Lifetime Achievement Award | GRAMMY.Org
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Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Enrico Caruso (1873-1921)
ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?. -
Pablo Villegas and Madcámara at Festival Casals
MUSIC Pablo Villegas and SAN JUAN, PR MADCámara at Festival Wed, March 04– Casals Wed, March 11, 2015 Venue Centro de Bellas Artes Luis A. Ferré, Sala Sinfónica Pablo Casals, Ponce de León Ave., San Juan, PR View map Phone: 787-918-1106 Admission Buy tickets More information Festival Casals Credits Organized by the Corporation of Musical Arts of Puerto Rico. Supported by Cooperación Española Founded in 1956 by the famous cellist, conductor, and and the General Consulate of Spain composer Pablo Casals, the festival brings together the most in Puerto Rico. outstanding musical talent in the world. MADCÁMARA ■ On March 4 at 8 pm. Free event. ■ At Teatro Bertita y Guillermo L. Martínez, Sala Jesús María Sanromá. The musical trio MADCámara, which consists of a cello, a clarinet and a piano, will play a repertoire based on compositions by Mozart (K. 498 Kegelstatt), Nino Rota and the eight pieces of clarinet, cello and piano, Op. 83 of Max Bruch. The trio was born as result of the professional relationship of its members in various conservatories from the Community of Madrid. MADCámara’s repertoire ranges from classical music to specially-commissioned works by recognized Spanish composers of contemporary music. PABLO VILLEGAS, GUITAR ■ On March 11 at 8 pm. ■ At Sala Sinfónica Pablo Casals. Pablo Villegas is celebrated by the international press as an ambassador of Spanish culture, with performances in more than 30 countries. Since his Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/san-juan-puerto-rico/pablo-sainz-villegas-at-festival-casals/ Created on 09/27/2021 | Page 1 of 2 auspicious debut with the New York Philharmonic under Rafael Frühbeck de Burgos at Avery Fisher Hall, he has performed with such orchestras as the Israel and Los Angeles philharmonics and the San Francisco and Boston symphonies. -
October 25Th 2011
+ HIGH ENERGY/DANCE Brick House, Commodores All Night Long, Lionel Ritchie 1999, Prince Le Freak, CHIC Can’t feel my face, The Weeknd We Are Family, Sister Sledge Shut up and dance with me, Walk the YMCA, The Village People moon Crazy Little Thing Called Love, Queen Uptown Funk, Bruno Mars Love Song, The Cure Footloose, Blake Shelton I'm So Excited, Pointer Sisters Shake it off, Taylor Swift Girls Just Want To Have Fun, Cindy Cupid Shuffle, Cupid Lauper Happy, Pharrell Williams Keep Your Hands To Yourself, Georgia Moves like Jagger, Maroon 5 Satellites I Know You Want Me, Pitbull The House is Rockin', Stevie Ray Vaughn Let's Dance, Lady Gaga 867-5309 (Jenny, Jenny), Tommy Firework, Katy Perry Tutone Let's Go Crazy, Prince The Future's So Bright (I Gotta Wear Blurred Lines, Robin Thicke Shades), Timbuk 3 Get Lucky, Daft Punk Jungle Love, Steve Miller Party Rock Anthem, LMFAO Old Time Rock n' Roll, Bob Seger Gingham Style, Psy Feel Like Makin' Love, Bad Company Don't Stop The Party, Pitbull La Grange, ZZ Top I Gotta Feeling, The Black-Eyed Peas Hotel California, The Eagles Play That Funky Music, Wild Cherry Volcano, Jimmy Buffet Love Shack, B-52s Margaritaville, Jimmy Buffet Hey Ya, Outkast Satisfaction, The Rolling Stones Tubthumpin', Chumbawamba Sweet Caroline, Neil Diamond I Will Survive, Gloria Gaynor She Loves You, The Beatles Brick House, Commodores Twist and Shout, The Beatles California Sun, The Rivieras Jailhouse Rock, Elvis Presley Celebration, Kool and the Gang La Bamba, Richie Valens Hot, Hot, Hot, Buster Poindexter Pretty Woman, Roy Orbison I Feel Good, James Brown Mustang Sally, Wilson Pickett I'm A Believer, Smashmouth Boot Scootin' Boogie, Brooks and Dunn Turn The Beat Around, Vicky Sue Steamroller Blues, James Taylor Robinson Proud Mary, Tina Turner That's The Way I Like It, K.C. -
Howard Dyck Reflects on Glenn Gould's The
