DOCSLIB.ORG

A Romantic Comedy in Music Music by Jack Beeson Libretto by Sheldon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Romantic Comedy in Music Music by Jack Beeson Libretto by Sheldon A Romantic Comedy in Music (p) 1976 Sony Music Entertainment Under license from The Sony Music Custom Marketing Group, a division of Sony Music Entertainment. Music by Jack Beeson Libretto by Sheldon Harnick WWW.ALBANYRECORDS.COM TROY1149/50 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2010 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. operas produced by the Center for Contemporary The Librettist Opera: My Heart’s in the Highlands in its stage Sheldon Harnick, one of America’s leading premiere, Sorry, Wrong Number in its world lyricists, won the Tony Award, the New York premiere, and Practice in the Art of Elocution. Drama Critics’ Circle Award and the Pulitzer Prize He also has composed for orchestra, concert in 1959 for Fiorello! and another Tony Award and band, vocal and choral groups and solo and New York Drama Critics’ Circle Award in 1964 for chamber music. In addition to composing, The Cast (in order of appearance) Fiddler on the Roof. His other Broadway shows Beeson has had a distinguished career at include She Loves Me, Tenderloin, The Apple Columbia where he is the MacDowell Professor A Romantic Comedy in Music Colonel Mapleson . .Eugene Green Tree, The Rothschilds and Rex. Born in Chicago, Emeritus of Music. Mr. Harnick pursued violin studies and music Five Reporters Music by Jack Beeson theory at the Boguslawski Musical College COMPOSER ESSAY Libretto by Sheldon Harnick The Times . .George Livings and took his Bachelor of Music degree at …And what, if not who, is Captain Jinks of the Tribune . .Keith Harmon Northwestern University. In addition to his work Horse Marines? Sun . .William Latimer for Broadway, Mr. Harnick has written for films by Jack Beeson Based on the play by Clyde Fitch Herald . .James Ditsch and television and has done numerous operatic Clipper . .Ralph Klapis translations and adaptations. Probably everybody realizes that a lot of time and Willem van Bleecker (Willie) . .Brian Steele effort and tempers are lost in finding the right Charles LaMartine (Charlie) . .Ronald Highley The Composer title for a theater piece, one that describes Jonathan Jinks . .Robert Owen Jones Jack Beeson was born in Muncie, Indiana in briefly—or at length—what, or whom, the piece 1921. He became interested in opera after is about, one that suggests the style of the piece Mrs. Greenborough (Mrs. Gee) . .Carolyne James listening to the Metropolitan Opera broadcasts. and tickles the curiosity of the ticket buyers. But Aurelia Trentoni . .Carol Wilcox While still a teenager, he wrote a five-act libretto the collaborators on an opera (or any musical-the- ‘Papa’ Belliarti . .Walter Hook about Beatrice Cenci. He received his master’s ater piece) will invest at least as much thought Mary (Annina) . .Nancy Jones degree in composition from the Eastman School on the subtitle. What the writers are up to is put Mrs. Stonington . .Linda Sisney of Music and began work on a doctorate, but down under the title in smaller type on the pro- Policeman . .Carl Packard moved to New York City instead, where he stud- gram and the title page of the printed score, to Customs Official . .Mike Lindeman ied briefly with Béla Bartók. While teaching at be left off the posters and flyers and to be put Stage Doorman . .Mike Lindeman Columbia University his interest in opera was out of mind. A glance at the title page of a dozen revived through working in the opera workshop “operas” and a dozen “musical comedies” has a Mrs. Jinks (Jonathan’s Mother) . .Karen Yarmat and Columbia Theater Associates. He won the jarring effect on one’s easy generalizations. Scene-Painter . .Carl Packard Prix de Rome and Fulbright Fellowships and Members of the Kansas City Philharmonic moved to Rome in 1948 where he lived for two So, what is Captain Jinks of the Horse Marines? Russell Patterson, conductor years, completing his first opera, Jonah. Next Is it an opera? Yes, it is, but more specifically it he adapted William Saroyan’s Hello Out There. is “A Romantic Comedy in Music.” First performed at the Lyric Theatre, Kansas City, Since, he has written eight more operas, includ- Missouri, September 20, 1975 ing Lizzie Borden, Captain Jinks of the Horse It is belligerently romantic in manner and matter. Producer: Jay David Saks Marines, Doctor Heidegger’s Fountain of Youth, What, if anything, it has to do with upper-case The Sweet Bye and Bye, Cyrano, and three Recording Engineer: Paul Goodman