Spring 2018 Notes
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ibsen in Chcago at Seattle Repertory Theatre Encore Arts Seattle
FEBRUARY 2018 by DAVID GRIMM DIRECTED BY BRADEN ABRAHAM FEBRUARY 2 - MARCH 4, 2018 2017/18 SEASON THE ODYSSEY | PRIDE AND PREJUDICE | THE HUMANS | TWO TRAINS RUNNING IBSEN IN CHICAGO | HERSHEY FELDER AS IRVING BERLIN | THE GREAT LEAP | FAMILIAR | MAC BETH January 2018 INTERNATIONAL Volume 14, No. 4 GUITAR NIGHT Wednesday, Jan. 24 7:30 pm | $19–$44 IGN brings together the world’s foremost guitarists for a special evening of solos, Paul Heppner duets, and quartets. The tour’s ECA Publisher WINTER 2018 engagement will feature Lulo Reinhardt, Sara Keats Calum Graham, Marek Pasieczny, and Encore Stages Editor Michael Chapdelaine. Susan Peterson HARLEM QUARTET & Design & Production Director Contents ALDO LÓPEZ-GAVILÁN Ana Alvira, Robin Kessler, Feature Thursday, Mar. 8 Stevie VanBronkhorst 7:30 pm | $19–$49 Production Artists and Graphic Design 3 Danielle Mohlman reflects Cuban piano prodigy Aldo Mike Hathaway López-Gavilán joins the on her one-woman Sales Director Harlem Quartet in this dynamic cross-cultural program to bring millennial collaboration. The program will consist of Brieanna Bright, Joey Chapman, audiences to the theater in Latin jazz and classical repertoire, as well as Ann Manning original compositions by Mr. López-Gavilán. Seattle Area Account Executives the age of Netflix. THE MYSTICAL Amelia Heppner, Marilyn Kallins, Terri Reed Dialogue ARTS OF TIBET San Francisco/Bay Area Account Executives Thursday, May 11 Carol Yip 10 SassyBlack on place, 7:30 pm | $15–$44 Sales Coordinator communication, As part of a 5-day ECA and creativity. residency that includes the creation of a Mandala Sand Painting, the Tibetan monks of Drepung Intermission Brain Transmission Loseling Monastery will give a performance combining multi-phonic chanting, music and 11 Test yourself with our dance into an unforgettable experience. -
Gp 3.Qxt 7/27/15 8:56 AM Page 1
08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 1 Sunday Afternoon, August 9, 2015, at 3:00 m a r Academy of Ancient Music M|M g Edward Gardner , Conductor o r Alina Ibragimova , Violin P e ALL-MENDELSSOHN PROGRAM h The Hebrides (“Fingal’s Cave”) (1830/32) T Violin Concerto in E minor (1844) Allegro molto appassionato— Andante— Allegretto non troppo—Allegro molto vivace Ms. Ibragimova will perform Mendelssohn’s cadenza. Intermission Symphony No. 3 in A minor (“Scottish”) (1842) Andante con moto—Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo—Allegro maestoso assai M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Tuesday and Thursday Evenings, August 11 and 13, at 7:30 Saturday Afternoon, August 15, at 3:00 in the David H. -
ESO Highnotes November 2020
HighNotes is brought to you by the Evanston Symphony Orchestra for the senior members of our community who must of necessity isolate more because of COVID-!9. The current pandemic has also affected all of us here at the ESO, and we understand full well the frustration of not being able to visit with family and friends or sing in soul-renewing choirs or do simple, familiar things like choosing this apple instead of that one at the grocery store. We of course miss making music together, which is especially difficult because Musical Notes and Activities for Seniors this fall marks the ESO’s 75th anniversary – our Diamond Jubilee. While we had a fabulous season of programs planned, we haven’t from the Evanston Symphony Orchestra been able to perform in a live concert since February so have had to push the hold button on all live performances for the time being. th However, we’re making plans to celebrate our long, lively, award- Happy 75 Anniversary, ESO! 2 winning history in the spring. Until then, we’ll continue to bring you music and musical activities in these issues of HighNotes – or for Aaron Copland An American Voice 4 as long as the City of Evanston asks us to do so! O’Connor Appalachian Waltz 6 HighNotes always has articles on a specific musical theme plus a variety of puzzles and some really bad jokes and puns. For this issue we’re focusing on “Americana,” which seems appropriate for Gershwin Porgy and Bess 7 November, when we come together as a country to exercise our constitutional right and duty to vote for candidates of our choice Bernstein West Side Story 8 and then to gather with our family and friends for Thanksgiving and completely spoil a magnificent meal by arguing about politics… ☺ Tate Music of Native Americans 9 But no politics here, thank you! “Bygones” features things that were big in our childhoods, but have now all but disappeared. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018
