DOCSLIB.ORG

View Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View Program New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director LIFT EVERY VOICE: PART ONE Saturday, February 27, 2021 | 7:00PM ET Online Presentation e believe in the transformative power of music to bring W us closer and connect us to one another, an experience only made richer by the variety of our backgrounds. Our society is deeply hurt by racial and economic injustice, with politics and the pandemic exacerbating this pain. We hope that our Lift Every Voice series will provide a place for dialogue and discovery, understanding and connection. Through our creative efforts, we hope to ignite our community and inspire Photo: Emilio Madrid Kuser Madrid Emilio Photo: enlightenment, engagement, and action. President John F. Kennedy once said, “Art is the great democrat, calling forth creative genius from every sector of society, disregarding race or religion or wealth or color. What freedom alone can bring is the liberation of the human mind and a spirit which finds its greatest flowering in the free society.” So join us this spring, as we introduce you to the music and story behind the composers and performers whose voices are finally receiving the recognition and celebration they truly deserve. Join us as the New Orchestra of Washington continues its founding promise of creating a more equitable classical performing arts stage. Join us as we Lift Every Voice. —Austin Scott, host —2— New Orchestra of Washington Presents Lift Every Voice Part One: Florence Price, Andy Akiho, Allison Loggins-Hull, and Viet Cuong Hosted by Austin Scott Aeolus Quartet Sandbox Percussion Allison Loggins-Hull, flute New Orchestra of Washington Alejandro Hernandez-Valdez, conductor Lift Every Voice concerts are made possible in part through the generous contributions from Nancy and Morris Deutsch Ann and Knight Kiplinger Dianne and Frank Peterson PROGRAM FLORENCE PRICE (1887 - 1953) String Quartet in G major (1929) I. Allegro II. Andante moderato - Allegretto Recorded in September 2020 in Detroit, Michigan ANDY AKIHO (b. 1979) Pillar IV (2014) Recorded in September 2018 in Boscawen, New Hampshire ALLISON LOGGINS-HULL (b. 1982) Hammers (2018) Recorded in June 2020 from artists’ homes in Brooklyn, New York and Montclair, New Jersey VIET CUONG (b. 1990) Re(new)al (2017) I. Hydro II. Wind III. Solar Recorded in May 2019 in Washington, DC Program Notes Florence Price: String Quartet in G major lorence Beatrice Price (née Smith) was born in Little Rock, Arkansas, on April F 9, 1887, to James H. Smith and Florence Gulliver Smith. Price first received piano lessons from her mother. Price was a precocious child. She graduated as Valedictorian of her class by the age of 16, and she had already published some of her musical compositions in high school. Price graduated with a dual degree in organ and piano teaching from the New England Conservatory in 1907. Upon graduation, she returned to Little Rock to teach at the Cotton Plant- Arkadelphia Academy and later at Shorter College in Little Rock. She moved to Atlanta, Georgia, in 1910, where she was head of the Music Department at Clark University. In 1912, Price returned to Little Rock and married attorney Thomas Jewell Price, who worked with Scipio Jones, a well-known Arkansas attorney who has successfully defended the appeals of twelve African American men sentenced to death after the Elaine Massacre of 1919. While in Little Rock, Florence Price established a music studio, taught piano lessons and composed mostly piano works, many for teaching purposes. As racial tensions grew worse in Arkansas, including a horrible lynching in the Prices’ neighborhood in Little Rock, the family moved in Chicago in 1927. There Florence Price experienced growing professional opportunities for further education, performance, and publication and was active as a teacher, pianist, and organist. One of her important memberships was in the Chicago Club of Women Organists. However, she was not accepted by the Arkansas branch of the Music Teachers National Association because of her race. Unhappily, her marriage did not survive. In 1932, Price won first prize in the Rodman Wanamaker Foundation composition competition for her Symphony in E Minor, her first of four symphonies. The work premiered with the Chicago Symphony Orchestra on June 15, 1933, under the direction of Frederick Stock. She was the first African American woman to be recognized as a symphonic composer, and the first to have a composition played by a major symphonic orchestra. Incidentally, the first male Afro-American composer to have the same recognition was Little Rock’s William Grant Still (1931, Rochester Philharmonic). Later in life, despite health problems, Price continued to compose prolifically, having composed over 300 compositions in her lifetime. Her compositional output encompassed every genre except opera. Her musical style, especially in her instrumental works, displays mastery of the language of European classical music, with an homage to