Romanticism is for others to discover. In its matter it remains faithful to the main plot of Clyde Fitch’s hit, placed in time in the early “…Comedy in Music”—the in is intentional and Between Acts II and III one is to imagine Aurelia ferreted out, nor are they there out of modish- 1870s. In Act I boy meets girl: in Act II he important. Not only does music heighten verbal, making her American debut in La Traviata. ness; the tensions between Traviata and Jinks are loses her; by the end of Act III they are engaged gestural and scenic expressivity; the shape of the Accordingly, the prelude (actually called Death very much related to the intended pathos and to be married. A simple enough scheme, to be whole and the forward thrust of an act also come and Transition) consists of the last 36 bars of humor of the latter, to the “Romantic Comedy” sure, used often enough (especially in the 19th from the music, though the dramatic skeleton Traviata; our curtain goes up as Verdi’s goes of our subtitle. and early 20th centuries) to prove that it is and verbal surface will have been designed to down. And our curtain goes down a short act threadbare or that it has the stuff of life in it, those ends. Our modest preposition in is but a later with the plot untangled, two couples In this country there are those who do not according to taste. But if the plot is simple in way of aspiring to the original and continuing entangled, and the ensemble singing a paean approach the operatic repertoire historically, but essence, one can concentrate on other things. ideal of opera, dramma per musica, drama by, or to the power of music, as much for itself as for attend performances as chance wills. For their Romantic? It has to do with a romance, and through, music. the audience. sakes Sheldon and I have tried to make Jinks, at even more romantic is the fact that it is an least on the surface level, perfectly comprehensi- operatic version of a romance, than which noth- We know the characters of an opera from their In short, Fitch’s play is about an opera singer, ble without a prior knowledge of middle Verdi. ing can be more other-worldly, thereby bringing words, but we believe them because of what they but our opera is an opera about an opera, And while we welcome the newcomers to opera in us full circle on a slippery pun to Webster on sing. The music will appear to reflect them, as in La Traviata in particular, others in passing, and the hope that we have at least succeeded in send- romance, a definition that works equally well for an enlarging mirror; rather, as though the music a love letter to Italian opera and the English ing them sometime, somewhere, to a La Traviata, opera: “a falsehood, especially one showing were a magic mirror, it will appear to create them. language. Half-truths are more often true than may we all welcome the Fiddler down from the ingenious or imaginative fancy.” It follows, therefore, that the music (and the not; whole-truths rarely so, and one should keep roof and into the opera house, where everything is words) for the lovers must be different from the them to himself. Accordingly, I may say that as it never was and never, ever, shall be. But enough of the adjective romantic. Whether it music (and the words) for the entrepreneur Jinks is for singers and opera buffs. Any composer is comedy or not remains to be heard. Some of Colonel Mapleson; the confidante, Mrs. and librettist who provide their leading lady with what was comedy in 1901—and might still be in Greenborough; the kindly Italian uncle, Belliarti, seven arias display a certain liking for singers Synopsis the spoken play: topical allusion and making fun and the five Reporters, who are distinguished (some would say a latent sadism), not to speak of Act I of half a dozen immigrant accents, for instance— from top tenor (the august Times) down to the arias for the others and ensembles all the way up Jonathan Jinks and his friends Willie and we have cut. They make no effect when the bass (the cretin on the tabloid Clipper). In part to a tredicino. As is usually the case, if the com- Charlie have come to welcome opera star matrix is music. Sheldon has kept some of Fitch’s for musical variety and in part for the implied poser is aiming towards the throat—”the vocal Aurelia Trentoni (née Johnson, from Trenton, funny lines and retained the gist of others; more irony, Law and Order—in the persons of the cords set in motion by the heart strings”—the New Jersey) to America. After hearing often he has sought the comic in relationships Policeman and the Customs Official—are repre- orchestra must play a subordinate role.
