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Walter Pitman Fonds Inventory #241
page 1 Walter Pitman fonds Inventory #241 File: Title: Date(s): Note: Call Number: 2009-049/001 (1) C.M.C. [Canadian Music Centre] [ca. 2002-2004] Freedman - Morrison - The Music Makers (2) Donors- C.M.C., Laidlaw, Dundurn Press : 1999-2006 correspondence re. Music Makers (3) Gail Dixon Musical Analysis : [re. Freedman] ca. 2003 (4) Mary Morrison [biographical notes] [2002-2004?] (5) Harry Freedman basic materials - H.F. biography - CV ca. 1989, 1996. 2002-2005 (6) Thematic materials - H.F. themes : research notes ca. 1977-2003 (7) Interviews - H.F. [Freedman] and others ca. 2003-2004 (8) Research notes - CBC Archives - Freedman daughters ca. 2005 (9) Lyric Arts Trio - Compositions [60s-90s] : research notes for Freedman work (10) David Jaegar : Freedman research and drafts ca. 2005 (11) [Freedman] : research notes ca. 2003 (12) [Freedman] : research notes and clippings ca. 196- (13) C.M.C. Archives 1970s : Freedman research notes and ca. 197- clippings (14) [Freedman] : research clippings ca. 198- (15) [Freedman] : research clippings ca. 199- (16) Notes - National Archives [of Canada] 2004 Call Number: 2009-049/002 (1) National Archives [of Canada] : research notes 2004 (2) National Archives [of Canada] : research notes 2004 (3) National Archives [of Canada] : research notes ca. 2004 (4) Early scribblings [mostly Freedman] (5) Early written materials - Freedman : manuscript draft ca. 2004 1 of 2 (6) Early written materials - Freedman : manuscript draft ca. 2004 2 of 2 (7) Harry and Mary : Making music in Canada's twentieth 2004-2005 -
A Note from the Composer
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Friday, December 6, 2019 at 7:30pm Saturday, December 7, 2019 at 2:00pm Saturday, December 7, 2019 at 7:30pm Constantine Kitsopoulos, conductor Resonance Youth Choir Bob Anderson, director As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. A NOTE FROM THE COMPOSER Ever since Home Alone appeared, it has held a unique place in the affections of a very broad public. Director Chris Columbus brought a uniquely fresh and innocent approach to this delightful story, and the film has deservedly become a perennial at holiday time. I took great pleasure in composing the score for the film, and I am especially delighted that the magnificent Toronto Symphony Orchestra has agreed to perform the music in a live presentation of the movie. I know I speak for everyone connected with the making of the film in saying that we are greatly honoured by this event…and I hope that the audience at this performance will experience the renewal of joy that the film brings with it, each and every year. John Williams DECEMBER 6 & 7, 2019 17 TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film HOME ALONE Starring MACAULAY CULKIN JOE PESCI DANIEL STERN JOHN HEARD and CATHERINE O’HARA Music by JOHN WILLIAMS Film Editor RAJA GOSNELL Production Designer JOHN MUTO Director of Photography JULIO MACAT Executive Producers MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH Written and Produced by JOHN HUGHES Directed by CHRIS COLUMBUS Soundtrack Album Available on CBS Records, Cassettes and Compact Discs Color by DELUXE® Tonight’s program is a presentation of the complete filmHome Alone with a live performance of the film’s entire score, including music played by the orchestra during the end credits. -
Taking Flight Beginning with a Tribute to Lindbergh, the St
TAKING FLIGHT BEGINNING WITH A TRIBUTE TO LINDBERGH, THE ST. LOUIS SYMPHONY EXPRESSES THE SPIRIT OF ST. LOUIS. BY EDDIE SILVA DILIP VISHWANAT David Robertson Begin with a new beginning. The St. Louis Symphony’s 2016-17 season, its 137th, starts with the turn of a propeller, a steep rise into uncluttered skies, and a lonely, perilous journey that changed how people lived, thought, and dreamed. Charles Lindbergh’s silvery craft was christened The Spirit of St. Louis, and pilot and aircraft made their historic flight together across the Atlantic 90 years ago. The name “Spirit of St. Louis” also reflects upon the daring and innovation of a few St. Louisans early in the 20th century. It also speaks to St. Louis now, near the beginning of a new century amidst a