MBA Program OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018 Celebrating 22 Years of Lifelong Learning! OSHER LIFELONG LEARNING INSTITUTE Celebrating 23 Years of Lifelong Learning! CONTENTS About Us UDOLLI Information 3-5 Index by Topic 6-7 Program Information 47 Moderators 51 What We’re Offering Seminars 8-49 Seminar Calendar 59 Join Us! Membership Information 56 How to Register 58 Directions and Map 60-61 Registration Form 63 2 WELCOME TO THE OSHER OSHER LIFELONG LEARNING LIFELONG LEARNING INSTITUTE INSTITUTE AT THE UNIVERSITY OF DAYTON The University of Dayton Osher Lifelong Learning Institute (UDOLLI) began 23 years ago as the University of Dayton Institute for Learning in Retirement or UDILR. Since 2004, we have been proud members of the Osher Lifelong Learning Network, a group of more than 100 institutes across the country dedicated to meeting the needs of adult learners over 50 years of age who wish to gather for the joy of learning and personal fulfillment. OUR MISSION STATEMENT The purpose of the Osher Lifelong Learning Institute at the University of Dayton is to offer adults 50 years or better a wide variety of seminars based on the peer-learning concept and designed to be intellectually stimulating in an informal and noncompetitive environment. We are a vibrant community We are adults with wide-ranging interests in art, current events, health and fitness, history, literature, music, religion, and science. A curriculum committee works with the Executive Director of Special Programs and Continuing Education to select our curriculum on the basis of member requests, the expertise of moderators, variety, and balance. -
KUSC Radio Local Event Arts Public Service Announcements July - September 2014
KUSC Radio Local Event Arts Public Service Announcements July - September 2014 START DATE: 7/7 KILL DATE: 7/20 The L. A. Phil presents great opera in concert on Sunday, July 27th, at the Hollywood Bowl. The charismatic Gustavo Dudamel leads the Los Angeles Philharmonic and an acclaimed cast in opera’s greatest double-bill: Pagliacci and Cavalleria rusticana . Written by Italian composers at the top of their game, both operas bristle with the extreme, no-holds-barred passions of jealous lovers. One night only. Get your opera tickets at HollywoodBowl.com. START DATE: 7/7 KILL DATE: 7/19 Summertime and the livin’ is easy when Pacific Symphony performs “Gershwin Greats,” Sunday, July 20 at Verizon Wireless Amphitheater in Irvine, part of the Mercedes-Benz Summer Festival. Relax under the stars to Gershwin favorites, including An American in Paris, Rhapsody in Blue and selections from “Porgy and Bess,” featuring the powerhouse voices of Angela Brown and Kevin Deas. Gates open at 5:30 for picnicking. For tickets, visit Pacific Symphony dot org. START DATE: 7/7 KILL DATE: 7/24 Ballet superstars Natalia Osipova and Ivan Vasiliev are coming to the Southland with a world premiere dance event, Solo For Two , at Segerstrom Center for the Arts in Costa Mesa, July 25 th through 27th. Solo For Two features new works by three of today’s most innovative choreographers, created to showcase the spectacular artistry of these incomparable dancers. Don’t miss Natalia Osipova and Ivan Vasiliev in Solo For Two at Segerstrom Center for the Arts. For tickets, visit S-C-F-T-A-dot-org. -
Even String Quartets— No Longer Sit in Chairs When
It’s not a huge FINE, auprising, but a number of Upst ensembles—nding even string quartets— no longer sit in chairs when EMPIRE BRASS performing. What’s it all about? 26 may/june 2010 a ENSEMBLES ike most art forms, chamber music PROS by Judith Kogan performance has evolved to reflect For many people, it’s simply more com- Upst ndingchanges in society and technology. fortable to play standing up. It’s how we’re L As instruments developed greater power to taught to play and how we perform as solo- project, performances moved from small ists. Standing, it’s easier to establish good chambers to larger spaces, where professional posture with the instrument. musicians played to paying audiences. New Standing also allows freedom to express instrumentations, such as the saxophone with the whole body. With arms, shoulders quartet and the percussion ensemble, and waist liberated, a player’s range of motion emerged. By the late twentieth century, expands. For wind players, there’s better composers had recast what was once thought air flow. The ability to turn the whole body of as “intimate musical conversation” to in- makes it easier to communicate with other corporate abrasive electronically-produced ensemble members and the audience. One sonorities. Some works called for musi- arguably feels the rhythm of a piece better cians to wear headphones with click tracks, on one’s feet, and, perhaps unconsciously, preventing them from hearing each other. produces a bigger, fatter sound. Sometimes they couldn’t even hear them- In terms of acoustics, sound travels farther selves. -
Do Not Edit Or Shorten Without Prior Written Permission from the Albright Group at [email protected]