Load more

Recommended publications
  • Program Notes by MARTIN BOOKSPAN
    LIVE FROM LINCOLN CENTER March 24, 1999 8-10 PM New York City Opera: Lizzie Borden Program Notes by MARTIN BOOKSPAN "Lizzie Borden"- Music by Jack Beeson; libretto by Kenward Elmslie; based on a scenario by Richard Plant. World premiere given at New York City Opera, March 25, 1965. "Lizzie Borden took an ax, and gave her father forty whacks." This childhood rhyme may have passed from currency in the waning years of the twentieth century, but the event it memorialized was very much alive in the waning years of the nineteenth. Along with the likes of Paul Bunyan and Johnny Appleseed, Lizzie Borden of Fall River, Massachusetts, assumed legendary status in the American popular imagination. In some respects the situation seems to be a remarkable parallel to one with which we are all familiar, the O.J. Simpson affair. These are the facts: on August 4, 1892, the citizens of Fall River were shaken by the brutal murder of two of its most solid citizens, Andrew Borden and his wife, Abbie Gray Borden. The finger of suspicion soon pointed to Andrew Borden's thirty-three-year-old daughter, Elizabeth, known as Lizzie, an apparently demure and reserved gentlewoman. She testified at an inquest, but thereafter refused comment, even declining to testify in her own defense at the trial that ensued. The evidence arrayed against her seemed confused and even conflicting, and many in the community could not bring themselves to believe that she was guilty. Weak testimony in her favor was offered by her sister, Emma; in the final summation, these were the words of her chief defense attorney: "To find her guilty, you must believe she is a fiend.
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • Good Chemistry James J
    Columbia College Fall 2012 TODAY Good Chemistry James J. Valentini Transitions from Longtime Professor to Dean of the College your Contents columbia connection. COVER STORY FEATURES The perfect midtown location: 40 The Home • Network with Columbia alumni Front • Attend exciting events and programs Ai-jen Poo ’96 gives domes- • Dine with a client tic workers a voice. • Conduct business meetings BY NATHALIE ALONSO ’08 • Take advantage of overnight rooms and so much more. 28 Stand and Deliver Joel Klein ’67’s extraordi- nary career as an attorney, educator and reformer. BY CHRIS BURRELL 18 Good Chemistry James J. Valentini transitions from longtime professor of chemistry to Dean of the College. Meet him in this Q&A with CCT Editor Alex Sachare ’71. 34 The Open Mind of Richard Heffner ’46 APPLY FOR The venerable PBS host MEMBERSHIP TODAY! provides a forum for guests 15 WEST 43 STREET to examine, question and NEW YORK, NY 10036 disagree. TEL: 212.719.0380 BY THOMAS VIncIGUERRA ’85, in residence at The Princeton Club ’86J, ’90 GSAS of New York www.columbiaclub.org COVER: LESLIE JEAN-BART ’76, ’77J; BACK COVER: COLIN SULLIVAN ’11 WITHIN THE FAMILY DEPARTMENTS ALUMNI NEWS Déjà Vu All Over Again or 49 Message from the CCAA President The Start of Something New? Kyra Tirana Barry ’87 on the successful inaugural summer of alumni- ete Mangurian is the 10th head football coach since there, the methods to achieve that goal. The goal will happen if sponsored internships. I came to Columbia as a freshman in 1967. (Yes, we you do the other things along the way.” were “freshmen” then, not “first-years,” and we even Still, there’s no substitute for the goal, what Mangurian calls 50 Bookshelf wore beanies during Orientation — but that’s a story the “W word.” for another time.) Since then, Columbia has compiled “The bottom line is winning,” he said.