“What you intended to say”: Howard Dyck Reflects on Glenn Gould’s The Quiet in the Land Doreen Helen Klassen The Quiet in the Land is a radio documentary by Canadian pianist and composer Glenn Gould (1932-82) that features the voices of nine Mennonite musicians and theologians who reflect on their Mennonite identity as a people that are in the world yet separate from it. Like the other radio compositions in his The Solitude Trilogy—“The Idea of North” (1967) and “The Latecomers” (1969)—this work focuses on those who, either through geography, history, or ideology, engage in a “deliberate withdrawal from the world.”1 Based on Gould’s interviews in Winnipeg in July 1971, The Quiet in the Land was released by the Canadian Broadcasting Corporation (CBC) only in 1977, as Gould awaited changes in technology that would allow him to weave together snatches of these interviews thematically. His five primary themes were separateness, dealing with an increasingly urban and cosmopolitan lifestyle, the balance between evangelism and isolation, concern with others’ well-being in relation to the historic peace position, and maintaining Mennonite unity in the midst of fissions.2 He contextualized the documentary ideologically and sonically by placing it within the soundscape of a church service recorded at Waterloo-Kitchener United Mennonite Church in Waterloo, Ontario.3 Knowing that the work had received controversial responses from Mennonites upon its release, I framed my questions to former CBC radio producer Howard Dyck,4 one of Gould’s interviewees and later one of his 1 Bradley Lehman, “Review of Glenn Gould’s ‘The Quiet in the Land,’” www. -
American Masters 200 List Finaljan2014
Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON: -
Deana Carter Danny Myrick
Deana Carter DEANA CARTER, the daughter of famed studio guitarist and producer Fred Carter, Jr., grew up surrounded by musical greats, including Willie Nelson, Bob Dylan, Waylon Jennings, and Simon & Garfunkel. She developed her songwriting skills at writer’s nights throughout Nashville, but her real break came when one of her demo tapes fell into the hands of Willie Nelson, who remembered Deana as a child. Impressed with how she’d grown as a songwriter, Nelson asked Deana to perform along with John Mellencamp, Kris Kristofferson, and Neil Young, as the only female solo artist to appear at Farm Aid VII in 1994. Her 1996 debut album Did I Shave My Legs for This? quickly climbed to the top of both the country and pop charts, quickly achieving multi-platinum status. "Strawberry Wine,” the first single from the album, was awarded CMA's 1997 Single of the Year. Seven albums and a decade later, Deana is still writing and producing for both the pop/rock and country markets when not on the road touring. Her superstar success continues to be evident. Her chart topper “You & Tequila,” co-written with Matraca Berg and recorded by Kenny Chesney, was nominated in 2011 as CMA’s “Song of the Year” and received two Grammy nods. Carter also recently co-wrote and produced a new album for recording artist Audra Mae while putting the finishing touches on her own Southern Way of Life that hit the shelves last December. Danny Myrick DANNY MYRICK is an award winning songwriter and musician based here in Nashville. -
Armando Manzanero Manuel Barrero Bueno ©EFE/Juan “Los Mayas Supieron Ver Para Arriba” “The Maya Looked to the Sky”
Reportaje / Reportage Armando Manzanero Manuel Barrero Bueno ©EFE/Juan “Los mayas supieron ver para arriba” “The Maya Looked to the Sky” as noches estrelladas del cielo maya he starry nights of the Mayan fueron el mágico techo de su infan- skies stretched a magical canopy cia y juventud: la luna allá en lo alto, over his childhood and youth: the Lel mar que lo atraía, el amor… Al Tmoon above, the sea that capti- mítico compositor Armando Manzanero, vated him, love... Legendary composer Ar- nacido en 1935 en Yucatán, México, su mando Manzanero, born in Yucatán, Méxi- fascinante tierra natal le ha brindado imá- co in 1935, has drawn on the fascinating genes que han aforado durante décadas land of his birth for images that have, over en las maravillosas canciones de su consis- the decades, become the wonderful songs tente producción musical. of his long-running musical