2020-2021 BNY Mellon Grand Classics Renewal Brochure
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Obsidian Tear Program Background
Obsidian Tear Program Background Nov 3-12, 2017 Guest Conductor: Daniel Stewart Finlandia Composer: Jean Sibelius Boston Ballet Orchestra Obsidian Tear Choreography: Wayne McGregor Music: Esa-Pekka Salonen, Lachen verlernt and Nyx Scenic Design: Wayne McGregor Fashion Director: Katie Shillingford Lighting Design: Lucy Carter Lighting Recreation: Mike Smith Dramaturg: Uzma Hameed Stager: Amanda Eyles, using a Benesh Movement Notation score Solo violin: Christine Vitale Fashion Designers: Assaf Reeb, Christopher Shannon, Craig Green, Gareth Pugh, Hood By Air, Julius, Vivienne Westwood World Premiere: May 28, 2016, The Royal Ballet, London North American Premiere: Nov 3, 2017, Boston Opera House, Boston, Massachusetts Obsidian Tear is a co-production between The Royal Ballet and Boston Ballet. Lachen verlernt and Nyx are by arrangement with G. Schirmer, INC. publisher and copyright owner. Fifth Symphony of Jean Sibelius Music: Jean Sibelius, Symphony No. 5 in E flat major, Op. 82 Choreography: Jorma Elo Scenic Design: Jorma Elo Costume Design: Yumiko Takeshima Lighting Design: Mark Stanley World Premiere: Nov 3, 2017, Boston Opera House, Boston, Massachusetts BIO: Wayne McGregor, Choreographer Born in 1970, Wayne McGregor is a multi-award-winning British choreographer and director, internationally renowned for trailblazing innovations in performance that have radically redefined dance in the modern era. Driven by an insatiable curiosity about movement and its creative potentials, his experiments have led him into collaborative dialogue with an array of artistic forms, scientific disciplines, and technological interventions. The startling and multi-dimensional works resulting from these interactions have ensured McGregor’s position at the cutting edge of contemporary arts for over two decades. -
The Pulitzer Prizes 2020 Winne
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
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. -
Guest Artist Recital: Emanuel Ax, Piano Emanuel Ax
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 10-22-2002 Guest Artist Recital: Emanuel Ax, piano Emanuel Ax Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ax, Emanuel, "Guest Artist Recital: Emanuel Ax, piano" (2002). All Concert & Recital Programs. 2527. https://digitalcommons.ithaca.edu/music_programs/2527 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CONCERTS 2002-3 Emanuel Ax, piano Variations in F on an Original Theme Ludwig Van Beethoven for Piano, Op. 34 (1770-1827) Partita No. 1 in B-flat, BWV 825 Johann Sebastian Bach (1685-1750) Prelude Allemande Corrente Sarabande Minuet I and II Gigue Variations and Fugue in E-flat Major, Ludwig Van Beethoven Op. 35, "Eroica" INTERMISSION Polonaise-Fantaisie in A-flat Major, Op. 61 Frederic Chopin (1810-1849) Three Mazurkas Frederic Chopin Op. 59, no. 1 Op. 30, no. 2 Op. 56, no. 3 Andante Spianato and Grand Polonaise, Op. 22 Frederic Chopin Ford Hall Tuesday, October 22, 2002 8:15 p.m. .... xclusive Management: ICM Artists, Ltd., 40 West 57th Street, New York, NY 10019 Lee Lamont, Chairman David V. Foster, President and CEO Mr. Ax records exclusively for Sony Classical Steinway Piano EMANUEL AX Pianist Emanuel Ax is renowned not only for his poetic temperament and unsurpassed virtuosity, but also for the exceptional breadth of hi. -
Aspects of Closure in the Music of John Adams by Catherine Pellegrino
Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared. -
AS Level Performance Studies Topic Exploration Pack (John Adams)
Performance Studies A LEVEL Performance Studies: John Adams Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents John Adams Teacher Resource Pack ............................................................................................. 4 Background ..................................................................................................................................... 5 Adams’ Works ................................................................................................................................. 5 Fingerprints of Adams’ Style ........................................................................................................... 7 Influences ...................................................................................................................................... -
Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