    [Show full text]
  • Autonomous Vehicles and AI-Chaperone Liability
    Catholic University Law Review Volume 69 Issue 2 Spring 2020 Article 9 10-19-2020 Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability Peter Y. Kim Follow this and additional works at: https://scholarship.law.edu/lawreview Part of the International Law Commons, and the Torts Commons Recommended Citation Peter Y. Kim, Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability, 69 Cath. U. L. Rev. 341 (2020). Available at: https://scholarship.law.edu/lawreview/vol69/iss2/9 This Comments is brought to you for free and open access by CUA Law Scholarship Repository. It has been accepted for inclusion in Catholic University Law Review by an authorized editor of CUA Law Scholarship Repository. For more information, please contact [email protected]. Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI- Chaperone Liability Cover Page Footnote J.D., The Catholic University of America, Columbus School of Law, 2020; B.A., Boston College, 2009. The author gives thanks to God for giving him purpose, his family and friends for their lovingkindness, Professor Kathryn Kelly for her mentorship and priceless guidance, and the Catholic University Law Review editors and staffers for their care and support in revising this Comment. This comments is available in Catholic University Law Review: https://scholarship.law.edu/lawreview/vol69/iss2/9 WHERE WE’RE GOING, WE DON’T NEED DRIVERS: AUTONOMOUS VEHICLES AND AI-CHAPERONE LIABILITY Peter Y. Kim+ Unwittingly, Iggy Pop’s “The Passenger”
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • Lizzie Borden: a Family Portrait in Three Acts
    NWCR694 New York City Opera presents: Lizzie Borden: A Family Portrait in Three Acts Act II 7. Prelude to Act II/Abbie’s Bird Song ....................... (10:30) 8. Unpleasantries and Introductions ............................. (5:45) 9. Two Quintets ............................................................ (5:42) 10. More Unpleasantness ............................................... (5:57) 11. Lizzie: “What am I forbidden now?) ....................... (1:58) 12. Lizzie’s Mad Scene .................................................. (9:24) Act III 13. Act III, Scene 1 ......................................................... (6:20) 14. Jason’s Song, Duet, Trio .......................................... (4:19) 15. Lizzie’s Dressing Scene ........................................... (4:11) 16. Abbie: “Bravo!” The Bitch Scene ........................... (11:44) 17. Scene 2, Lizzie: “Kill Time,” Scene and Murder .... (7:15) 18. Andrew and Lizzie: Seduction Scene ...................... (2:02) 19. Second-Murder Interlude ......................................... (1:53) 20. Scene 3, Epilogue ..................................................... (5:13) Music by Jack Beeson; Libretto by Kenward Elmslie Based on a Scenario by Richard Plant; Anton Coppola, Conductor; Staged by Nikos Psacharopoulos; Settings by Peter Wexler; Costumes by Patton Campbell; Lizzie Borden was given its world Act I premiere by the New York City Opera on March 25, 1965, with the aid of the Ford Foundation 1. Prelude .....................................................................
    [Show full text]
  • Showtime Unlimited Schedule August 01 2013 12:00 Am 12:30 Am 1:00
    Showtime Unlimited Schedule August 01 2013 12:00 am 12:30 am 1:00 am 1:30 am 2:00 am 2:30 am 3:00 am 3:30 am 4:00 am 4:30 am 5:00 am 5:30 am SHOWTIME Elizabeth R Elizabeth: The Golden Age (2:05) PG13 Blues Brothers 2000 PG13 SHO 2 #1 Cheerleader Wild Cherry R Humpday R Don't Go in the Woods (4:05) TVMA Shadow..... Camp (11:15) TVMA TVPG SHOWTIME SHOWCASE Trevor Noah: African Tanya X (1:15) TVMA Chatroom R Dave Foley: Relatively Taking..... American (12:05) TVMA Well (4:40) TVMA (5:40) R SHO BEYOND The Ninth Gate (11:35) R Batbabe: The Dark Nightie TVMA Malice in Wonderland R When Time Expires PG13 SHO EXTREME Kevin...... TV14 The Fixer TVMA Blast (2:20) R Murder in Mind R T.N.T. R SHO NEXT Rosencrantz and Guildenstern Dirty Love (1:40) R The Samaritan (3:15) R Debra Digiovanni: Single, are Undead (12:15) TVMA Awkward, Female TVMA SHO WOMEN Hide and Seek (12:10) R Barely Legal TVMA Trade R Touched.... R SHOWTIME FAMILY ZONE The Princess Stallion (11:40) TVG Max Is Missing (1:10) PG Whiskers (2:50) G The Song Spinner G FLiX The... R Farewell My Concubine R Silent Partner (3:25) R The Ruby Ring TVG THE MOVIE CHANNEL The... PG13 The Constant Gardener R Burning Palms (2:40) R The Three Musketeers (4:35) PG THE MOVIE CHANNEL XTRA The Chaperone PG13 Tim and Eric's Billion Dollar Movie (2:15) R Afterschool TVMA 6:00 am 6:30 am 7:00 am 7:30 am 8:00 am 8:30 am 9:00 am 9:30 am 10:00 am 10:30 am 11:00 am 11:30 am SHOWTIME D3: The Mighty Ducks (6:05) PG Battle Of The High School The Last Play at Shea (9:35) TVPG New..
