Paul Hostetter, Conducting Curriculum Vitae
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What Is Conductorcise® ?
WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones. -
The Boston Modern Orchestra Project's January 2008 Premiere of Ezra Sims's Concert Piece II, Featuring Clarinetists Michael
The Boston Modern Orchestra Project’s January 2008 premiere of Ezra Sims’s Concert Piece II, featuring clarinetists Michael Norsworthy and Amy Advocat, was one of the most thrilling concert experiences I can remember. I’ve been an admirer of Sims’s music for many years, and I am familiar with his distinctive microtonal style—certain characteristic intervals and harmonies, ostinati, and phrase contours. But despite my familiarity, I found myself laughing out loud with pleasure at this latest, and very grand, example of Sims’s continued resolve and daring. Years ago the Boston Globe music critic Richard Buell called Sims’s music “subversive,” and I believe in a sense he was right. With certain aspects of his music Sims sticks to tradition; for example, Concert Piece II is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching “antecedent” and “consequent” phrases, even tonality (albeit of an idiosyncratic kind). However, within conventional parameters such as these Sims produces sonorities that subvert our expectations on a visceral level. From the very opening of Concert Piece II, over undulating and pulsating microtonal figures in the strings and bassoons, the clarinets begin trading off strange, soaring lines with intervals such as 1/3 tones, 2/3 tones, and 1/6-tone-augmented minor thirds. The melodies are elegant, articulate, intensely expressive, and even seem to have familiar contours—yet they are also startlingly alien. This feeling is somehow underscored when the oboe enters with its own wild take on the theme, and then even further when later the violins, flutes, and oboe take up the thematic line in unison. -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
Symphony Arlington Donors 2020-2021
C SYMPHONY ARLINGTON BOARD OF DIRECTORS 2020-2021 Linda Gibson, President Hollis R. Lackey, Vice President Faye Reeder, Secretary Doreen Bruner, Treasurer Lisa Farrimond Marlene Hutchison Barry Johnson Virginia Lackey Valerie Landry Anne Wilson-Stanberry 2 STAFF General Manager Ann Gerrity Executive Director Mark Hughes Office Manager Brenda Hughes Education Director Robert Fishman Community Outreach Danielle Mendelson Finance Manager Brenda Resseguie Music Librarian Sarah Myers Production Manager Chris Finley Stage Crew Basil Drayton Stage Crew Michael Finley Stage Crew Randall Fuller SYMPHONY ARLINGTON DONORS 2020-2021 Presto ($5,000 and up) Anonymous • Arlington Cultural Tourism Council National Endowment for the Arts • Texas Commission on the Arts Allegro ($1,000 to $4,999) Frances Jean Browning • Lawrence Wallace Memorial Fund Moderato ($500 to $999) Joe & Doreen Bruner • Dave & Jennifer Lloyd • Fred & Lynda Weekley Andante ($250 to $499) Ed & Lonette Bebensee • Gary Bledsoe • Suzanne & Bill de Decker Charles W. Duke, Jr. • Marjorie Hammond Memorial Fund Adagio ($100 to $249) Lisa Bedwell • Jim & Jerrie Buehrig • Nigel & Theresa Crouch Priscilla Donkle • Randy Farmer • Candy Halliburton A Donation in Memory of Mary Jo Jameson • Hollis & Virginia Lackey Carolyn Morton • Bill Palmer • James & Faye Reeder Irmgard Schmidt • Darlus L. Schoonover • Ralph & Alice Sobel Jack Thornton • Richard Urso • Donald Trimble • Peggy Uribe ADOPT-A-MUSICIAN Stephen Page, Concertmaster Sponsored by Frances Jean Browning Laura Ospina, Principal Cello Sponsored by Joe & Doreen Bruner Robert Carter Austin A native of Tennessee, Robert Carter Austin is currently in his twenty-first season as Music Director of Symphony Arlington. Maestro Austin has an unusually diverse educational background for a classical musician, including a Bachelor of Science degree from the Massachusetts Institute of Technology, a Diploma (with Distinction) in Computer Science from Cambridge University, and a Master of Musical Arts degree from Stanford University. -
Program Notes Hosted by the Score Board 7:00
DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum. -
Klezmer Madness
