (wie vorher in Berlin) der Streit um schildernde oder Bachs Matthäuspassion, spielte um reflektierende Musik in jenen Klavierkonzerte von Weber und Nebel auf, der vor der Inselgrup- Beethoven und stellte im Lande pe der Hebriden genauso aus Shakespeares seine „Sommer- dem Meer aufsteigt wie vor den nachtstraum“-Ouvertüre vor.
    [Show full text]
  • Zemlinsky's the Chalk Circle: Artifice, Fairy-Tale and Humanity
    Zemlinsky's The Chalk Circle: Artifice, Fairy-tale and Humanity ROBERT BLACKBURN 1 Ich binfriedlos, ich bin durstig nachfernen Dingen. (I am restless. I am athirst for faraway things.) Tagore, Der Gartner I Zemlinsky, Lyric Symphony The life and work of the Austrian composer Alexander Zemlinsky (1871-1942) is better known than it used to be thanks to the passage of time, and the availability now of almost all his music on record. During his lifetime he became used to neglect and under-valuation, except from his most intimate circle. Arnold Schoenberg was his lifelong friend and brother in law, and it was Schoenberg, who, even during the years when his "reluctant revolution" of twentieth century modernism in music was attracting so much attention, never for a moment lost his admiration for and loyalty towards Alex, his much-loved teacher and colleague through so many trials. Now that the correspondence between them has been published I we can see the extent and detail of their relationship, their intense and consistent lifelong devotion, despite some disagreements. On Zernlinsky's side we are aware always that he felt Schoenberg was the greater genius, a unique pioneering figure. In the letters, he is always "lieber Schoenberg" 1. Alexander Zemlinsky (ed. and enlarged by Horst Weber), Briefwechsel mil Schoenberg, Webern, Berg und Schreker, Darmstadt Wissenschaftliche Buchhandlung, 1995. 94 Revista Musica, Silo Paulo, v. 9 e 10, pp. 93-119, 1998-1999 never Arnold. For Schoenberg, who always addressed him as "Heber Alex," Zemlinsky was someone he could, beyond all others, rely on for succour and support.
    [Show full text]
  • Composers and Works List
    Composers and Works List Adams, John Coolidge (American, 1947-) Common Tones in Simple Time Grand Pianola Music Harmonielehre Shaker Loops The Chairman Dances Two Fanfares for Orchestra Adams, John Luther (American, 1953-) Dark Waves The Farthest Place The Light that Fills the World Addinsell, Richard Stewart (British, 1904-1977) A Christmas Carol Suite Warsaw Concerto Agapkin, Vasily Ivanovich (Russian, 1884-1964) Farewell to Slavianka Albéniz y Pascual, Isaac Manuel Francisco (Spanish, 1860-1909) Suite española, Op 47 Alexandrov, Alexander Vasilyevich (Russian, 1883-1946) Sacred War Soviet National Anthem Alfvén, Hugo Emil (Swedish, 1872-1960) Symphony 1, Op 7 Symphony 2, Op 11 Swedish Rhapsody 1, Op 19 'Midsummer Vigil' Symphony 3, Op 23 The Mountain King, Op 37 Symphony 4, Op 39 'From the Outermost Skerries' Andriessen, Hendrik Franciscus (Dutch, 1892-1981) Ricercare Symphony 2 Symphony 3 Andriessen, Jurriaan Hendrik (Dutch, 1925-1996) Rococo Concerto Antheil, George (American, 1900-1959) A Jazz Symphony Capital of the World Hot-Time Dance Jazz Sonata 4 Specter of the Rose Symphony 3 ‘American’ Symphony 4 ‘1942’ Symphony 5 Symphony 6 Arnič, Blaž (Slovenian, 1901-1970) Overture to a Comic Opera, Op 11 Symphony 5, Op 22 'Particularistic' Artyomov, Vyacheslav Petrovich (Russian, 1940-) Guria Hymn Requiem Atterberg, Kurt Magnus (Swedish, 1887-1974) Symphony 1, Op 3 Symphony 2, Op 6 Auerbach, Lera (Russian-American, 1974-) Icarus, symphonic poem Symphony 1 ‘Chimera’ Bach, Johann Sebastian
    [Show full text]
  • SHUFFLE Concert 1933©
    SHUFFLE Concert 1933© PROGRAM K. Weill The Seven Deadly Sins (1900–1950) “Prologue” for Soprano and Piano J. Turina Piano Trio in B minor, No. 2, Op. 76 (1882–1949) 1st movement: Lento – Allegro molto moderato J. Kern/O. Harbach arr. Dan Kaufman “Smoke Gets in Your Eyes” for Ensemble (1885–1945) S. Barber Sonata for Cello and Piano, Op. 6 (1910–1981) 3rd movement: Allegro appassionato D. Fields/J. McHugh arr. Dan Kaufman “Hey! Young Fella!” for Ensemble (1894–1969) A. Berg arr. Jonathan Keren Lulu (1885–1935) “Lied der Lulu” for Soprano and Ensemble Gospel/Rev. T. A. Dorsey “Take My Hand, Precious Lord” for Oboe and Piano (1899–1993) INTERMISSION E. Vardaro/C. E. Flores arr. Jonathan Keren Tango: “Mia” for Ensemble (1905–1971) Jaroslav Ježek Violin Sonata (1906–1942) 1st movement: Allegro vivo C. Oberfeld/René Pujol & Ch.-L. Pothier arr. Jonathan Keren (1903–1945) French Chanson: “La Femme Est Faite Pour L’homme” D. Shostakovich arr. Uriel Vanchestein Preludes, Op. 34, for Violin, Clarinet, and Piano (1906–1975) Preludes Nos. 6, 18, 4, and 24 D. Ellington arr. Dan Kaufman “Sophisticated Lady” for Cello and Piano (1899–1974) B. Bartók arr. Jonathan Keren 5 Dances from Mikrokosmos for Ensemble (1881–1945) D. Bruce/F. G. Lorca Blood Wedding (1970–) “Nana Del Caballo Grande”/ “Lullaby of The Big Horse” for Ensemble 0 J. Kander/F. Ebb arr. Jonathan Keren Cabaret (1927–) “Cabaret” for Soprano and Ensemble Foreword I would like to start by thanking all of you for helping us make this project a reality. Without your support this ambitious program would never have materialized.
    [Show full text]
  • Proquest Dissertations
    The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]