whirlwind of innovation that turns more swiftly than a propeller. The St. Louis Symphony, Music Director David Robertson has remarked often, embodies that spirit: innovative, daring, risk-taking, enduring, agile, resourceful—give it an engine and a pair of wings and you’ll see Paris by morning. Kurt Weill’s The Flight of Lindbergh opens the 2016-17 season (September 16-17). Described as a “radio cantata,” it is one of the early collaborations between Weill and Bertolt Brecht, who created the classic The Threepenny Opera as well as other distinctive Brecht/Weill productions. KMOX’s Charlie Brennan provides the radio expertise as narrator of The Flight of Lindbergh. This 1929 work, written in the flush of inspiration that followed Lindbergh’s 6 Taking Flight achievement, will feel fresh, new, and innovative in 2016. -
Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ Masterpiece the Pinnacle of a High-Octane Year: Karabits, Montero and More
Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ masterpiece the pinnacle of a high-octane year: Karabits, Montero and more 2 October 2019 – 13 May 2020 Kirill Karabits, Chief Conductor of the Bournemouth Symphony Orchestra [credit: Konrad Cwik] EMBARGO: 08:00 Wednesday 15 May 2019 • Kirill Karabits launches the season – his eleventh as Chief Conductor of the BSO – with a Weimar- themed programme featuring the UK premiere of Liszt’s melodrama Vor hundert Jahren • Gabriela Montero, Venezuelan pianist/composer, is the 2019/20 Artist-in-Residence • Concert staging of Richard Strauss’s opera Elektra at Symphony Hall, Birmingham and Lighthouse, Poole under the baton of Karabits, with a star-studded cast including Catherine Foster, Allison Oakes and Susan Bullock • The Orchestra celebrates the second year of Marta Gardolińska’s tenure as BSO Leverhulme Young Conductor in Association • Pianist Sunwook Kim makes his professional conducting debut in an all-Beethoven programme • The Orchestra continues its Voices from the East series with a rare performance of Chary Nurymov’s Symphony No. 2 and the release of its celebrated Terterian performance on Chandos • Welcome returns for Leonard Elschenbroich, Ning Feng, Alexander Gavrylyuk, Steven Isserlis, Simone Lamsma, John Lill, Carlos Miguel Prieto, Robert Trevino and more • Main season debuts for Jake Arditti, Stephen Barlow, Andreas Bauer Kanabas, Jeremy Denk, Tobias Feldmann, Andrei Korobeinikov and Valentina Peleggi • The Orchestra marks Beethoven’s 250th anniversary, with performances by conductors Kirill Karabits, Sunwook Kim and Reinhard Goebel • Performances at the Barbican Centre, Sage Gateshead, Cadogan Hall and Birmingham Symphony Hall in addition to the Orchestra’s regular venues across a 10,000 square mile region in the South West Bournemouth Symphony Orchestra announces its 2019/20 season with over 140 performances across the South West and beyond. -
JS BACH (1685-1750): Violin and Oboe Concertos
BACH 703 - J. S. BACH (1685-1750) : Violin and Oboe Concertos Johann Sebastian Bach was born on March 21 st , l685, the son of Johann Ambrosius, Court Trumpeter for the Duke of Eisenach and Director of the Musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent. By the year 1703, 18-year-old Johann Sebastian had taken up his first professional position: that of Organist at the small town of Arnstadt. Then, in 1706 he heard that the Organist to the town of Mülhausen had died. He applied for the post and was accepted on very favorable terms. However, a religious controversy arose in Mülhausen between the Orthodox Lutherans, who were lovers of music, and the Pietists, who were strict puritans and distrusted art. So it was that Bach again looked around for more promising possibilities. The Duke of Weimar offered him a post among his Court chamber musicians, and on June 25, 1708, Bach sent in his letter of resignation to the authorities at Mülhausen. The Weimar years were a happy and creative time for Bach…. until in 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloss’. Added to this, the incumbent Capellmeister died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post. -
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. -
