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The Ukrainian Weekly 1984, No.52
www.ukrweekly.com 3 Ht Pu^lished ЬУ the Ukrainian National Association Inc., a fraternal non-profR" association) Ukrainian Weekl Vol. Lll No. 52 THE UKRAINIAN WEEKLY SUNDAY, DECEMBER 23, 1984 25 cents CHRIST IS BORN - LET US GLORIFY HIM GssetssaesaG^^ Reflections on President's report profound mystery neglects Ukrainians WASHINGTON - A recent presi The Christmas message of the dential report on compliance with the Ukrainian Catholic hierarchy in the 1975 Helsinki Accords on human rights United States of A merica. and security in Europe, which includes a section on the Soviet Union, contains Very Reverend and Reverend Fathers, virtually no references to the rights Members of our Religious Commu situation in Ukraine and only a cursory nities, Beloved Faithful in Christ! mention of Ukrainian politic;.! pri soners, by far the largest group. Christ is Born! Let us glorify Him! The document, officially titled the With the holy Christmas season 17th Semiannual Report by the Presi upon us, let us send our thoughts to dent to the Commission on Security and distant Bethlehem! What awesome Cooperation in Europe, also fails to mystery penetrated that night and detail the plight of the Ukrainian permeated the City of David nearly Helsinki Group, the largest of the five 2,000 years agorlt truly was a "Holy citizens' groups set up to monitor Soviet Night" and a "Silent Night." It was compliance with the accords, which the night foretold by the prophets, were signed by 35 countries. Most anticipated by the patriarchs and just members of the group are serving long people throughout the Old Testa terms of imprisonment, a fact ommited ment. -
The Court Theatres of the Farnese from 1618 to 1690
This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’. -
Shanghai Quartet 2020-21 Biography
SHANGHAI QUARTET 2020-21 BIOGRAPHY Over the past thirty-seven years the Shanghai Quartet has become one of the world’s foremost chamber ensembles. The Shanghai’s elegant style, impressive technique, and emotional breadth allows the group to move seamlessly between masterpieces of Western music, traditional Chinese folk music, and cutting-edge contemporary works. Formed at the Shanghai Conservatory in 1983, soon after the end of China’s harrowing Cultural Revolution, the group came to the United States to complete its studies; since then the members have been based in the U.S. while maintaining a robust touring schedule at leading chamber-music series throughout North America, Europe, and Asia. Recent performance highlights include performances at Carnegie Hall, the Metropolitan Museum of Art, the Freer Gallery (Washington, D.C.), and the Festival Pablo Casals in France, and Beethoven cycles for the Brevard Music Center, the Beethoven Festival in Poland, and throughout China. The Quartet also frequently performs at Wigmore Hall, the Budapest Spring Festival, Suntory Hall, and has collaborations with the NCPA and Shanghai Symphony Orchestras. Upcoming highlights include the premiere of a new work by Marcos Balter for the Quartet and countertenor Anthony Roth Costanzo for the Phillips Collection, return performances for Maverick Concerts and the Taos School of Music, and engagements in Los Angeles, Syracuse, Albuquerque, and Salt Lake City. Among innumberable collaborations with eminent artists, they have performed with the Tokyo, Juilliard, and Guarneri Quartets; cellists Yo-Yo Ma and Lynn Harrell; pianists Menahem Pressler, Peter Serkin, Jean-Yves Thibaudet, and Yuja Wang; pipa virtuoso Wu Man; and the vocal ensemble Chanticleer. -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
I .Concert Theatre Tonight!
FIL™ n r a "WS ■ J O 3 : BOYS îîS*!9â k IWâ S 7A FEATURE 3 A | REVIEW Actors Ricky From the Ricardo's London Logical Stage Heir The Arts and Entertainment Section of the Daily Nexus/For the Week of Oct.25-Nov.2 1989 Syllabus OF NOTE THIS WEEK MUSIC Top 5 This Week at Rockhouse Records: 1. Camper Van Beethoven Key Lime Pie 2. Erasure Wild 3. Jesus & Mary Chain Automatic 4. Kate Bush The Sensual World 5. Aerosmith Pump at The Wherehouse: 1. Rolling Stones Steel Wheels 2. Milli Vanilli Girl You Know It’s True 3. Janet Jackson Rhythm Nation 1814 4. Tears For Fears The Seeds of Love 5. Fine Young Cannibals The Raw and the Cooked FILM Tonight: Mr. Smith Goes To Washington, at Campbell Hall, 8 p.m.; $3/students Saturday: 21st Tournament of Animation, at I.V. Theater, 7,9,11 p.m.; $3 Sunday: King of the Children, at Campbell Hall, 8 p.m.; $3/students □ PERFORMANCE Which, too, Tonight: about. Music/Rally Phranc, as part of Take ■By Doug Arellane Back the Night, Storke Plaza, 7 p.m. ^ ¡§ ta ff Writer Phranc also dgjeys Free She says so on tie title Friday: Music 8th Annual World Music Festi new album, I Enjoy Being A val, at the Multicultural Center, 3 ^ s c r i b e s which is a cover of ah old Ro p.m.; Until Saturday; Free your average lesbian Jewis f ^ a*M ^ Poetry Ana Castillo, at the Women’s and Hammerstein number Yo Center, 12 p.m.; Free ger,” andgpsses it o^yitl for being a lesbian Jewish folks! Saturday:Afusic Udan Asih Gamelan kind of jinchalanceas ifllhe wHS & dance concert, at Campbell Hall, 8 Phranic$8ias a sense of humg p.m.; $10/students, $15/non-students P h ra n y “just your^ average sharp a! her flattop. -
