DOCSLIB.ORG

GAO, XIN, D.M.A. Project China: a Resource of Contemporary Saxophone Music Written by Chinese-Born Composers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GAO, XIN, D.M.A. Project China: a Resource of Contemporary Saxophone Music Written by Chinese-Born Composers GAO, XIN, D.M.A. Project China: A Resource of Contemporary Saxophone Music Written by Chinese-born Composers. (2016) Directed by Dr. Steven Stusek. 122 pp. In recent years, performances of newly composed Chinese music have become more common at national and international saxophone conventions. However, saxophone works by Chinese composers are still rare, and this body of work is largely unfamiliar to Western saxophonists. Moreover, no specialized and compiled reference material exists about these works, making them difficult to find. Chinese saxophone music deserves a higher level of Western exposure both for its high quality and for the skillful use of contemporary saxophone techniques its composers have utilized to express traditional Chinese musical elements. This document is a bibliographic resource that includes contemporary saxophone music written by living Chinese-born composers from 1952 until 2015. The Londeix guide to the saxophone repertoire, 1844–2012 by Jean-Marie Londeix and Bruce Ronkin is used as a model to make it convenient for readers to browse for contemporary Chinese saxophone works. Each entry contains available information, including dedication, program notes, instrumentation, level of difficulty and publication information. My resources for collecting the repertoire and its information include the Londeix guide, programs from major saxophone conferences, and personal networking with the composers. In addition, the essays on selected works offer a stylistic overview of contemporary Chinese saxophone music, giving a basic introduction to readers regarding various compositional styles that exist in this genre, as well as performance suggestions. The ultimate aim of this study is to promote contemporary saxophone music written by Chinese-born composers and to bring these composers and their works to a higher level of Western exposure. PROJECT CHINA: A RESOURCE OF CONTEMPORARY SAXOPHONE MUSIC WRITTEN BY CHINESE-BORN COMPOSERS by Xin Gao A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2016 Approved by _________________________________ Committee Chair © 2016 Xin Gao APPROVAL PAGE This dissertation written by XIN GAO has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair ______________________________________________ Committee Members ______________________________________________ ______________________________________________ ______________________________________________ ____________________________ Date of Acceptance by Committee _________________________ Date of Final Oral Examination ii DISCLAIMER In this document, I will define the term Chinese-born, as a group of people originating from areas that share similarities in language and collectively represent a great majority of the inhabitants within the set perimeter of China and Taiwan. I have chosen to use the term Chinese-born because I do not wish to make claims about who identifies as “Chinese” or not. I realize the term used in this document might bring discomfort to certain people for the following reasons: 1) Chinese-born individuals, according to the definition in this document, who have immigrated to another part of the world and have changed their citizenship, may not wish to be labeled with the term “Chinese.” 2) Because of the present controversial political status around the south coast of China, people born in Hong Kong and Taiwan also may not wish to be labeled with the term “Chinese.” 3) There are people not born in China who would identify as Chinese. I consider that the word Chinese-born not only refers to the region now recognized as the People’s Republic of China, but also encompasses all areas that have been influenced by ancient Chinese culture. The following composition collecting process disregards the current controversial political status of the southern coast of China, and includes the region of Hong Kong as well as Taiwan. The focus of this research is to illuminate the influence of the deeply developed ancient Chinese legacy that has existed for thousands of years. The above areas all share a similarity of language, characteristics and cultural customs. By defining this term, I hope to avoid confusion of different understandings of the term Chinese-born. iii TABLE OF CONTENTS Page LIST OF FIGURES ........................................................................................................... vi CHAPTER I. INTRODUCTION .................................................................................................1 II. COLLECTION PROCESS AND SOURCES .......................................................5 III. ESSAYS .................................................................................................................9 Introduction ..................................................................................................9 Chinese Ancient Dances ............................................................................11 Monologue (Impressions on the True Story of Ah Q) ................................14 Agravic .......................................................................................................17 If I'm Lost – Now ........................................................................................20 Memories of Xiaoxiang ..............................................................................24 Open Secret ................................................................................................26 Let Us Create Man .....................................................................................29 Sunshine on Taxkurgan ..............................................................................35 The Summer of Grassland ..........................................................................41 Conclusion .................................................................................................46 IV. INDEX BY COMPOSERS ..................................................................................48 Abbreviations .............................................................................................48 Example .....................................................................................................50 Music Publishers ........................................................................................51 Bibliographic