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Wednesday, April 17, 2019 at 8:00pm Thursday, April 18, 2019 at 8:00pm Saturday, April 20, 2019 at 8:00pm Juanjo Mena, conductor Joélle Harvey, soprano Marie-Nicole Lemieux, contralto Amadeus Choir Elmer Iseler Singers Gustav Mahler Symphony No. 2 in C Minor “Resurrection” I. Allegro maestoso II. Andante moderato III. In ruhig fliessender Bewegung IV. Urlicht. Sehr feierlich, aber schlicht V. Im Tempo des Scherzos There will be no intermission during this performance. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. APRIL 17, 18 & 20, 2019 15 ABOUT THE WORKS Gustav Mahler Symphony No. 2 in C Minor “Resurrection” Born: Kalischt, Austria, July 7, 1860 77 Died: Vienna, Austria, May 18, 1911 min Composed: 1887–1894 Gustav Mahler conducted the first complete was the second movement funeral march performance of Symphony No. 2 himself, in from Beethoven’s Symphony No. 3. But his Berlin on December 13, 1895. concept, brought to life through the resources of the enormous orchestra he has chosen, During the closing months of 1887 and the is far angrier. Still, he repeatedly leavens it beginning of 1888, Mahler had worked feverishly with moments of peaceful consolation. The on two compositions simultaneously: his overriding sense of tragic momentum, however, First Symphony; and Totenfeier, an orchestral carries right through to the conclusion. funeral march. He finished them both before the latter year was out. Three years later, he The first of the three intermezzi is a gentle played Totenfeier on the piano for the eminent country dance. -
PROGRAM NOTES: “Violin Concerto”
PROGRAM NOTES: “Violin Concerto” I believe that one of the most rewarding aspects of life is exploring and discovering the magic and mysteries held within our universe. For a composer this thrill often takes place in the writing of a concerto…it is the exploration of an instrument’s world, a journey of the imagination, confronting and stretching an instrument’s limits, and discovering a particular performer’s gifts. The first movement of this concerto, written for the violinist, Hilary Hahn, carries a somewhat enigmatic title of “1726”. This number represents an important aspect of such a journey of discovery, for both the composer and the soloist. 1726 happens to be the street address of The Curtis Institute of Music, where I first met Hilary as a student in my 20th Century Music Class. An exceptional student, Hilary devoured the information in the class and was always open to exploring and discovering new musical languages and styles. As Curtis was also a primary training ground for me as a young composer, it seemed an appropriate tribute. To tie into this title, I make extensive use the intervals of unisons, 7ths, and 2nds, throughout this movement. The excitement of the first movement’s intensity certainly deserves the calm and pensive relaxation of the 2nd movement. This title, “Chaconni”, comes from the word “chaconne”. A chaconne is a chord progression that repeats throughout a section of music. In this particular case, there are several chaconnes, which create the stage for a dialog between the soloist and various members of the orchestra. The beauty of the violin’s tone and the artist’s gifts are on display here. -
Download Program Notes
Violin Concerto in D Symphonies of Wind Instruments Igor Stravinsky n 1930 the German publishing company of the range of the violin by stretching the IB. Schott’s Söhne gained the rights to a num - phrase to the octave below and the octave ber of works Igor Stravinsky had composed above, Stravinsky would insist on altering early in his career. The following year one of the very foundations correspondingly. He the firm’s directors, Willy Strecker, broached behaved like an architect who if asked to the possibility of the composer writing a change a room on the third floor had to go brand-new piece for their catalogue. Strecker down to the foundations to keep the pro - had recently made the acquaintance of the portions of his whole structure. young American violinist Samuel Dushkin, whose musical outlook he believed might ap - peal to Stravinsky — perhaps even enough to IN SHORT merit the full-blown Violin Concerto in D. Born: June 17, 1882, in Oranienbaum, now Stravinsky later recalled in his Autobiography: Lomonosov, Russia Died: April 6, 1971, in New York City I hesitated because I am not a violinist, and Works composed and premiered: I was afraid that my slight knowledge of Violin Concerto composed 1931 in Nice and that instrument would not be sufficient to Voreppe (Isère, France); premiered enable me to solve the many problems October 23, 1931, in Berlin, with the composer which would necessarily arise in the course conducting the Berlin Radio Symphony, of a major work especially composed for it. Samuel Dushkin, soloist. Symphonies of Wind Instruments composed 1920; revised Stravinsky sounded out his colleague Paul 1945–47 into the version performed here; Hindemith, who was a professional violist as dedicated to the memory of Claude Debussy; well as a composer. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
Edo De Waart Leads Cso in a Program of Works by Mozart, Strauss and Adams
For Immediate Release: Press Contacts: October 30, 2015 Rachelle Roe, 312-294-3090 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] EDO DE WAART LEADS CSO IN A PROGRAM OF WORKS BY MOZART, STRAUSS AND ADAMS Violinist Augustin Hadelich Makes CSO Debut in Mozart’s Violin Concerto No. 5 November 11-14 CHICAGO—Guest conductor Edo de Waart returns to lead the Chicago Symphony Orchestra (CSO) in works by Mozart, Strauss, and Adams in programs on Wednesday, November 11, at 6:30 p.m., Thursday, November 12, at 8:00 p.m., Friday, November 13, at 1:30 p.m., and Saturday, November 14, at 8:00 p.m. Violinist Augustin Hadelich, recent winner of the inaugural Warner Music Prize, makes his CSO debut with de Waart and Orchestra in performances of Mozart’s Violin Concerto No. 5 in A Major, K. 219. All of the programs include Mozart’s lively Violin Concerto No. 5 (Turkish) and American composer John Adams’ large-scale symphonic work, Harmonielehre. Inspired by Adams’ own dreams, as well as his reflection on the writings of Carl Jung, the piece was named after Schoenberg’s book Harmonielehre (Treatise on Harmony). In Adams own words, the composition is “a statement of belief in the power of tonality at a time when I was uncertain about its future.” The November 12-14 programs open with Strauss’ playful Till Eulenspiegel’s Merry Pranks, which received its U.S. premiere in 1895 with the CSO under the baton of its first music director, Theodore Thomas. Already a highly sought-after soloist, Augustin Hadelich has performed with many major U.S. -
Season of Events
2017-2018 season of events Celebrating the Choral and Vocal Music of Imant Raminsh with the UofT Symphony Orchestra IMANT RAMINSH Wilma and Clifford Smith Visitor in Music composer and conductor HILARY APFELSTADT conductor Saturday, October 21, 2017 7:30 pm MacMillan Theatre, 80 Queen’s Park The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors Program Composer Introduction – Dean Don McLean Women’s Chorus Psalm 121 Rise up my love Maxime Despax, viola Elaine Choi and Tracy Wong, conductors Men’s Chorus From The Dream We Carry V. Don’t Give Me the Whole Truth VI. The Dream We Carry Mark Ramsay, conductor Vocal Solo Three Spanish Lyrics Renae Wolfesburger, soprano (from the studio of Laura Tucker) Andrea Van Pelt, collaborative pianist Women’s Chamber Choir Vestigia Olivia LaPointe and Elisabeth Dubois, soloists Cassandra Leshchyshyn, violin Livia Coburn, cello In the Beginning Eszter Horváth, conductor Women’s Chamber Choir continued From Symphony of Psalms, No. 6 Seigneur, tous sais tout de moi Marco De Conno and Zachary Goldstein, clarinets (brief interval – in the hall) MacMillan Singers From Five Latvian Folksongs 1. Tek Saulīte (Hasten, Sun) Julia Frodyma, soloist 3. Trīs Januas Māsas (Three Lovely Sisters) Magnificat I. Magnificat – Et Exultavit II. Quia respexit III. Fecit potentiam IV. Suscepit Israel V. Gloria patri Jennifer Routhier, mezzo-soprano (from the studio of Laura Tucker) Ave verum corpus Imant Raminsh, conductor Intermission Missa Brevis in C minor I. Kyrie II. Gloria III. Sanctus – Benedictus IV. Agnus Dei Women’s Chamber Choir and Women’s Chorus Amy Moodie, soprano (from the studio of Lorna MacDonald) University of Toronto Symphony Orchestra Thank you to Imant Raminsh for his stellar music; to the Faculty of Music for selecting Mr.