her Southern heritage. Her pieces are inspired by spirituals, blues, and perhaps most notably rhythms associated with the Juba dance. Price died in Chicago on June 3, 1953, while planning a trip to Europe. In 1964, a Chicago elementary school took her name as its own recognition of her legacy as both a Chicago musician and an important African-American composer. Notes by Er-Gene Kahng (Copyright 2017) —5— Program Notes Andy Akiho: Pillar IV illar IV is a movement from Andy Akiho’s extended work Seven Pillars, a P 75-minute work that includes 7 quartets and 1 solo for each member of the group. This movement is the first in the full work that Andy composed, and it is inspired by two rhythmic ideas. The first is a motive—2 long notes, followed by 2 short notes. This motive is presented and developed in a multitude of ways throughout the work—in extremely fast subdivisions and in extremely slow ones, with multiple versions of the motive layered on top of each other, and with different pulses underneath the motive—quarter notes, dotted quarter notes, etc. The second idea is one of expansion and contraction. A player will play a note that is 8 beats long, followed by one that is 7 beats long, then 6, until they get all the way down to 1, and then the process is reversed back up to 8. Both of these ideas represent a kind of rhythmic expressivity that Andy features throughout his compositions. Rather than relying on melody or harmony as the sole tools of expression, Andy explores how rhythm can be used to shape the emotional arc of a piece of music. The pitch content for Pillar IV consists of a unique scale Andy invented that repeats at the major tenth, rather than the octave in the way a traditional major or minor scale would. Notes by Ian Rosenbaum Allison Loggins-Hull: Hammers ammers was inspired by construction noise and other industrial type H sounds one can hear when living and walking around the busy streets of New York City. While the sounds created are often cacophonous and erratic, there is still a sense of order and focus to get the job done. If you listen closely, you can sometimes hear ostinato rhythms and accented patterns. Hammers borrows these ideas, using the percussion instruments to represent massive tools at work. The flute is busy working through the noise, but is often interrupted and has to frequently stop, start, and repeat itself, similar to when one is trying to communicate or complete a task while there’s disruptive noise. There is a moment when it feels like the work is quieting down and one can finally concentrate, but it doesn’t last long and sure enough, the noisy work picks right back up. Notes by the composer —6— Program Notes Viet Cuong: Re(new)al have tremendous respect for renewable energy initiatives and the I commitment to creating a new, better reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the accompaniment was written with these ideas in mind. Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed between the four soloists (for those interested, the fancy musical term for this is a "hocket"). The music would therefore be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up lighting-fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But perhaps my favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses. We always toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way of celebrating everyone who is working together to create a cleaner, more efficient world. Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly submerges the soloists in their sound.
Load more

Recommended publications
  • Acknowledgments
    Albany Symphony | David Alan Miller, conductor Tessa Lark, violin | Peter Kolkay, bassoon Ryan Roberts, oboe | Weixiong Wang, clarinet ACKNOWLEDGMENTS Producer: Silas Brown, Michael Torke Session Producer for West, East, South: Doron Schachter Mastering: Silas Brown Recorded at the Troy Savings Bank Music Hall Michael Torke March 6, 2017 (West, South, and East) SKY January 7, 2019 (Sky) Publisher: Adjustable Music; Bill Holab Music, Modern Works Music Publishing, agents. West, South, and East commissioned by Paul Underwood. This recording was made possible by a generous gift from Marsha Nickerson, a former member of the Albany Symphony Photo of Michael Torke: Bryan Hainer WWW.ALBANYRECORDS.COM TROY1784 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. for less obvious solo instruments. This collection of concertos is my attempt to explore those THE COMPOSER options. Michael Torke’s music has been commissioned by such orchestras as For Sky, a concerto for violin, I took Bluegrass, a style I was not familiar with, studied its The Philadelphia Orchestra, the New York Philharmonic, and the San vernacular, and then imposed classical forms onto it. In the solo part, you hear banjo picking, Francisco Symphony; by such ballet companies as New York City Ballet, a slow Irish reel (harkening back to the music of those who settled Kentucky), and triple time Alvin Ailey, and the National Ballet of Canada; by such opera companies fiddle licks.