Format .................................................................................52 V. INDEX BY INSTRUMENTATION ...................................................................69 Solo Saxophone .........................................................................................69 Soprano Saxophone and Piano...................................................................69 Alto Saxophone and Piano .........................................................................69 Saxophone and Orchestra or Chinese Orchestra ........................................69 Saxophone and Chinese Traditional Instruments ......................................70 Two Saxophones ........................................................................................70 Three Saxophones ......................................................................................70 SATB Saxophone Quartet..........................................................................70 iv SATB Saxophone Quartet with Orchestra .................................................71 SATB Saxophone Quartet with Strings .....................................................71 SATB Saxophone Quartet with Chinese Instruments ................................71 Reed Quintet ..............................................................................................71 Multiple Saxophones .................................................................................71 Saxophone and Flute ..................................................................................71 Saxophone and Brass .................................................................................72 Saxophone and Violin ................................................................................72 Saxophone and Bass ..................................................................................72 Saxophone and Cello .................................................................................72 Saxophone and String Orchestra ................................................................72 Saxophone and Percussion .........................................................................72 Saxophone and Guitar ................................................................................73 Saxophone and Harp ..................................................................................73 Saxophone and Voice ................................................................................73 Saxophone and Electronics ........................................................................73 Chamber Music with Piano ........................................................................73 Unspecified Instrumentation ......................................................................74 VI. COMPOSER BIOGRAPHIES ............................................................................75 BIBLIOGRAPHY ............................................................................................................106
Load more

Recommended publications
  • Smash Hits Volume 34
    \ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5.
    [Show full text]
  • Marco Polo 1 M. Selim Yavuz Centre for Advanced Studies in Music
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Humanities Commons Marco Polo 1 M. Selim Yavuz Centre for Advanced Studies in Music, Istanbul Technical University 05/01/2013 Symbolism and Text Painting in Tan Dun’s Marco Polo Recent opera repertoire has seen a wide variety of styles in opera composition. Marco Polo represents a rather unique corner of this wide variety. Tan Dun explores a capacious array of influences in this work. Starting from his own roots, Chinese traditional music, he explores European art tradition to some extent. Tan Dun also touches the styles and elements that are present along the journey of Marco Polo. What makes Marco Polo an interesting case study for symbolism and –to use the “old” term- madrigalism1, is the fact that this opera incorporates so many different allusions and remarks alongside with direct references. Tan Dun does not refrain from using direct references to elements outside of the European art music idiom which were/are generally left as distant allusions when used by Europe-origin composers. This might be because of the confidence brought out by the fact that he is of Chinese origin and the general opinion of European art music community that one should always embrace their own roots. This is, of course, just idle speculation. Here, the article will try to demonstrate aforementioned elements within with concrete musical examples. Tan Dun describes the departure point for composing Marco Polo as the longing to find the answer to the question that was posed to him by a Southern Chinese Monk 1 Text painting.
    [Show full text]
  • The Spring and Autumn Period & the Warring States Period
    http://www.purpleculture.net CHINESE MUSIC Pentatonic scale friend Zhong Ziqi by Playing “Sanfen Sunyi” method It is the collective name of This was one of the ancient five musical scales: do, re, mi, the Qin have their roots in this Chinese Lü generation sol and la. All the traditional methods. Guan Zhong in the Chinese scale forms included period, which fully reflects the Spring and Autumn Period the said five scales. Various improved musical instrument invented the Sanfen Sunyi modes might be formed Method that was used to based on each tone that is playing and composing skills figure out the length of Lü considered the principal tone for the pentatonic scale. The in a sequence of music tones and the enhanced music same or similar Lü generation consisting of the pentatonic methods also appeared in scale. According to the scale appreciation skills as well. As for ancient Greek and Arabic names of the principal tones, countries. Based on length modes could fall into different playing the ancient qin, ancient of the vibrating bodies, categories, such as do-mode, qin players also attributed the Sanfen Sunyi method re-mode, mi-mode, sol-mode included two aspects: “sanfen and la-mode. superb qin performance to true sunyi” and “sanfen yiyi.” Cutting one-third from a and deep feelings. According certain chord meant “sanfen sunyi,” which could result in to historical records, the singing of famous musician the upper fifth of the chord Qin Qing in the Zhou Dynasty could “shock the trees tone; And increasing the chord by one-third meant and stop clouds from moving,” and the singing of the “sanfen yiyi,” which generated the lower quarter of the folk singer Han E could “linger in the mind for a long chord tone.