    [Show full text]
  • Style and Performance Considerations in Three Works Involving Flute by Joan Tower
    Style and Performance Considerations in Three Works Involving Flute by Joan Tower: Snow Dreams , Valentine Trills , and A Little Gift by TAMMY EVANS YONCE (Under the Direction of Angela Jones-Reus and David Haas) ABSTRACT Joan Tower is a highly regarded contemporary composer who is known for her early serial style and subsequent organic style. Her compositional process is most frequently a collaborative one; a performer herself, she prefers to work with the musicians for whom she is writing. In addition to her Hexachords for solo flute (1972) and Flute Concerto (1989), which are her most commonly studied flute works, she has also written seventeen other chamber or solo works involving flute. This document contains a biography of the composer and an analysis of three chamber and solo works involving flute: Snow Dreams , Valentine Trills, and A Little Gift . A listing of Tower’s chamber and solo works involving flute and an interview with the composer are included as appendices. In addition to identifying formal aspects of the works, specific musical elements that are most salient to each work will be discussed. One of these elements in particular, density, will be analyzed in relation to how it creates or dispels intensity. Tower often employs the same compositional features in all three works to create this feeling of motion versus stasis, which is well illuminated through the analysis of the most salient musical elements. INDEX WORDS: Joan Tower, Snow Dreams , Valentine Trills , A Little Gift , A Gift, Flute, Chamber Music, Solo Music
    [Show full text]
  • For the Love of Sopranos: the Lives and Songs Of
    FOR THE LOVE OF SOPRANOS: THE LIVES AND SONGS OF ERNST BACON, OTTO LUENING AND JACK BEESON April 24, 2003 Copyright © 2003 All rights reserved ABSTRACT Ernst Bacon (1989–1990), Otto Luening (1900–1996) and Jack Beeson (b. 1921) form a musical lineage, although one more of friendship and mutual support than stylistic similarities. Bacon and Luening, born at the very end of the 19th century, maintained a close, supportive relationship throughout their adult lives, though often separated by the span of the continental United States. Beeson, who came along more than 20 years later and was part of the next generation of composers, was Luening’s friend and professional associate for more than 50 years. All have made major contributions, both musically and professionally, in defining, creating, and promoting a truly American musical idiom. All three composers believe in the primacy of song as musical expression, and made song- writing a major focus of their creative efforts. The three composers’ musical styles are quite disparate, although all demonstrate an exquisite talent for wedding poetry and music in a way that draws out the full expressive content of both. The early stylistic influences on Bacon and Luening’s vocal writing were largely the romantic German Lieder, while Beeson’s earliest musical influence came via the Metropolitan Opera Saturday afternoon radio broadcasts. Bacon and Luening’s vocal music is largely songs, with only limited excursions into opera, while the majority of Beeson’s vocal output is operatic. The mature songs of Bacon and Luening are exclusively settings of English 1 2 words.
    [Show full text]
  • 2011 Convention Program
    THE EVOLUTION OF OPERA Facing Change From the Fifteenth to the Twenty-first Century The 56th Annual Convention of the National Opera Association San Antonio, Texas January 6-9, 2011 THORNTON AD HERE THE EVOLUTION OF OPERA Facing Change From the Fifteenth to the Twenty-first Century The 56th Annual Convention of the National Opera Association Hilton Palacio del Rio Hotel San Antonio, Texas January 6-9, 2011 CONVENTION COMMITTEE Barbara Hill Moore, NOA Local Chair Gordon Ostrowski, NOA Vice President for Programs Julia Aubrey John Pfautz Ruth Dobson Catherine Payn George Shirley Kimberly Wolfenbarger Nakamoto Special Thanks to the University of Texas-San Antonio and Dr. William McCrary Program Index Wednesday and Thursday Events 3 Collegiate Opera Scene Program 5 Friday Events 8 Saturday Events 10 Legacy Gala Banquet 12 Roll of Honor 13 Sunday Events 14 Past Conventions 15 Past Presidents 16 Presenter Biographies 18 1 2 Wednesday, January 5th, 2011 12:00 PM-4:00 PM Meeting HACIENDA III NOA Executive Board and Board of Directors 4:30 PM OPENING NIGHT FIESTA El Mercado, San Antonio Thursday Morning, January 6th 8:00 AM to 5:00 PM Registration CONFERENCE CENTER LOBBY 8:00 AM to 5:00 PM Exhibits CONFERENCE CENTER FOYER 9:30 AM to 11:00 AM CORTE REAL ABC “Strategies for Casting in an Increasingly Visual Era” George Shirley, moderator Jonathan Pell, Dallas Opera Darren K. Woods, Fort Worth Opera David O’Dell, Amarillo Opera 11:00 AM to 12:45 PM EL MIRADOR Opening Ceremonies and Luncheon Welcome from President Elizabeth Vrenios Welcome from Vice President for Conventions Gordon Ostrowski Welcome from Convention Chair Barbara Hill Moore Memorials to Deceased NOA Colleagues John Douglas by Richard Crittenden Shirley Verrett by George Shirley OPENING ADDRESS "An Un-plugged Art Form in a Plugged-in World" Darren K.