Do not edit or shorten without prior written permission from The Albright Group at [email protected]. Charlie Albright Hailed as “among the most gifted musicians of his generation” with a “dazzling natural keyboard affinity” who “made quite an impression” by the Washington Post, American pianist/composer/improviser Charlie Albright has been praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times, and his “extravagance that had showmanship but never felt cheap” with his “ease and smoothness that refuses to airbrush the music, but animates it from within” by the Philadelphia Inquirer. Recipient of the prestigious Avery Fisher Career Grant and Gilmore Young Artist Award, Albright won the Ruhr Klavier Festival Young Artist Award presented by Marc-André Hamelin (Germany) and the Young Concert Artists International Auditions. In addition to performing, Albright is sought after as a speaker, masterclass instructor, teacher, and competition judge. His debut commercial recording, Vivace, has sold thousands of copies worldwide and the first of a 3-part Schubert Series of live, all-Schubert recordings was released in 2017. Charlie Albright breaks the "classical" rules of music by connecting with audiences like no other. Through his music, speaking, and unique improvisations that bring music to life, he crosses all genres...and makes it fun. Albright regularly appears at major concert halls, festivals, and with artists of all genres worldwide. In 2019, he was the guest artist at the Isaac Stern Auditorium main stage of Carnegie Hall with the American Symphony Orchestra and Maestro Leon Botstein, and made his return appearances at the 2019 Bergen International Festival in Norway, where he performed a sold-out solo recital and was given the honor of performing the festival’s traditional yearly concert of the Grieg Piano Concerto at Grieg Concert Hall with the Bergen Philharmonic Orchestra. -
Season ROCKPORT CHAMBER MUSIC FESTIVAL David Deveau, Artistic Director June 6-July 13, 2014
ROCKPORT MUSIC 33rd Season ROCKPORT CHAMBER MUSIC FESTIVAL David Deveau, Artistic Director June 6-July 13, 2014 CONTACT: Karen Herlitz, Director of Marketing [email protected] Phone: 978-546-7391, Ext. 110 DATE: May 13, 2014 Rockport Chamber Music Festival Opens June 6 with the Boston-area debut of the new Emerson String Quartet with cellist Paul Watkins Festival Week 1 On Friday, June 6 at 7 pm, the Emerson String Quartet with new cellist Paul Watkins will perform for the Opening Night Gala of the 33rd Annual Rockport Chamber Music Festival. Performing Shostakovich’s Quartet No. 13 and Schubert’s Quartet in D minor, D.810 Death and the Maiden, the Emerson Quartet will perform these works in which the Quartet has received rave reviews for its New York performances this past spring. The evening’s honorees are Mollie and John Byrnes. Concert Only Tickets are $95. On Saturday, June 7 at 8 pm, violinist Stefan Jackiw and pianist Anna Polonsky perform Mozart’s Sonata in B-flat Major, K. 454, Lutoslawski’s Partita for violin and piano, Saariaho’s Nocturne (in Memory of Lutoslawski) and Brahms’s Sonata No. 3 in D minor, Op. 108. Jackiw is hailed by the Washington Post as “talent that’s off the scale” and Polonsky was a recipient of the 2003 Borletti-Buitoni Trust Fellowship and the 2011 Andrew Wolf Chamber Music Award. The New York Times hailed that Polonsky “…played with sweep, color and authority, and the entire performance was vibrant and exciting.” A Pre-Concert Talk is held for concert attendees at 7 pm. -
LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM Tviusician
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissert.~tion copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313n61-4700 800/521-0600 LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM tviUSICIAN: A BIOGRAPHICAL SKETCH AND CATALOGUE OF MUSICAL WORKS AND FILMS by Michael L. Kolstad A Dissertation Submitted to the the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1996 Approved by UMI Number: 9705293 Copyright 1996 by Kolstad, Michael L. -
Joshua Bell: “Every Note Means Something…” by Karen Herlitz
behind tNhe o te s rockport music newsletter : SPRING 2017 Joshua Bell: “Every Note Means Something…” By karen herlitz experience with Mr. Gingold. He was also a teacher and mentor Opening this year’s Rockport Chamber Music to several regular Rockport Chamber Music Festival artists Festival is world-renowned violinist Joshua Bell. including Andrés Cárdenes and Jaime Laredo (of Kalichstein- Since arriving on the world stage in the early 90’s, Laredo-Robinson Trio), as well as providing an early chamber music festival experience to our own Executive Director Tony Bell has turned into one of the most acclaimed Beadle. Andrés Cárdenes shares: and high-profile classical artists in the world. Mr. Gingold was, for all his students, not simply a famous, Never one to limit his music to a particular genre world-renowned teacher—he was our role model in every or medium, Bell has shaped an impressive career way. Etiquette, professionalism, integrity, humanity and the by balancing musical integrity and virtuosity with highest standards of violin playing. His devotion to the art, discipline and craft of violin playing was infectious and has a willingness to explore opportunities. been a source of daily inspiration to me. By many accounts of those who knew him, Josef Gingold was not He has performed in the Oscar-winning original soundtrack only an extraordinary violinist and teacher, but also a remarkable The Red Violin and the blockbuster Angels and Demons , as well person with a great sense of humor. Among the many violinists as a wide range of crossover recordings with artists from Béla of today influenced by Mr.