June WTTW & WFMT Member Magazine
Air Check Dear Member, The Guide As we approach the end of another busy fiscal year, I would like to take this opportunity to express my The Member Magazine for WTTW and WFMT heartfelt thanks to all of you, our loyal members of WTTW and WFMT, for making possible all of the quality Renée Crown Public Media Center content we produce and present, across all of our media platforms. If you happen to get an email, letter, 5400 North Saint Louis Avenue or phone call with our fiscal year end appeal, I’ll hope you’ll consider supporting this special initiative at Chicago, Illinois 60625 a very important time. Your continuing support is much appreciated. Main Switchboard This month on WTTW11 and wttw.com, you will find much that will inspire, (773) 583-5000 entertain, and educate. In case you missed our live stream on May 20, you Member and Viewer Services can watch as ten of the area’s most outstanding high school educators (and (773) 509-1111 x 6 one school principal) receive this year’s Golden Apple Awards for Excellence WFMT Radio Networks (773) 279-2000 in Teaching. Enjoy a wide variety of great music content, including a Great Chicago Production Center Performances tribute to folk legend Joan Baez for her 75th birthday; a fond (773) 583-5000 look back at The Kingston Trio with the current members of the group; a 1990 concert from the four icons who make up the country supergroup The Websites wttw.com Highwaymen; a rousing and nostalgic show by local Chicago bands of the wfmt.com 1960s and ’70s, Cornerstones of Rock, taped at WTTW’s Grainger Studio; and a unique and fun performance by The Piano Guys at Red Rocks: A Soundstage President & CEO Special Event. -
Wallingford Riegger
WALLINGFORD RIEGGER: Romanza — Music for Orchestra Alfredo Antonini conducting the Orchestra of the “Accademia Nazionale di Santa Cecilia-Roma” Dance Rhythms Alfredo Antonini conducting the Oslo Philharmonic Orchestra THIS RELEASE is but further evidence of the growing and gratifying tendency of recent years to recognize Wallingford Riegger as one of the leading and most influential figures in twentieth century American composition, in fact as the dean of American composers. Herbert Elwell, music critic of the Cleveland Plain Dealer, said it in April, 1956: “I am coming more and more to the conclusion that it is Riegger who has been the real leader and pathfinder in contemporary American music . not only a master of his craft but in some ways a prophet and a seer.” In the same month, in Musical America, Robert Sabin wrote: “I firmly believe that his work will outlast that of many an American composer who has enjoyed far greater momentary fame.” Riegger was born in Albany, Georgia, on April 29, 1885. Both his parents were amateur musicians and were determined to encourage their children in musical study. When the family moved to New York in 1900, the young Wallingford was enrolled at the Institute of Musical Art where he studied the cello and composition. Graduating from there in 1907 Riegger then went to Germany to study at the Hochschule für Musik in Berlin with Max Bruch. In 1915-1916 he conducted opera in Würzburg and Königsberg and the following season he led the Blüthner Orchestra in Berlin. Since his return to the United States in 1917, he has been active in many phases of our musical life. -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
Crane Chorus Crane Symphony Orchestra
JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work. -
ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 Merican Composers Have Always Pushed Boundaries, As Americans Themselves Have a Pushed West
AMERICAN GRACE Piano music from Steven Mackey | John Adams ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 merican composers have always pushed boundaries, as Americans themselves have A pushed West. I feel strongly that John Adams and Steven Mackey are at the forefront of defining what it means to be an American pianist today. On a stunning summer’s day in 2007 in the inspiring Rocky Mountain valley of Aspen, I found myself as usual underground, in a windowless practice room. One of the magical things about Aspen is that the otherwise oppressive quality of such a room is transformed by the people who inhabit it. I was taking a practice break from Gershwin and Stravinsky, preparing for rehearsal with the orchestra, when Steve Mackey came off the stage from rehearsing his guitar concerto Tuck and Roll. I was seven months pregnant with my twin sons, and Steve and I immediately started to talk about both music and child-bearing, which his wife was soon to do as well. I relished our talk and was further enthralled by Steve’s sizzling guitar playing and magnetic compositional style. For the next months, I ravenously listened to his oeuvre, convincing me that he was the first composer I wanted to ask to write me a concerto. The process was amazing. Steve showed me bits now and again, listened to my recordings and live performances, asked about my hand size, even allowed me a say in the final dramatic turn of the piece. Every time a part of the score came my way, I was more excited to learn it and understand it. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.