    [Show full text]
  • National Endowment for the Arts Annual Report 1987
    NATIONAL ENDOWMENT FOR THE ARTS ~~>~=~~ -. " " i . " I~~ JJ~ , .. ..... MUSIC ON COVER AND TI~E PAGE TA~N ~OM SgMPH~ NO. 1 BY ELLEN TAA~ ZWIL­ ICH, WHICH SHE COM~SED WHILE ~CEIV~G A COM~SERS’ ~LLOWSHIP IN 1981 ~OM THE MUSIC PR~RAM. IN 1983, ~IS COM~S[~ON WAS AW~~D ~E PUL~ER PR~E FOR MUSIC. COPYRIGHT 1983 M~G~ MUSIC, INC. ~P~~ED BY PE~ISSION OF THE PUBLISHER. 1987 ANNUAL REPORT National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Repon of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1987. Respectfully, Frank Hodsoll Chairman The President The White House Washington, D.C. March 1988 CONTENTS CHAIRMAN’S STATEMENT v THE AGENCY AND ITS FUNCTIONS vii THE NATIONAL COUNCIL ON THE ARTS ix PROGRAMS 1 Dance 3 Design Arts 17 Expansion Arts 29 Folk Arts 51 Inter-Arts 59 Literature 71 Media Arts: Film/Radio/Television 83 Museum 95 Music 117 Opera-Musical Theater 151 Theater 161 Visual Arts 173 OFFICE FOR PUBLIC PARTNERSHIP 187 Artists in Education 189 Locals Test Program 195 State Programs 199 OFFICE FOR PRIVATE PARTNERSHIP 203 Challenge 205 Advancement 209 OFFICE OF POLICY, PLANNING, AND RESEARCH 211 Fellowship Program for Arts Managers 213 Intemational 215 Research 217 Special Constituencies 219 APPENDIX 221 Statement of Mission 222 Overview and Challenge Advisory Panels 223 Financial Summary 228 History of Authoñzations and Appropriations 229 iii CHAIRMAN’S STATEMENT The tremendous diversity of the arts of the basics of education from federal support for the arts over the in America is clearly shown by the kindergarten through twelfth grade, long term.
    [Show full text]
  • IAC Members Hung in Effigy, Purpose Remains a Mystery
    by PETE YOUNG housing services, said in a writ­ renters from RHA to replace university which pays nothing interest of about six per cent. Managing Editor ten statement. those apartment dwellers who for its ground, pays no taxes and M iss M ortell noted "severa l Residence in the dorms w ill drop out, transfer to other only three or three and a half reasons for issuing this yearly operate on a year-long contract ASSESS EFFECTS schools, graduate or move into per cent interest.” residence hall contract.” next fall, the University Housing Meanwhile, Isla Vista apart­ Greek houses at m id-year, he Apartment owners in the col­ • "To maintain current resi- Office told EL GAUCHO yes­ ment owners are just beginning noted. lege community, he said, pay the terday. ence halls rates and prevent an to assess the effects the new "It looks like education is current rate of $2 a foot and up increase in room and board The policy changeover, pre­ policy will have on their inter­ now in .the business of trying for land, pay the heaviest tax dicted in Wednesday’s EL GAU­ ests. to cut our throats,” he char­ rate in the state and a rate of (Continued on page 8, col. I) CHO, w ill halt the annual spring "W e knew it was in the mill, ged. " If they takeaway our busi­ semester exodus to Isla Vista. but we weren’t consulted,” said ness, we can’t survive.” Residence haUs were left with W alter Schwank, president of some 400 vacancies this semes­ the Isla Vista Improvement As­ FREE ENTERPRISE ter, which forced the closing of sociation.
    [Show full text]