    [Show full text]
  • Dissertation JIAN 2016 Final
    The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Laada Bilaniuk, Chair Ann Anagnost, Chair Stevan Harrell Program Authorized to Offer Degree: Anthropology © Copyright 2016 Ge Jian University of Washington Abstract The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian Chair of the Supervisory Committee: Professor Laada Bilaniuk Professor Ann Anagnost Department of Anthropology My dissertation is an ethnographic study of the language politics and practices of college- age English language learners in Xinjiang at the historical juncture of China’s capitalist development. In Xinjiang the international lingua franca English, the national official language Mandarin Chinese, and major Turkic languages such as Uyghur and Kazakh interact and compete for linguistic prestige in different social scenarios. The power relations between the Turkic languages, including the Uyghur language, and Mandarin Chinese is one in which minority languages are surrounded by a dominant state language supported through various institutions such as school and mass media. The much greater symbolic capital that the “legitimate language” Mandarin Chinese carries enables its native speakers to have easier access than the native Turkic speakers to jobs in the labor market. Therefore, many Uyghur parents face the dilemma of choosing between maintaining their cultural and linguistic identity and making their children more socioeconomically mobile. The entry of the global language English and the recent capitalist development in China has led to English education becoming market-oriented and commodified, which has further complicated the linguistic picture in Xinjiang.
    [Show full text]
  • Biographies (A-Z) Lecturers and Master Staff
    Biographies (A-Z) Lecturers and Master Staff Tommaso Agasisti Tommaso Agasisti is Associate Professor at Politecnico di Milano, Department of Management, Economics and Industrial Engineering (where he teaches Economia e Organizzazione Aziendale and Public Management) and Codirector of I&PA – MIP Politecnico di Milano Graduate School of Business. He is Associate Editor of the academic journal Higher Education Quarterly (HEQ), and member of the editorial board of other two academic journals, Tertiary Education And Management (TEAM) and Educational Researcher (ER). His studies are in the field of Public Economics and Finance, Public Management and Policy, Public Administration, with particular reference to the educational sector. His research is published in several international peer-reviewed academic journals, in both fields of Economics and Education. He also served as consultant for Italian universities and public administrations. Deborah Agostino Deborah Agostino is Assistant professor at Politecnico di Milano (Department of Management, Economics and Industrial Engineering), where she got a Master Degree and a PhD in Management Engineering respectively in 2008 and 2012. She teaches Business Administration at Bs in Biomedical Engineering. She is also lecturer in Management Accounting and Control at MIP (international MBA courses and master courses in the educational area). Her research interests cover mainly two areas: performance management in public networks, with a specific attention to the public transport field. In this area, the design, implementation and use of Key Performance Indicators are the main investigated issues. The second research interest is related to performance measurement in the social media era, with a particular focus on social technologies in the cultural field.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]
  • Kenneth Radnofsky KENNETH RADNOFSKY, Born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476
    Kenneth Radnofsky KENNETH RADNOFSKY, born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476. Phone: 781-646-5748; e:mail [email protected], website: www.KenRadnofsky.com ADMINISTRATIVE EXPERIENCE Executive Director and Founder, World-Wide Concurrent Premieres 1991-Present and Commissioning Fund, Inc. Responsible for fund raising for commissions of Schuller, Colgrass, Harbison, Wyner Theofanidis, Ticheli and Bell), plus over 40 commissioned works (1981-) including Gunther Schuller, David Amram, Donald Martino, Milton Babbitt; with private donations and NEA Consortium Grants Interim Chair, Woodwind Division, The Boston Conservatory 2004-2005 Associate Director, Community Music Center of Boston 1997-2000 Responsible for all educational and daily activities of Community Music School of over 600 in-house students, an original Settlement School in Boston’s South End Artistic Director, Sounds in Concert Inc., Cape Cod 1984-1994 (Artistic Consultation, including engaging artists, programming) Contractor, Orchestra Manager, Waterville Valley Bridge Orchestra 1989, 1990 Artist Member, Board of Directors, Affiliate Artists Inc. 1986-88 Director, Great Woods Summer Saxophone Seminar 1985-87 Editor, Winds Quarterly Magazine (Responsible for all aspects of production, including layout, design, paste-up, publicity, engaging writers, editing and writing.) 1980 EDUCATION BM cum laude University of Houston (Studies with Jeffrey Lerner) MM with honors New England Conservatory (Studies with Joseph Allard) COLLEGE TEACHING EXPERIENCE Present: Longy School of Music (2002) Prof. of Saxophone (10 hours), New England Conservatory (1976- ) Professor of Saxophone and Chamber Music (8.5 hours) and Boston Conservatory (1984-88, 1992- ) Professor of Saxophone, Chamber Music and Director of Weekly Wind Seminars, Interim WW Chair (2004-2005) (15 hours) Past: Hartt School of Music, U.