O Z A W A S TO N *S I 1 p"! 'ii lit E S T R 1 A 1 id III III 1 II 111 I 111 aatwoeaiSifltji -- it • **• ~~ 1999-2000 SEASON Bring your Steinway: With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,200,000. its absolute finest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR. at Eisner JHfiu BROOKLINE r^^-SS—Jjf /:.'-', a 2l;>'^^~^r^iis -^—"-*' LfS^'^-h-r'^ -- .;!- 1 . -* 1 X ,--h~T >.>% j ^., ' -'^Mmm "I ?.-£ Wi iJtwym 4MS tia6 i Mm " . CORTLAND Hammond SOTHEBY'S PROPERTIES INC. E S I D E N T I A International Realty Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra. , Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice- Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice- Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson William F. Connell George Krupp Robert P. O'Block, Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. ex-officio ex-officio Charles K. Gifford Ed Linde Peter C. Read Gabriella Beranek Avram J. -
Saxophone Concerto (2013) (32')
April, 2020 ◎No. 1936 Subscription (Program A) ◎ ■John Adams (1947–) ■Saxophone Concerto (2013) (32') American composer John Adams was born in Worcester, Massachusetts in 1947. He became interested in composing at a relatively young age and started to write music in his early teens. He studied composition at Harvard University, earning a BA in 1969 and a MA in 1972. His teachers there include Leon Kirchner and Roger Sessions. In 1971, he moved to California and began teaching at the San Francisco Conservatory of Music. He received the Composer-in-Residence appointment with the San Francisco Symphony Orchestra in 1982. In 1987, Adams composed one of the most talked-about pieces of his early period, Nixon in China, an opera inspired by the historical visit of President Richard Nixon to China in 1972. Incidentally, the composition calls for a quartet of saxophones, instruments that are rarely utilized by composers of serious music. His other operas include his highly controversial The Death of Klinghoffer (1991), Doctor Atomic (2005), A Flowering Tree (2006), and Girls of the Golden West (2017). Adams composed his Saxophone Concerto in early 2013. Its first performance took place in Sydney on August 22 of the same year, with the composer conducting the Sydney Symphony Orchestra. The soloist was Timothy McAllister, who inspired Adams to write the piece. Adams had known the saxophonist since the time he composed his jazz- inflected symphonic work City Noir (2009). According to Adams, “His [McAllister’s] exceptional musical personality had been the key ingredient in performances and recordings.” For the performance of the Saxophone Concerto, Adams prefers the sound in the style of jazz playing over the so-called classical French manner. -
[email protected] FOREIGN B
FOR IMMEDIATE RELEASE ARTIST UPDATE January 17, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] FOREIGN BODIES Conducted and Hosted by ESA-PEKKA SALONEN The Marie-Josée Kravis Composer-in-Residence June 8, 2018 Esa-Pekka SALONEN’s Foreign Bodies WORLD PREMIERE of Live Video Installation by TAL ROSNER NEW YORK PREMIERE of Daníel BJARNASON’s Violin Concerto with PEKKA KUUSISTO OBSIDIAN TEAR Choreography by Wayne McGregor Performed by Members of BOSTON BALLET Set to Esa-Pekka SALONEN’s Lachen verlernt and Nyx The New York Philharmonic announces Foreign Bodies, a one-night-only multidisciplinary event conducted and hosted by Esa-Pekka Salonen, concluding his tenure as The Marie-Josée Kravis Composer-in-Residence. The concert, Friday, June 8, 2018, at 8:00 p.m., will feature Esa-Pekka Salonen’s Foreign Bodies, accompanied by the World Premiere of a live video installation by Tal Rosner; the New York Premiere of Daníel Bjarnason’s Violin Concerto, with Pekka Kuusisto in his New York Philharmonic debut; and Obsidian Tear, a dance work choreographed by Wayne McGregor performed by members of Boston Ballet (Philharmonic debut) and set to Mr. Salonen’s Nyx and Lachen verlernt, the latter of which will be performed by violinist Simone Porter. Foreign Bodies will be casual and multi-sensory; drinks and conversation will flow as attendees mingle with the performers, who will give additional impromptu performances throughout the event. The program showcases several cross-pollinating collaborations related to Esa-Pekka Salonen. Tal Rosner previously created a video installation for Lachen verlernt (most recently presented at London’s Barbican Centre in December 2017), and Wayne McGregor previously choreographed a ballet to Foreign Bodies. -
Copyright Timothy Brennan Steeves 2020