    [Show full text]
  • LIU Post Chamber Music Festival 2014 33Rd Summer Season LIU POST CHAMBER MUSIC FESTIVAL with the PIERROT CONSORT July 14 to July August 1, 2014
    LIU Post Chamber Music Festival 2014 33rd Summer Season LIU POST CHAMBER MUSIC FESTIVAL WITH THE PIERROT CONSORT July 14 to July August 1, 2014 SUSAN DEAVER & MAUREEN HYNES, FESTIVAL FOUNDERS SUSAN DEAVER, FESTIVAL DIRECTOR DALE STUCKENBRUCK, ASSISTANT DIRECTOR chamber ensembles ♦ chamber orchestras festival artists & participants concert series ♦ conducting program concerto competition ♦ master classes DEPARTMENT OF MUSIC LIU Post 720 Northern Blvd., Brookville, New York 11548-1300 www.liu.edu/post/chambermusic Phone: (516) 299-2103 • Fax: (516) 299-2884 e-mail: [email protected] TABLE OF CONTENTS Mission Statement & History of the LIU Post Chamber Music Festival 3 Descriptions of Festival Programs 4-5 Credit Programs – Undergraduate, Graduate & High School Enrichment Artistry Program for young professionals & preformed chamber ensembles Performance Program for college & conservatory musicians Music Educator’s Program for Advancement of Chamber Music Advanced Program for students ages 15 to 18 Seminar Program for students ages 9 to 14 Conducting Program Classes Offered at the Festival 5 Musicianship Classes, Individual Master Classes, Chamber Music Performance Classes, Master Classes with Special Guest Artists and Educational Residencies Chamber Orchestras and Larger Ensembles 6-7 Concerto Competition 7 Festival Concerts 8 General Information 9 Facilities, Housing, Transportation, Food Service, Student and Faculty ID, Distribution of Orchestral and Chamber Music, Orientation and the Festival Office Tuition and Program
    [Show full text]
  • Richard O'neill
    Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society
    [Show full text]
  • Interview with David Alan Miller
    The Classical Beat By Stephen Dankner INTERVIEW WITH MAESTRO DAVID ALAN MILLER Looking as if a few choice, slightly seedy blocks were snatched up from Greenwich Village and plunked down in Albany’s central city district, Lark Street is a fascinating, hip place. With a row of laid-back watering holes, eateries and latte dens, it was a good place to sit down for awhile with David Alan Miller, the conductor and Music Director of the Albany Symphony Orchestra over a cup of coffee. Miller is a young and energetic man, charming and likeable, irrepressible and ardent. He has the same messianic zeal that Leonard Bernstein had – a mission to convince you of his love for music – all kinds of it – and to prove to you, through the force of his high strung but always cheerful personality, that classical music is really important – it’s not just entertainment or an indulgence for an elite class of sedate listeners. No, it’s absolutely necessary. Listen to him for just a few minutes and you’ll be convinced; I have rarely encountered a more articulate spokesman for the cause. Miller has a talent for speaking off the cuff; his knowledge of music history and the full repertoire of classical music enable him to fire off facts, figures and opinions at his popular pre-concert conversations. It’s clear that audiences love him, judging by the filled seats for the talks one hour before the ASO concerts. Right about now he’s thinking seriously about next season. All orchestras have to schedule their programs at least a year in advance.
    [Show full text]
  • Program Book Final 1-16-15.Pdf
    4 5 7 BUFFALO PHILHARMONIC ORCHESTRA TABLE OF CONTENTS | JANUARY 24 – FEBRUARY 15, 2015 BPO Board of Trustees/BPO Foundation Board of Directors 11 BPO Musician Roster 15 Happy Birthday Mozart! 17 M&T Bank Classics Series January 24 & 25 Alan Parsons Live Project 25 BPO Rocks January 30 Ben Vereen 27 BPO Pops January 31 Russian Diversion 29 M&T Bank Classics Series February 7 & 8 Steve Lippia and Sinatra 35 BPO Pops February 13 & 14 A Very Beary Valentine 39 BPO Kids February 15 Corporate Sponsorships 41 Spotlight on Sponsor 42 Meet a Musician 44 Annual Fund 47 Patron Information 57 CONTACT VoIP phone service powered by BPO Administrative Offices (716) 885-0331 Development Office (716) 885-0331 Ext. 420 BPO Administrative Fax Line (716) 885-9372 Subscription Sales Office (716) 885-9371 Box Office (716) 885-5000 Group Sales Office (716) 885-5001 Box Office Fax Line (716) 885-5064 Kleinhans Music Hall (716) 883-3560 Buffalo Philharmonic Orchestra | 499 Franklin Street, Buffalo, NY 14202 www.bpo.org | [email protected] Kleinhan's Music Hall | 3 Symphony Circle, Buffalo, NY 14201 www.kleinhansbuffalo.org 9 MESSAGE FROM BOARD CHAIR Dear Patrons, Last month witnessed an especially proud moment for the Buffalo Philharmonic Orchestra: the release of its “Built For Buffalo” CD. For several years, we’ve presented pieces commissioned by the best modern composers for our talented musicians, continuing the BPO’s tradition of contributing to classical music’s future. In 1946, the BPO made the premiere recording of the Shostakovich Leningrad Symphony. Music director Lukas Foss was also a renowned composer who regularly programmed world premieres of the works of himself and his contemporaries.