career. Luis Miguel, Plácido Domingo, Chavela Luis Miguel, Plácido Domingo, Chavela Vargas, Lucho Gatica, Julio Iglesias, Rober- Vargas, Lucho Gatica, Julio Iglesias, Rober- to Carlos, Susana Zabaleta, Raphael, Tania to Carlos, Susana Zabaleta, Raphael, Tania Libertad y el trío Los Panchos son algunos Libertad, and the Los Panchos trio are de los intérpretes que han llevado en espa- some of the artists who have popularized ñol sus canciones por el mundo; mientras the Spanish versions of his songs around que Elvis Presley, Elis Regina y Johnny the world, while Elvis Presley, Elis Regina, Mathis, entre otros, las interpretaron con and Johnny Mathis, among others, have gran éxito en idiomas diferentes. El propio performed his songs to great acclaim in Manzanero ha sido un incansable viajero other languages. -
To Download Press
BIO - GRAPHY Tapestry Tapestry made its debut in Jordan Hall with a performance of Steve Reich’s Cristi Catt, soprano, has performed with Tehillim, deemed “a knockout” by The Boston Globe. The trademark of the leading early music groups including En- Boston-based vocal ensemble is combining medieval repertory and contem- semble PAN, Revels, Boston Camerata porary compositions in bold, conceptual programming. Critics hail their rich and La Donna Musicale. Her interest in the distinctive voices, their “technically spot-on singing” and their emotionally meeting points between medieval and folk charged performances. The LA Times writes “They sing beautifully separately traditions has led to research grants to Por- and together with a glistening tone and precise intonation” and The Cleve- tugal and France, and performances with land Plain Dealer describes Tapestry as “an ensemble that plants haunting HourGlass, Le Bon Vent, Blue Thread, and vibrations, old and new, in our ears.” Most recently, Tapestry has expanded their repertoire to include works of impression- ists including Debussy, Lili Boulanger and Vaughan Williams for a US tour in celebra- tion of the 100-year anniversary of World War One Armistice, culminating with a per- formance at the National Gallery in Wash- ington DC. Their newest program, Beyond Borders, builds on their impressionistic discoveries and expands to works of Duke Ellington, Samuel Barber, and Leonard Ber- nstein programmed with early music and folk songs. Concert appearances include the Utrecht Early Music and -
Country Music Special 1979
COUNTRY MUSIC SPECIAL 1979 Songwriters: Unsung Heroes The Future Looks Bright For Are Enjoying New Popularity Country Music Labels, Artists (continued from nage C-22) (continued from page C-20) very little monetary reward for some time," Songwriters Hall of Fame. Founded in 1970, "Television seems to be the primary that area slowing down either. Cavender noted. "It takes tenacity, dedica- the list of Hall of Famers now boasts some market in any country in getting the big "I've always contended that if country tion, hard work and total concentration for a 74 names. Four more songwriters will be word out," Walker said. "Getting the music could be heard more, it would long, thankless period. But the writer does immortalized this week (Oct. 7) when the awards show on would allow us to expose become more popular," said Walker. "That receive something very important - self association announces this year's new country music to a large group of people was the theory behind trying to get more fulfillment. I don't think you can ask for members. who 'may have never heard country music radio stations to program country music. much more of a reward than fulfillment of A nomination list is comprised yearly by before." That was our first goal when the CMA was self." the NSAI board of directors, the past presi- Of the countries the CMA is hoping to organized. I think the figures speak for The NSAI was formed in 1967 to aid the dent of the association and a selected elec- develop, Walker said that Germany would themselves. -
Guide to the Bill Holman Collection
Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date: -
Highlighted = Needs to Be Written/Included
Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.