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James Taylor: Making Music and Memories by John Fries
Pittsburgh Boomers | August 2005 James Taylor: Making Music and Memories By John Fries If you went to high school during the 1970's, as I did, you'll recall a lot of really great music -- on the radio, in the school cafeteria at lunchtime, and on the eight track tapes you punched into your car dashboards at night while driving around. While the musical landscape offered something for everyone, much of it seemed to fall into two distinct categories: straight-ahead rock and top 40 pop. Here in Pittsburgh, we were either tuned to Trevor Ley playing Led Zeppelin or Pink Floyd on 'DVE or listening to the "New Sound of 13Q," which played a wide and eclectic mix of whatever was in the top 40 at the time. The top hits of the day were listed each week in the pocket-sized "hit parades" KQV and 13Q published and provided for free in local record stores. The list could include any combination of rock, power pop, country, rhythm and blues, vocalists, the occasional novelty record, and that 70's radio staple known as the singer-songwriter. Remember them? The mellow music makers who played guitar or piano, wrote meaningful, introspective lyrics, and served up gentle melodies? The singer-songwriter sections of our 45 collections included titles by such artists as Jackson Browne, Neil Young, Carole King, Joni Mitchell, John Denver, Paul Simon and a West Coast band of country rock upstarts called the Eagles. Although they were - and are -- all great artists, James Taylor became the undisputed king of the genre. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Yaddo News Release
Yaddo News Release Contact: Tristan Kirvin ▪ 518-584-0746 ▪ [email protected] YADDO RECEIVES $250,000 GIFT FROM HELEN FRANKENTHALER FOUNDATION FOR FUNDING OF NEW LIVE-WORK VISUAL ARTS STUDIO Saratoga Springs, NY, December 3, 2015 …Yaddo, one of the nation’s oldest artist communities, announced today that it has received a $250,000 gift from the Helen Frankenthaler Foundation to underwrite the cost of a new live-work studio for a visual artist. The studio is one of five currently under construction on the 400-acre estate, a National Historic Landmark that welcomes over 200 artists working in a variety of disciplines each year. The visual arts studio will be named in Frankenthaler’s honor. “This gift is deeply meaningful to us in a number of ways,” said Yaddo President Elaina Richardson. “It helps to underscore our rich legacy of hosting incredibly talented visual artists at various stages in their careers, from emerging artists to those who are world-renowned, such as Helen Frankenthaler. The gift also confirms a core fact—the artists who know us best have been remarkable supporters of Yaddo and are the reason we’re poised for a vibrant second century. We are grateful to the Frankenthaler Foundation’s Board and leadership for their generosity, and honored by the trust they have placed in us.” Helen Frankenthaler’s association with Yaddo extended over many years, and included serving on the community’s Board of Trustees from 1973 to 1978. In addition to providing generous financial support for Yaddo, she additionally served on visual arts admissions panels and was actively involved in the recruitment of artists. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
Evidence of Things Not Seen by Ned Rorem