    [Show full text]
  • Program Notes Hosted by the Score Board 7:00
    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.
    [Show full text]
  • CELEBRITY INTERVIEWS a A1 Aaron Kwok Alessandro Nivola
    CELEBRITY INTERVIEWS A A1 Aaron Kwok Alessandro Nivola Alexander Wang Lee Hom Alicia Silverstone Alphaville Andrew Lloyd Webber Andrew Seow Andy Lau Anita Mui Anita Sarawak Ann Kok Anthony Lun Arthur Mendonca B Bananarama Benedict Goh Billy Davis Jr. Boris Becker Boy George Brett Ratner Bruce Beresford Bryan Wong C Candice Yu Casper Van Dien Cass Phang Celine Dion Chow Yun Fat Chris Rock Chris Tucker Christopher Lee Christy Chung Cindy Crawford Cirque du Soleil Coco Lee Conner Reeves Crystals Culture Club Cynthia Koh D Danny Glover David Brown David Julian Hirsh David Morales Denzel Washington Diana Ser Don Cheadle Dick Lee Dwayne Minard E Edward Burns Elijah Wood Elisa Chan Emil Chau Eric Tsang F Fann Wong Faye Wong Flora Chan G George Chaker George Clooney Giovanni Ribisi Glen Goei Gloria Estefan Gordan Chan Gregory Hoblit Gurmit Singh H Halle Berry Hank Azaria Hugh Jackman Hossan Leong I Irene Ang Ix Shen J Jacelyn Tay Jacintha Jackie Chan Jacky Cheung James Ingram James Lye Jamie Lee Jean Reno Jean-Claude van Damme Jeff Chang Jeff Douglas Jeffrey Katzenberg Jennifer Paige Jeremy Davies Jet Li Joan Chen Joe Johnston Joe Pesci Joel Schumacher Joel Silver John Travolta John Woo Johnny Depp Joyce Lee Julian Cheung Julianne Moore K KC Collins Karen Mok Keagan Kang Kenny G Kevin Costner Kim Robinson Kit Chan Koh Chieng Mun Kym Ng L Leelee Sobieski Leon Lai Lim Kay Tong Lisa Ang Lucy Liu M Mariah Carey Mark Richmond Marilyn McCoo Mary Pitilo Matthew Broderick Mel Gibson Mel Smith Michael Chang Mimi Leder Moses Lim N Nadya Hutagalung Nicholas
    [Show full text]
  • A Study on the Translation of Cultural Relic Texts from the Perspective of Skopos Theory— Taking the Cultural Relic Texts in the National Museum of China As Examples
    International Journal of Linguistics and Communication December 2020, Vol. 8, No. 2, pp. 40-45 ISSN: 2372-479X (Print) 2372-4803 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijlc.v8n2a5 URL: https://doi.org/10.15640/ijlc.v8n2a5 A Study on the Translation of Cultural Relic Texts from the Perspective of Skopos Theory— Taking the Cultural Relic Texts in the National Museum of China as Examples SONG Yuwei1 & LYU Liangqiu2 Abstract With the increasingly close cultural exchanges between China and the west, more foreigners show their interest and enthusiasm to Chinese culture. As the exhibition and educational institutions with cultural exchange functions, museums become their preferred visiting sites when they travel in China. In the process of spreading Chinese culture to the world, the translation of cultural relic texts in museum is an important part. This study collects hundreds of cases from exhibition introduction and cultural relic texts in the National Museum of China. Skopos Theory emphasized that translation should be oriented by target readers and the means of translation should be determined by the translation purposes, which is suitable to be applied in analysis of cultural relic texts. Under the guidance of Skopos Theory, the author classifies and analyzes the typical cases and puts forward four methods in the translation of cultural relic texts, including transliteration plus explanation, amplification, free Translation, omission. Keywords: cultural relic texts, Skopos Theory, the National Museum of China, translation method 1. Introduction With the continuous enhancement of Chinese cultural soft power and the deepening cultural exchanges between China and the West, more and more foreigners show their boundless interest and enthusiasm to Chinese culture.