i Copyright Timothy Brennan Steeves 2020 i ii Abstract Concertare and Conserere: Debate and Concord in the Twenty-first Century Violin Concerto by Timothy Brennan Steeves This document concerns the ways in which the relationship between the violin and orchestra in the violin concerto has changed in the first decades of the twenty-first century. Using the concerti of Unsuk Chin (2001), Jennifer Higdon (2008), and Esa- Pekka Salonen (2009) I show that composers have challenged but not abandoned the supremacy and centrality of the violin soloist. The role of the orchestra has been expanded, being given greater aesthetic and structural responsibility. The virtuosity expected of professional orchestra musicians is exploited with these composers frequently calling on secondary soloists. Chamber music and contrapuntal textures are also employed to relegate the violinist to a first among equals. These innovations and the resultant violinistic implications represent a new path forwards in the genre of the violin concerto. These composers are, however, cognizant of both tradition and the expectations of virtuoso soloists. Strides towards equality can be made, but a true, irrevocable hierarchical leveling is not achieved. This tension, the new balance of power, and their musical ramifications are the focus of this study. iii Acknowledgments This document is the culmination of many years of study, performance, reflection, and collaboration. Innumerable teachers, colleagues, and friends have contributed to my musical and intellectual development and it is impossible to thank everyone. Nevertheless, there are a few key people who deserve special recognition. Firstly, I would like to express my gratitude for the guidance, support, expertise, and patience of my advisor Dr. -
John Adams American Composer Born: February 15, 1947, Worcester, Massachusetts
John Adams American composer born: February 15, 1947, Worcester, Massachusetts Century Rolls First Movement Manny’s Gym Hail Bop These are the first performances of this work on the Classics series; duration 30 minutes Born into a musical family, John Adams studied the clarinet with his father and went on to become a highly accomplished player. He performed with several prestigious orchestras and appeared as a soloist for the New York and Boston premieres of Walter Piston’s Concerto for Clarinet. However, during his undergraduate study at Harvard he concentrated on composition under Leon Kirchner. In 1972, Adams was appointed to the faculty of the San Francisco Conservatory. Adams’ best-known works include Grand Pianola Music, the colorful Harmonielehre and the opera Nixon in China. These and many of his other scores display the composer’s fluency with a composition technique known as ‘minimalism’ - where small kernels of sound are continuously repeated and mirrored with only the slightest changes over time. The result is a kind of ribbon of tone which evolves slowly into different fabrics and textures. About his piano concerto, Century Rolls of 1997, the composer writes: “The work came into the world bidden by the pianist Emanuel Ax, who wanted me to create a concerto for him and the Cleveland Orchestra. The impetus for the piece was a sudden realization I had one night while listening in a drowsy state to a CD of player-piano music from the 1920s. I was struck by how the medium of the piano roll itself left an indelible mark on the music, radically altering its essence in a way that later recording techniques like the tape recorder did not do. -
Ax Plays Brahms
AX PLAYS BRAHMS CLASSICAL SERIES THURSDAY, SEPTEMBER 13, AT 7 PM | FRIDAY & SATURDAY, SEPTEMBER 14 & 15, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CLASSICAL SERIES EMANUEL AX, piano PRESENTING PARTNER JOHN CORIGLIANO Symphony No. 1 Apologue: Of Rage and Remembrance Tarantella Chaconne: Giulio’s Song Epilogue – INTERMISSION – JOHANNES BRAHMS Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso Emanuel Ax, piano This concert will run 2 hours. INCONCERT 21 TONIGHT’S CONCERT AT A GLANCE JOHN CORIGLIANO Symphony No. 1 • Composer John Corigliano grew up in the music world. His father was concertmaster of the New York Philharmonic under Leonard Bernstein — who gave the young composer encouragement early on — and his mother was an accomplished pianist. Best known in popular culture for composing the score to the film The Red Violin, he has earned a Pulitzer Prize, four GRAMMY® Awards and an Academy Award over the course of his career. • Corigliano wrote his First Symphony in the late 1980s, in response to the AIDS crisis. “During the past decade, I have lost many friends and colleagues to the AIDS epidemic,” he wrote in his notes on the piece, “and the cumulative effect of those losses has, naturally, deeply affected me. My First Symphony was generated by feelings of loss, anger and frustration.” • Prior to this piece, the composer had been reluctant to take on writing a symphonic work, but he was driven to do so. “My Symphony No. 1 was about world-scale tragedy and, I felt, needed a comparably epic form,” he explains.