September 2012 Calendar of Events
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
The St. Petersburg Chamber Philharmonic Innovative Dynamic
Innovative Dynamic Progressive Unique TheJeffery St. Meyer, Petersburg Artistic Director Chamber & Principal Philharmonic Conductor The St. Petersburg Chamber Philharmonic was founded in 2002 to St.create Petersburg and encourage cultural exchange Chamber between the United Philharmonic States and Russia and has become St. Petersburg’s most exciting and in- “The St. Petersburg novative chamber orchestra. Since its inception, the St. PCP has performed in the major concert halls of the city and has been pre- sentedAbout in its most important festivals. The orchestra’s unique and Chamber Philharmonic progressive programming has distinguished it from the many orches- tras of the city. It has performed over 130 works, including over has become an integral a dozen world premieres, introduced St. Petersburg audiences to more than 30 young performers, conductors and composers from part of the city’s culture” 15 different countries (such up-and-coming stars as Alisa Weilerstein, cello), and performed works by nearly 20 living American compos- ers, including Russian premieres of works by Pulitzer Prize-winning American composers Steve Riech, Steven Stucky and John Adams. Festival Appearances: Symphony Space, Wall-to-Wall Festival, “Behind the Wall”, 2010 “The orchestra 14th International Musical Olympus Festival, 2009 & 2010 International New Music Festival “Sound Ways”, 2005, 2006, 2007, 2008 demonstrates splendid 43rd International Festival St. Petersburg “Musical Spring”, 2006 5th Annual Festival “Japanese Spring in St. Petersburg”, 2005 virtuosity” “Avant-garde in our Days” Music Festival, 2003 Halls: Symphony Space, New York City Academic Capella Hall of Mirrors, Beloselsky-Belozersky Palace Hermitage Theatre “Magnificent” Maly Sal (Glinka) of the Philharmonic Shuvalovksy Palace Hall, Fontanka River St. -
Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
The Rite Signs: Semiotic Readings One Hundred Years On
AVANT, Vol. VII, No. 1/2016 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/70102016.0111.0001 The Rite Signs: Semiotic Readings One Hundred Years On Nicholas P. McKay Canterbury Christ Church University School of Music and Performing Arts nicholas.mckay- @- canterbury.ac.uk Abstract One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. Still to this day it thus remains one of music’s more remarkable split person- alities: bifurcated along formalist and contextualist lines by Stravinsky’s retrospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.” Keywords: ballet; music; semiotics; Stravinsky; The Rite of Spring. One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. -
Download the Clarinet Saxophone Classics Catalogue
CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Chamber Music Society of Lincoln Center
Chamber Music Society of Lincoln Center Saturday, April 18, 2015 8 p.m. 7:15 p.m. – Pre-performance discussion Regina A. Quick Center for the Arts www.quickcenter.com ~INTERMISSION~ COPLAND ................................ Two Pieces for Violin and Piano (1926) K. LEE, MCDERMOTT ANNE-MARIE MCDERMOTT, piano STRAVINSKY ................................Concertino for String Quartet (1920) DAVID SHIFRIN, clarinet AMPHION STRING QUARTET, HYUN, KRISTIN LEE, violin SOUTHORN, LIN, MARICA AMPHION STRING QUARTET KATIE HYUN, violin DAVID SOUTHORN, violin COPLAND ............................................Sextet for Clarinet, Two Violins, WEI-YANG ANDY LIN, viola Viola, Cello, and Piano (1937) MIHAI MARICA, cello Allegro vivace Lento Finale STRAVINSKY ..................................... Suite italienne for Cello and Piano SHIFRIN, HYUN, SOUTHORN, Introduzione: Allegro moderato LIN, MARICA, MCDERMOTT Serenata: Larghetto Aria: Allegro alla breve Tarantella: Vivace Please turn off cell phones, beepers, and other electronic devices. Menuetto e Finale Photographing, sound recording, or videotaping this performance is prohibited. MARICA, MCDERMOTT