Evidence of Things Not Seen by Ned Rorem A presentation of baritone solos and other excerpts from the four-voice song cycle, Evidence of Things Not Seen André Chiang, baritone Alonso Saavedra, piano Louisiana State University Doctoral of Musical Arts Candidates The Composer: Ned Rorem Early Life Education - Northwestern University - Curtis Institute Notable Accolades - George Gershwin Memorial Prize in Composition (1948) - Pulitzer Prize for Air Music (1976) - Fulbright Fellowship (1951) - Guggenheim Fellowship (1957) Text and Music: A Notably Close Marriage - Art Song specialty - Diaries The Composer: Ned Rorem (cont.) - “In his diary, Lies, (published by Counterpoint Press in 2000) Rorem said: "My music is a diary no less compromising than my prose. A diary nevertheless differs from a musical composition in that it depicts the moment, the writer's present mood which, were it inscribed an hour later, could emerge quite otherwise. I don't believe that composers notate their moods, they don't tell the music where to go - it leads them....Why do I write music? Because I want to hear it - it's simple as that. Others may have more talent, more sense of duty. But I compose just from necessity, and no one else is making what I need." The Cycle’s Skeleton and Component Parts - Composed mostly in 1997 with two songs from earlier “Boy with a Baseball Glove” (used the melody as a theme for his violin concerto) and “He thinks upon his death” - The thirty-six texts chosen were by twenty-four authors of poetry and prose (with a translation by Rorem himself). -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
October 12, 7:30 Pm
GRIFFIN CONCERT HALL / UNIVERSITY CENTER FOR THE ARTS Featuring the music of Wilson, Dvorak, Persichetti, Sousa, Ravel/Frey, and Schwantner OCTOBER 12, 7:30 P.M. THE COLORADO STATE UNIVERSITY WIND SYMPHONY PRESENTS: FIND YOUR STATE: State of Inspiration REBECCA PHILLIPS, Conductor ANDREW GILLESPIE, Graduate Student Conductor RICHARD FREY, Guest Conductor CORRY PETERSON, Guest Conductor Fanfare for Karel (2017) / DANA WILSON Serenade in d minor, op. 44 (1878) / ANTONÍN DVOŘÁK Moderato, quasi Marcia Finale Symphony for Band (Symphony No. 6), op. 69 (1956) / VINCENT PERSICHETTI Adagio, Allegro Adagio sostenuto Allegretto Vivace Andrew Gillespie, graduate guest conductor Nobles of the Mystic Shrine (1923) / JOHN PHILIP SOUSA Corry Peterson, guest conductor, Director of Bands, Poudre High School Ma mére l’Oye (Mother Goose Suite) (1910) / MAURICE RAVEL trans. by Richard Frey Pavane de la Belle au bois dormant (Pavane of Sleeping Beauty) Petit Poucet (Little Tom Thumb) Laideronnette, impératrice des pagodes (Little Ugly Girl, Empress of the Pagodas) Les entretiens de la belle et de la bête (Conversation of Beauty and the Beast) Le jardin féerique (The Fairy Garden) Richard Frey, guest conductor From a Dark Millennium (1980) / JOSEPH SCHWANTNER The 2017-18 CSU Wind Symphony season highlights Colorado State University's commitment to inspiration, innovation, community, and collaboration. All of these ideals can clearly be connected by music, and the Wind Symphony begins the season by featuring works that have been inspired by other forms of art, including folk songs, hymns, fairy tales, and poems. We hope that you will join us to "Find Your State” at the UCA! NOTES ON THE PROGRAM Fanfare for Karel (2017) Dana Wilson Born: 4 February 1946, Lakewood, Ohio Duration: 2 minutes Born in Prague on August 7, 1921, Karel Jaroslav Husa was forced to abandon his engineering studies when Germany occupied Czechoslovakia in 1939 and closed all technical schools. -
PAX MUSICAMUSICA 2011 Touring Year • Client Tour Stories 2011 Highlights What’S Inside Baltimore Symphony Orchestra
Classical Movements, Inc. PAXPAX MUSICAMUSICA 2011 Touring Year • Client Tour Stories 2011 Highlights What’s Inside Baltimore Symphony Orchestra ........... 9 202 Concerts Canterbury Youth Chorus ................. 15 Arranged College of William and Mary ............ 10 Worldwide Collège Vocal de Laval ...................... 11 Read more inside! Children’s Chorus of Sussex County ............................... 7 Dallas Symphony Orchestra Proud to Start and Chorus .................................... 9 Our 20th Year Drakensberg Boys’ Choir .................... 2 Eric Daniel Helms Classical Movements New Music Program ...................... 5 Rwas established in El Camino Youth Orchestra ................ 7 1992, originally Fairfield County Children’s Choir .......................... 15 operating as Blue George Washington University Choir .. 