    [Show full text]
  • 559188 Bk Harbison US
    559757 bk Corigliano US_559757 bk Corigliano US 22/07/2013 13:03 Page 8 John CORIGLIANO Conjurer Vocalise Evelyn Glennie, Percussion Hila Plitmann, Soprano Albany Symphony Bronze mask, Benin, David Alan Miller from the collection of John Corigliano Photo: Richard Howe 559757 bk Corigliano US_559757 bk Corigliano US 22/07/2013 13:03 Page 2 John Corigliano (b. 1938) David Alan Miller Conjurer • Vocalise David Alan Miller has established a reputation as one of the leading The American John Corigliano continues to add to one of American conductors of his generation. Frequently in demand as a guest the richest, most unusual, and most widely celebrated conductor, he has conducted the orchestras of Baltimore, Detroit, bodies of work any composer has created over the last forty Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh, years. Corigliano’s numerous scores, including three San Francisco, Minnesota and Chicago as well as the New World symphonies and eight concertos among over one hundred Symphony and the New York City Ballet. He is also founder and Artistic chamber, vocal, choral, and orchestral works, have been Director of New Paths in Music, a festival in New York City dedicated to performed and recorded by many of the most prominent presenting the works of significant non-American composers who are not orchestras, soloists, and chamber musicians in the world. yet well known in the United States. As Music Director of the Albany Recent scores include One Sweet Morning (2011) written Symphony, a position he has held since 1992, David Alan Miller has for the tenth anniversary of 9/11 and performed by mezzo- proven himself a creative and compelling orchestra builder.
    [Show full text]
  • Orchestra Personnel
    FROM SUFFRAGE TO STONEWALL 2019 DAVID ALAN MILLER HEINRICH MEDICUS MUSIC DIRECTOR DAVID ALAN MILLER, HEINRICH MEDICUS MUSIC DIRECTOR Grammy®Award-winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. Music Director of the Albany Symphony since 1992, Mr. Miller has proven himself a creative and compelling orchestra builder. Through exploration of unusual repertoire, educational programming, community outreach and recording initiatives, he has reaffirmed the Albany Symphony’s reputation as the nation’s leading champion of American symphonic music and one of its most innovative orchestras. He and the orchestra have twice appeared at “Spring For Music,” an annual festival of America’s most creative orchestras at New York City’s Carnegie Hall. Other accolades include Columbia University’s 2003 Ditson Conductor’s Award, the oldest award honoring conductors for their commitment to American music, the 2001 ASCAP Morton Gould Award for Innovative Programming and, in 1999, ASCAP’s first-ever Leonard Bernstein Award for Outstanding Educational Programming. Frequently in demand as a guest conductor, Mr. Miller has worked with most of America’s major orchestras, including the orchestras of Baltimore, Chicago, Cleveland, Detroit, Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh and San Francisco, as well as the New World Symphony, the Boston Pops and the New York City Ballet. In addition, he has appeared frequently throughout Europe, Australia and the Far East as guest conductor. He made his first guest appearance with the BBC Scottish Symphony in March, 2014. Mr. Miller received his Grammy Award in January, 2014 for his Naxos recording of John Corigliano’s “Conjurer,” with the Albany Symphony and Dame Evelyn Glennie.
    [Show full text]
  • This Land Sings: Inspired by the Life and Times of Woody Guthrie
    This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F. Murray Abraham, narrator Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F.
    [Show full text]
  • New on Naxos | September 2013
    NEW ON The World’s Leading ClassicalNAXO Music LabelS SEPTEMBER 2013 © Grant Leighton This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | SEPTEMBER 2013 8.572996 Playing Time: 64:13 7 47313 29967 6 Johannes BRAHMS (1833–1897) Ein deutsches Requiem (A German Requiem), Op. 45 Anna Lucia Richter, soprano • Stephan Genz, baritone MDR Leipzig Radio Choir and Symphony Orchestra Marin Alsop Brahms’s A German Requiem, almost certainly triggered by the death of his mother in 1865, is one of his greatest and most popular works, quite unlike any previous Requiem. With texts taken from Luther’s translation of the Bible and an emphasis on comforting the living for their loss and on hope of the Resurrection, the work is deeply rooted in the tradition of Bach and Schütz, but is vastly different in character from the Latin Requiem of Catholic tradition with its evocation of the Day of Judgement and prayers for mercy on the souls of the dead. The success of Marin Alsop as Music Director of the Baltimore Symphony Orchestra was recognized when, in 2009, her tenure was extended to 2015. In 2012 she took up the post of Chief Conductor of the São Paulo Symphony Orchestra, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. Marin Alsop © Grant Leighton Companion Titles 8.557428 8.557429 8.557430 8.570233 © Christiane Höhne © Peter Rigaud MDR Leipzig Radio Choir MDR Leipzig Radio Symphony Orchestra © Jessylee Anna Lucia Richter Stephan Genz 2 NEW ON NAXOS | SEPTEMBER 2013 © Victor Mangona © Victor Leonard Slatkin Sergey RACHMANINOV (1873–1943) Symphony No.