    [Show full text]
  • 2005 Next Wave Festival
    November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria 2005 ~ext Wave FeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Symphony No.6 (Plutonian Ode) & Symphony No.8 by Philip Glass Bruckner Orchestra Linz Approximate BAM Howard Gilman Opera House running time: Nov 2,4 & 5, 2005 at 7:30pm 1 hour, 40 minutes, one intermission Conducted by Dennis Russell Davies Soprano Lauren Flanigan Symphony No.8 - World Premiere I II III -intermission- Symphony No. 6 (Plutonian Ode) I II III BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Major support for Symphonies 6 & 8 is provided by The Robert W Wilson Foundation, with additional support from the Austrian Cultural Forum New York. Support for BAM Music is provided by The Aaron Copland Fund for Music, Inc. Yamaha is the official piano for BAM. Dennis Russell Davies, Thomas Koslowski Horns Executive Director conductor Gerda Fritzsche Robert Schnepps Dr. Thomas Konigstorfer Aniko Biro Peter KeserU First Violins Severi n Endelweber Thomas Fischer Artistic Director Dr. Heribert Schroder Heinz Haunold, Karlheinz Ertl Concertmaster Cellos Walter Pauzenberger General Secretary Mario Seriakov, Elisabeth Bauer Christian Pottinger Mag. Catharina JUrs Concertmaster Bernhard Walchshofer Erha rd Zehetner Piotr Glad ki Stefa n Tittgen Florian Madleitner Secretary Claudia Federspieler Mitsuaki Vorraber Leopold Ramerstorfer Elisabeth Winkler Vlasta Rappl Susanne Lissy Miklos Nagy Bernadett Valik Trumpets Stage Crew Peter Beer Malva Hatibi Ernst Leitner Herbert Hoglinger Jana Mooshammer Magdalena Eichmeyer Hannes Peer Andrew Wiering Reinhard Pirstinger Thomas Wall Regina Angerer- COLUMBIA ARTISTS Yuko Kana-Buchmann Philipp Preimesberger BrUndlinger MANAGEMENT LLC Gorda na Pi rsti nger Tour Direction: Gudrun Geyer Double Basses Trombones R.
    [Show full text]
  • Bruckner Orchester Linz
    Bruckner Orchester Linz Dennis Russell Davies Conductor Martin Achrainer / Bass-Baritone Angélique Kidjo / Vocals Thursday Evening, February 2, 2017 at 7:30 Hill Auditorium Ann Arbor 35th Performance of the 138th Annual Season 138th Annual Choral Union Series Tonight’s presenting sponsor is Michigan Medicine. Tonight’s supporting sponsor is the H. Gardner and Bonnie Ackley Endowment Fund. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, Ann Arbor’s 107one, and WDET 101.9 FM. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Bruckner Orchester Linz is the Philharmonic Orchestra of the State of Upper Austria, represented by Governor Dr. Josef Puehringer. The Bruckner Orchester Linz is supported by presto – friends of Bruckner Orchester. Bruckner Orchester Linz appears by arrangement with Columbia Artists Management, Inc. Angélique Kidjo appears by arrangement with Red Light Management. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM George Gershwin, Arr. Morton Gould Porgy and Bess Suite Alexander Zemlinsky Symphonische Gesänge, Op. 20 Song from Dixieland Song of the Cotton Packer A Brown Girl Dead Bad Man Disillusion African Dance Arabesque Mr. Achrainer Intermission Duke Ellington, Arr. Maurice Peress Suite from Black, Brown, and Beige Black Brown Beige Philip Glass Ifè: Three Yorùbá Songs Olodumare Yemandja Oshumare Ms. Kidjo 3 PORGY AND BESS SUITE (1935, ARRANGED IN 1955) George Gershwin Born September 26, 1898 in Brooklyn, New York Died July 11, 1937 in Hollywood, California Arr.
    [Show full text]