7 Heart Tours and Greater New Orleans providing exclusive Youth Orchestra ............................ 4 tours to Russia. Harvard-Radcliffe Orchestra ............... 3 Ihlombe! South African Rapidly, more Choral Festival ............................. 14 countries were added, Marin Alsop (Baltimore Symphony Orchestra Music Director), David Los Angeles Children’s Choir ........... 15 attracting more and Rimelis (Composer), Dan Trahey (OrchKids Director of Artistic Melodia! South American Program Development) and Neeta Helms (Classical Movements Music Festival ................................ 6 more extraordinary President) at the premiere of Rimelis’ piece OrchKids Nation Minnesota Orchestra .......................... -
Program for the Elixir of Love
DONIZETTI’S THE ELIXIR OF LOVE A potent potion to drive devotion APRIL 21, 24, 27, 29, 2018 STUDENT MATINEE: APRIL 26, 2018 BENEDUM CENTER 2017-18 SEASON TABLE OF CONTENTS THE ELIXIR EstatementJEWELRY OF LOVE (L’elisir d’amore) Set the stage for compliments and make a statement Music by Gaetano Donizetti every time you wear a piece of fine jewelry from Libretto by Felice Romani, after Eugène Scribe’s libretto for Daniel Auber’s Le philtre (1831) our Vintage & Contemporary Estate Collection. Affordable luxury that steals the spotlight. 2 .............Letter From Our Board Leadership Michele Fabrizi 3 .............Letter From Our General Director Board Chair 5 .............The Cast Gene Welsh 7 .............Synopsis Board President Christopher Hahn 11 ............Artist Biographies General Director 22 ...........Director’s Note Antony Walker 24 ...........Learn About Opera Music Director 25 ...........Student Matinee 26 ...........The Monteverdi Society Allison M. Ruppert Managing Editor 27 ............Board of Directors Platinum rings featuring Greenawalt Design LLC Rubies, Pink Tourmaline, 31 ............Annual Fund Listings Graphic Design and Precious Topaz. To schedule 38 ...........Orchestra your advertising in Pittsburgh Opera’s Authentic • Curated • Quality 39 ...........Chorus and Supernumeraries program, please call 412-471-1497 or VINTAGE & CONTEMPORARY 43 ...........Staff and Volunteers email advertising@ culturaldistrict.org. MOSES 44 ...........Benedum Directory Jewelers SINCE 1949 This program is published by Pittsburgh Opera, Inc., 2425 Liberty Avenue, Pittsburgh, PA 15222. EstateJEWELRY COLLECTION Phone: 412-281-0912; Fax 412-281-4324; Website www.pittsburghopera.org. Celebrating 69 years in business! All correspondence should be sent to the above address. Pittsburgh Opera assumes no responsibility for unsolicited manuscripts. Articles may be reprinted with permission. -
Our Playwrights in the Spotlight Tony Nods, Rave Reviews, and The
NEWS | SUMMER 2017 inside: Our Playwrights in the Spotlight James Baldwin is Having a Moment The Yaddo Summer Reading List Tony nods, rave reviews, and the premieres Thirty years after his death, the radical prophet of a With a bumper crop of new releases, our we’re looking forward to this fall generation is the hottest writer in America authors have you covered for beach season Our Playwrights Step Into the Spotlight t has been a banner year thus far for Yaddo dramatists both on and off Broadway. Leading the pack is J.T. Rogers, whose magnificent Oslo JENNY ANDERSON JENNY opened at Lincoln Center’s Vivian IBeaumont Theater in April to rave reviews and went on to win the 2017 Tony for Best Play. Directed by Bartlett Scher and starring Broadway vets Jennifer Ehle and Jefferson Mays, Rogers’s “colossus” of a play (so labeled by New York Times theater critic Ben Brantley) depicts the behind-the-scenes intrigue of the secret peace talks between Israel and the Palestine Liberation Organization that led to the 1993 Oslo Accords. Another late-season standout was War Paint, a triumphant collaboration between three Yaddo alums — Doug Wright (book), Scott Frankel (music) and Michael Korie (lyrics) — that garnered nominations ABOVE: J.T. Rogers and the cast of his Tony-award winning Oslo for best leading actress in a musical (double honor to Tony-Award grand dames Patti legend Paula Vogel’s elegiac Indecent writer Danny Rubin celebrated his first Tony LuPone and Christine Ebersole, playing (first staged at the Yale Repertory Theater nomination, for Best Book of a Musical, cosmetic industry rivals Helena Rubinstein in 2015) picked up a Best Play Tony for Groundhog Day, his adaptation of the and Elizabeth Arden), best costume design, nomination as well as awards for screenplay he co-wrote with Harold and best scenic design. -