    [Show full text]
  • NEW on NAXOS | MARCH 2018 INCLUDES WORLD PREMIERE RECORDINGS © Carlos Simon
    NEW ON The World’s Leading ClassicalNAXOS Music Label MARCH 2018 This Month’s Other Highlights © 2018 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.NaxosMusicGroup.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | MARCH 2018 INCLUDES WORLD PREMIERE RECORDINGS © Carlos Simon 8.559807 Playing Time: Price Code: NXP 78:20 David Alan Miller and Michael Daugherty 6 36943 98072 9 (b. 1954) About David Alan Miller Michael DAUGHERTY GRAMMY® Award-winning conductor David Alan Miller has Dreamachine 1† established a reputation as one of the leading American conductors Trail of Tears 2† • Reflections on the Mississippi3 of his generation. Music director of the Albany Symphony since Evelyn Glennie, Percussion 1 1992, Miller has proven himself a creative and compelling orchestra Amy Porter, Flute 2 • Carol Jantsch, Tuba 3 builder and masterful interpreter of American contemporary music. Albany Symphony • David Alan Miller In 2001, Miller won the ASCAP Morton Gould Award for Innovative Programming, and in 1999, ASCAP’s first-ever Leonard Bernstein † WORLD PREMIERE RECORDING Award for Outstanding Educational Programming. GRAMMY® Award-winning composer Michael Daugherty explores Key Features: the relationships between machines, humanity and nature in three • Naxos has a very successful series of Michael Daugherty unique concertos. Dreamachine for solo percussion and orchestra recordings, which had won numerous recognitions including is a colorful tribute to the imagination of inventors who dreamed six GRAMMY® Award wins, particularly Best Classical of new machines, both real and surreal. The flute concerto Trail of Contemporary Composition in 2011 for his piano concerto Deus Tears dramatizes the tragic governmental forced relocation of Native ex Machina (8.559635) and in 2017 for the cello concerto Tales Americans in 1838 and meditates on how the human spirit discovers of Hemingway.
    [Show full text]
  • Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 7:30 PM Livestreamed from Universal Preservation Hall
    This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F. Murray Abraham, narrator Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F.
    [Show full text]
  • Forty Leaders Weigh in on 'State of Architecture'
    C olumbia U niversity RECORD May 9, 2003 3 Wallach Art Gallery Exhibition Traces History of Russian Documentary Photography Moscow has been a powerful much more complex than has magnet for many Russian pho- been previously acknowledged. tographers of the 20th century. The works of these photogra- “Moscow: City, Spectacle, phers remain intensely com- Capital of Photography,” an pelling to the modern eye. exhibition on display in the Contemporary Russian photog- Wallach Art Gallery through raphers, such as Lev Melikhov, June 21, presents the work of Valerii Stigneev and Sergei Leon- 31 photographers, whose tiev, engage the legacy of the images have defined the visual Soviet documentary photography. experience of Moscow from But for them the documentary is a 1920s to the present. complex and multivalent genre, Diverse in form and strategy, which incorporates subjectivity, the 90 photographs chosen for the ambiguity and reflexivity and exhibition trace the history of comments on social and cultural Russian documentary photogra- issues without losing sight of the phy and offer insight into individ- position from which that com- ual practices. From Aleksandr mentary is made. In the recent Rodchenko's constructivist photographs by Vladimir visions and Evgenii Khaldei's Kupriyanov, Igor Moukhin, Anna humanist landscapes to Igor Gorunova and Pakito Infante, the Moukhin's scenes of urban spec- "real" space of Moscow is tacle and alienation in the works replaced by an imaginary and of Russia’s key 20th-century pho- optical space of virtuality. tographers, Moscow ventures The works in the exhibition are beyond the expected image as a on loan from Moscow's Cultural site of famous landmarks, archi- Center Dom and many are being tectural treasures and dramatic shown outside Russia for the first lifestyles.
    [Show full text]