Klezmer Madness SATURDAY NOVEMBER 23, 2019 8:00 Klezmer Madness Welcome to New England SATURDAY NOVEMBER 23, 2019 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Conservatory’s Jordan Hall. Pre-concert talk at 7:00 New England Conservatory is home to acoustically superb Jordan Hall, where you’re seated now. Welcome, and enjoy the performance! AVNER DORMAN Uriah (2009) NEC is also the oldest independent music school in the United States, home to musical innovators across our College, Preparatory School, MATHEW ROSENBLUM Lament / Witches’ Sabbath (2017) and School of Continuing Education. David Krakauer, clarinet From chamber and orchestral music to jazz to Contemporary Improvisation, it’s all right here at NEC. INTERMISSION Join us for a concert, take WLAD MARHULETS Concerto for Klezmer Clarinet (2008) lessons, or join an ensemble: David Krakauer, clarinet necmusic.edu I. II. III. AVNER DORMAN Ellef Symphony (2000) I. Adagio II. Feroce III. Con Moto IV. Adagio GIL ROSE, conductor PROGRAM NOTES 5 By Clifton Ingram AVNER DORMAN (b. 1975) Uriah : The Man The King Wanted Dead (2009) Avner Dorman is not shy about his roots, which grow deep in his art. Born in Tel Aviv in 1975, Dorman has since transplanted to the United States, where he is currently an as- sociate professor at Sunderman Conservatory of Music at Gettysburg College. But whether composing music about the Tanakh (Hebrew Bible) or the American Civil War (both of which he has done, for the record) Dorman identifies Israel as home. Through his music, this sense of home becomes more a feeling, one almost utopian in its endless urge for a hopeful future in spite of harsh reality. -
View Playbill
MARCH 1–4, 2018 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. WORK LIGHT PRODUCTIONS PRESENTS BOOK BY BERRY GORDY MUSIC AND LYRICS FROM THE LEGENDARY MOTOWN CATALOG BASED UPON THE BOOK TO BE LOVED: MUSIC BY ARRANGEMENT WITH THE MUSIC, THE MAGIC, THE MEMORIES SONY/ATV MUSIC PUBLISHING OF MOTOWN BY BERRY GORDY MOTOWN® IS USED UNDER LICENSE FROM UMG RECORDINGS, INC. STARRING KENNETH MOSLEY TRENYCE JUSTIN REYNOLDS MATT MANUEL NICK ABBOTT TRACY BYRD KAI CALHOUN ARIELLE CROSBY ALEX HAIRSTON DEVIN HOLLOWAY QUIANA HOLMES KAYLA JENERSON MATTHEW KEATON EJ KING BRETT MICHAEL LOCKLEY JASMINE MASLANOVA-BROWN ROB MCCAFFREY TREY MCCOY ALIA MUNSCH ERICK PATRICK ERIC PETERS CHASE PHILLIPS ISAAC SAUNDERS JR. ERAN SCOGGINS AYLA STACKHOUSE NATE SUMMERS CARTREZE TUCKER DRE’ WOODS NAZARRIA WORKMAN SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN DAVID KORINS EMILIO SOSA NATASHA KATZ PETER HYLENSKI DANIEL BRODIE HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER CHARLES G. LAPOINTE SARAH DIANE WORK LIGHT PRODUCTIONS NANSCI NEIMAN-LEGETTE CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS WOJCIK | SEAY CASTING PORT CITY TECHNICAL THE BOOKING GROUP ALLIED TOURING RHYS WILLIAMS MOLLIE MANN ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS ETHAN POPP & BRYAN CROOK MATTHEW CROFT ZANE MARK BRYAN CROOK SCRIPT CONSULTANTS CREATIVE CONSULTANT DAVID GOLDSMITH & DICK SCANLAN CHRISTIE BURTON MUSIC SUPERVISION AND ARRANGEMENTS BY ETHAN POPP CHOREOGRAPHY RE-CREATED BY BRIAN HARLAN BROOKS ORIGINAL CHOREOGRAPHY BY PATRICIA WILCOX & WARREN ADAMS STAGED BY SCHELE WILLIAMS DIRECTED BY CHARLES RANDOLPH-WRIGHT ORIGNALLY PRODUCED BY KEVIN MCCOLLUM DOUG MORRIS AND BERRY GORDY The Temptations in MOTOWN THE MUSICAL. -
Season 2016-2017
25 Season 2016-2017 Thursday, April 6, at 8:00 Friday, April 7, at 2:00 The Philadelphia Orchestra Saturday, April 8, at 8:00 Sunday, April 9, at 2:00 Yannick Nézet-Séguin Conductor Mason Bates Electronica Daniil Trifonov Piano Beethoven Overture and Finale, from The Creatures of Prometheus, Op. 43 Bates Alternative Energy I. Ford’s Farm, 1896— II. Chicago, 2012 III. Xinjiang Province, 2112 IV. Reykjavik, 2222 First Philadelphia Orchestra performances Intermission Mozart Piano Concerto No. 9 in E-flat major, K. 271 (“Jenamy”) I. Allegro II. Andantino III. Rondeau (Presto)—Menuetto (Cantabile)— Liszt Prometheus, Symphonic Poem No. 5 This program runs approximately 2 hours, 5 minutes. LiveNote™, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The April 6 concert is sponsored by American Airlines. The April 7 concert is sponsored by Sarah Miller Coulson. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 27 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. -
New Music Festival COMPOSITION COMPETITION & COMPOSITION WORKSHOP FEBRUARY 10 — 14, 2019 RED NOTE New Music Festival Composition Competition