Kourier Document Setup 6-13-19
Kourier ALABAMA DISTRICT Summer 2019 Published by Alabama Kiwanis Foundation 28 pages District Convention is Aug. 2-4 By Patrice Stewart president of the Kiwanis Club of Kiwanis Kourier editor Huntsville and chairman of the con- It’s almost time to celebrate in vention. “We asked to host this year Huntsville, where the 101st Alabama because of our club’s 100th anniver- District Convention will be held Aug. sary. Huntsville is growing, and we 2-4 at Embassy Suites. want to show off our city.” The Kiwanis Club of Huntsville will The Huntsville club must receive serve as the host club, and Kiwanians other Kiwanis clubs formed that year registrations by July 26 to give meal and guests from around the state are will also be recognized at this conven- numbers to the hotel. invited to join in celebrating the club’s tion. Huntsville Kiwanians and district 100th anniversary. This Huntsville club “We are looking forward to hosting leaders have planned several speakers was organized July 14, 1919; several the whole district,” said Marc Byers, (See HUNTSVILLE, Page 5) Scenes from Kiwanis International Convention, from President-elect Vigneron from the Belgium-Luxembourg left: Kiwanis Club of Montgomery officers Sam Johnson District; and KI Executive Director Stan Soderstrom, left, and John Hutcheson, Kiwanis International President- greets Alabama Past Governor Armand St. Raymond, who elect Daniel Vigneron and Alabama Kiwanis Governor has been appointed to the Kiwanis Children’s Fund board Ben Taylor with two gold plaques for top Signature Proj- beginning Oct. 1. Soderstrom will be the luncheon ect; Alabama Governor-elect Bob Brown, left, meets with speaker at the District Convention in Huntsville Aug. -
Works by George Perle, David Del Tredici, and Nicholas Thorne New World 80380-2
Works by George Perle, David Del Tredici, and Nicholas Thorne New World 80380-2 The vastly divergent reactions to twelve-tone composition of George Perle, David Del Tredici and Nicholas Thorne are a vivid reflection not only of their different generations, but of the unfolding of musical style change in America. Perle, born in 1915 and educated here at a time when twelve-tone composition was little understood, felt the urge to revise Schoenberg's method so as to reconcile serial chromaticism with the hierarchical elements of tonal practice. The system he evolved, known as “twelve-tone tonality,” has been the basis of most of his compositions until 1969, and all since. Del Tredici, born in 1937, studied at Princeton at a time when serialism had become dogma. Yet he eventually repudiated the technique and turned to a highly eccentric form of tonality. Thorne, born in 1953, gave little thought to twelve-tone composition. “It was the generation before me who had this monkey on its back,” he says. Instead, Thorne came to maturity amid the welter of styles, from minimalism to neo-Romanticism, that characterized America during the 1970s. All three attitudes offer us invaluable insights into the composers and their music. In some circles George Perle is known as a musicologist, particularly for his pathbreaking studies of Alban Berg. In other circles, he is viewed as a theorist, a coherent codifier and radical reviser of serial technique. But he insists that both these pursuits have been sidelines to composition, and his music belies the popular misconception that art conceived under the wing of academia need be abstruse or inaccessible.