COPLAND ...............................Two Pieces for String Quartet (1923-28) AMPHION STRING QUARTET, HYUN, SOUTHORN, LIN, MARICA STRAVINSKY ............................Suite from Histoire du soldat for Violin, Clarinet, and Piano (1918-19) The Soldier’s March Music to Scene I Music to Scene II Tonight’s performance is sponsored, in part, by: The Royal March The Little Concert Three Dances: Tango–Waltz–Ragtime The Devil’s Dance Great Choral Triumphal March of the Devil K. LEE, SHIFRIN, MCDERMOTT Notes on the Program by DR. RICHARD E. RODDA Two Pieces for String Quartet Aaron Copland Suite italienne for Cello and Piano Born November 14, 1900 in Brooklyn, New York. Igor Stravinsky Died December 2, 1990 in North Tarrytown, New York. -
Burkholder/Grout/Palisca, Eighth Edition, Chapter 32 30 Chapter 32
30 11. SR: After WW I he founded/directed the __________. Between 19__ and 19__ the society gave approximately Chapter 32 ___ performances. He started the twelve-tone method in Modernism and the Classical Tradition 19__. His wife died and a year later he married ______. (He fathered __ children.) The Nazis came into power in 1. (810) What are the criteria established by the classics? 19__. Although Schoenberg had converted to _____, he converted back. From 19__, he taught at _____. He was forced to retire in 1944 because ________. He died on July __, 1951, a triskaidekaphobiac. 2. Modernists sought to challenge our ______ and _____. 12. SR: Make a list of his major works: 3. (811) Were they opposed to the classics? 4. What is the paradox of modern classical music? 5. All six composers in this chapter "began writing ____ music in the late _____ styles, but then found their own voice. 13. (813) SR: What's his position in the first paragraph? 6. What is the meaning of atonality? 14. SR: What's the essence of the second paragraph? 7. What is the twelve-tone method? 15. "The principle of _____ helps explain how Schoenberg's 8. Name the three works in the first paragraph of "Tonal music would evolve." Works" and name the influential composer. 16. (815) Explain "the emancipation of dissonance." 9. What compositional technique did he employ in his first 17. What were the three elements of Schoenberg's musical string quartet, Op. 7, D minor? What is the structure? organization? 10. -
World Premiere of Orpheus Alive with Company Premiere of Chaconne Opens November 15 Principal Casting Announced
World Premiere of Orpheus Alive with Company Premiere of Chaconne Opens November 15 Principal Casting Announced November 4, 2019 … Karen Kain, Artistic Director of The National Ballet of Canada, today announced the principal casting for the world premiere of Orpheus Alive by Choreographic Associate Robert Binet featuring a new commissioned score by acclaimed New York composer Missy Mazzoli. Orpheus Alive is paired with the company premiere of George Balanchine’s Chaconne November 15 – 21, 2019 at the Four Seasons Centre for the Performing Arts. #OrpheusAliveNBC #ChaconneNBC Artists have long been fascinated with the Greek myth of Orpheus, the gifted musician who rescues his lover Eurydice from death only to lose her again in a moment of doubt. At its core, theirs is a story about love, trust and the redemptive potential of art. With Orpheus Alive, Mr. Binet brings a fresh perspective to the myth, casting Orpheus as a woman, Eurydice as a man and the audience as gods of the underworld who decide their fate. The opening night cast on November 15 will feature First Soloist Jenna Savella and Second Soloist Spencer Hack as Orpheus and Eurydice along with Principal Dancer Sonia Rodriguez as Eurydice’s Mother. Subsequent performances will feature Principal Dancer Heather Ogden and First Soloist Hannah Fischer in the role of Orpheus, Principal Dancers Harrison James and Brendan Saye as Eurydice and First Soloist Tanya Howard as Eurydice’s Mother. In the music for Orpheus Alive, Ms. Mazzoli quotes Gluck’s opera Orfeo ed Euridice, setting the tone for George Balanchine’s Chaconne which features the same Gluck score.