Chen Yi Eric Moe distinguished guest composer s ILLINOIS STATE Fifth House Ensemble REDRED UNIVERSITY Iridium Quartet guest ensembles CARL SCHIMMEL ROY MAGNUSON co-directors NOTENOTE new music festival COMPOSITION COMPETITION & COMPOSITION WORKSHOP FEBRUARY 10 — 14, 2019 RED NOTE New Music Festival Composition Competition Now in its twelfth season, the RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music. Highlights of past seasons include appearances by the Orchid Ensemble, Fulcrum Point New Music Ensemble, Color Field Ensemble, Spektral Quartet, Ensemble Dal Niente, Momenta Quartet, the City of Tomorrow, Ensemble Mise-En, Del Sol Quartet, and loadbang. Featured guest composers have included William Bolcom, Stephen Hartke, Sydney Hodkinson, Lee Hyla, Steven Stucky, Augusta Read Thomas, and Joan Tower. RED NOTE also holds an annual Composition Competition which brings in entries from around the world. This year, we are pleased to host featured guest composers Chen Yi and Eric Moe, as well as featured guest ensembles Fifth House Ensemble and Iridium Quartet. Together with the ISU music composition faculty, Professors Chen and Moe and the two guest ensembles will lead a Composition Workshop which is open to all student composers. Please see the reverse side of this flyer to learn more about the Workshop. RULES AND GUIDELINES GUIDELINES — CATEGORY B (Full Orchestra) The competition is open to all composers, regardless of age or nationality. This year Submitted works should be scored for orchestra, with the following there are three categories: Category A (Works for Chamber Ensemble), Category B maximum instrumentation: (Works for Full Orchestra), and Category C (Works for Chorus). -
Program Notes | Michael Tilson Thomas Conducts
27 Season 2017-2018 Thursday, March 1, at 7:30 Friday, March 2, at 8:00 The Philadelphia Orchestra Saturday, March 3, at 8:00 Michael Tilson Thomas Conductor Measha Brueggergosman Soprano Tilson Thomas Four Preludes on Playthings of the Wind First Philadelphia Orchestra performances Mikaela Bennett, vocalist Kara Dugan, vocalist Intermission Tchaikovsky Symphony No. 6 in B minor, Op. 74 (“Pathétique”) I. Adagio—Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Adagio lamentoso This program runs approximately 1 hour, 50 minutes. The March 1 concert is sponsored by the Hassel Foundation. The March 1 concert is also sponsored by Constance Smukler. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the March 2 and 3 concerts for a free Organ Postlude with Peter Richard Conte. Rachmaninoff/ Prelude in C-sharp minor, Op. 3, No. 2 transcr. Lemare Widor from Symphonie gothique, Op. 70: II. Andante sostenuto Karg-Elert Chorale Improvisation on “Nearer My God, to Thee” The Organ Postludes are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. 29 ®™ Getting Started with LiveNote » Please silence your phone ringer. » Download the app from the Apple App Store or Google Play Store by searching for LiveNote. » Join the LiveNote Wi-Fi network from your phone. The wireless network LiveNote should appear in the list available to you. -
Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres
Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk with the composers – 7:00 ELENA RUEHR Summer Days (2013) KEN UENO Hapax Legomenon, a concerto for two-bow cello and orchestra (2013) Frances-Marie Uitti, cello INTERMISSION DAVID RAKOWSKI Piano Concerto No. 2 (2011) Amy Briggs, piano GIL ROSE, Conductor Summer Days and Piano Concerto No. 2 were made possible by a grant from the Jebediah Foundation New Music Commissions. Hapax Legomenon was commissioned by the Harvard Musical Association and composed at Civitella Rainieri. PROGRAM NOTES 5 By Robert Kirzinger A true representative microcosm of the stylistic range of BMOP’s repertory history would be absurd, albeit maybe entertaining: forty-seven two-minute pieces for thirty-one different ensemble types? Something of that ilk might come close. The present program, though, TINA TALLON is at least an indicator of the range of the orchestra’s repertoire: all three composers of tonight’s world premieres have collaborated with BMOP before, but their individual compositional voices are highly distinctive. All three works were commissioned for and TONIGHT’S PERFORMERS written for the Boston Modern Orchestra Project. There are some broad connections, though: David Rakowski’s and Ken Ueno’s pieces are both concertos, and both Ueno’s FLUTE TROMBONE VIOLA and Elena Ruehr’s pieces were partly inspired by visual art. Sarah Brady Hans Bohn Noriko Herndon Rachel Braude Martin Wittenberg Emily Rideout Dimitar Petkov ELENA RUEHR (b. 1963) OBOE PERCUSSION Lilit Muradyan Summer Days (2013) Jennifer Slowik Nick Tolle Willine Thoe Laura Pardee Aaron Trant Kim Lehmann Mike Williams Elena Ruehr was BMOP’s first composer in residence from 2000 until 2005.