DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977 BOSTON SYMPHONY ORCHESTRA © 1976 New England Mutual Life Insurance Company, Boston. Subsidiary: NEL Equity Services Corporation, mutual funds; Affiliate: Loomis. Sayles & Company. Inc., investment counselors "MyNewEngland Life Agency? Downing &Desautels, of courseAVhyr Because Downing & Desautels know the ropes so well, especially in the areas of pensions, estate planning and mutual funds. To be on the safe side, call them at 542-0553 in Boston. ^v* BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA >, L (ft Music Director -S^w ft Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President Philip K. Allen Sidney Stoneman Mrs. Harris Fahnestock Vice-President Vice-President Vice-President John L. Thorndike Treasurer Vernon R. Alden Archie C. Epps III Mrs. James H. Perkins Allen G. Barry David O. Ives Irving W. Rabb Mrs. John M. Bradley E. Morton Jennings, Jr. Paul C. Reardon Richard P. Chapman Edward M. Kennedy David Rockefeller Jr. Abram T. Collier George Kidder Mrs. George Lee Sargent Nelson J. Darling, Jr. Edward G. Murray John Hoyt Stookey Albert L. Nickerson Trustees Emeritus Harold D. Hodgkinson Henry A. Laughlin John T. Noonan Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Walter Hill Dinah Daniels Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg Director of Publications Programs copyright © 1976 Boston Symphony Orchestra Inc. Who's who in oil refineries. Peter Durgin, Senior Investment Officer, New England Merchants National Bank. Few experts understand the energy supply industry like Peter Durgin. For over a decade his buy-sell recommendations have helped build an enviable invest- ment record in the Trust Department. A record that looks mighty good to our customers. Member F.D.I.C BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season Thursday, 21 April at 8 : 30 Friday, 22 April at 2 &=*^y ^^ Saturday, 23 April at 8:30 Tuesday, 26 April at 7:30 SEIJI OZAWA, conductor VIVALDI Concerto in C major for piccolo, P. 79 [Allegro] Largo Allegro molto LOIS SCHAEFER VIVALDI Concerto in F major for bassoon, P. 318 Allegro non molto Andante Allegro molto SHERMAN WALT INTERMISSION SESSIONS When Lilacs Last in the Dooryard Bloom 'd (Poem by Walt Whitman) ESTHER HINDS, soprano FLORENCE QUIVAR, mezzo-soprano DOMINIC COSSA, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Thursday's concert will end about 10:10, Friday's about 3:40, Saturday's about 10 : 15, and Tuesday's about 9 : 10. Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Vincent Mauricci Edward A. Taft chair Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster Cellos Horns Jules Eskin Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon violins Jerome Patterson First David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Horner Mclntyre chair Helen Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Basses Goguen Max Winder William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Sird Raymond Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Firth Bo Youp Hwang Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith chair Fahnestock Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Leonard Moss Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Remis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenber^ Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Lefkowitz Ronan Harold Wright Victor Alpert Ann 5.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Stage Manager Charles 5. Dana chair E-flat clarinet Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia Seiji Ozawa, Music Director Seiji Ozawa became Music Director of the the beginning of the 1965-66 season he Boston Symphony Orchestra in the fall became Music Director of the Toronto of 1973 and is the thirteenth conductor Symphony, a post he relinquished after to head the Orchestra since its founding four seasons to devote his time to study in 1881. and guest conducting. He was born in Hoten, Manchuria, in In 1970 Mr. Ozawa became Artistic 1935, and graduated from the Toho Director of the Berkshire Music Festival, School of Music in Tokyo with first and in December of that prizes in composition and conducting. year he began his inaugural season as Conductor and When he won first prize at the Inter- Music Director of the national Competition of Conducting at San Francisco Symphony Orchestra, Besancon, France, shortly after his gradu- titles he held con- currently with his position ation, one of the judges of the competition as Music Director of the Boston was the late Charles Munch, then Music Symphony until he resigned them in the spring Director of the Boston Symphony, who of 1976. (He will be Honorary Conductor in invited him to study at Tanglewood San Francisco for the 1976-77 during the following summer. Mr. season). Ozawa's association with the Orchestra began during that session of the Berkshire Mr. Ozawa's recordings for Deutsche Music Center as a student of conducting Grammophon include Berlioz's Sym- in 1960. phonic fantastique, La damnation de Faust, and Romeo et Juliette (awarded a Beginning with the summer of 1964, Grand Prix du Disque). This spring, DG Mr. Ozawa was for five seasons Music will release the Ozawa/BSO recording of Director of the Ravinia Festival, and at Charles Ives's Fourth Symphony. The Board of Overseers of the Boston Symphony Orchestra Inc. David O. Ives, Chairman Hazen H. Ayer, Vice Chairman Mrs. Arthur I. Strang, Secretary Charles F. Adams Weston P. Figgins Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard Bleicken Bruce Harriman Mrs. Peter van S. Rice Frederick Brandi Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners Leonard Kaplan Samuel L. Slosberg Levin H. Campbell, III Leon Kirchner Richard A. Smith Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Richard H. Thompson The Hon. Silvio O. Conte John S. McLennan Stokley P. Towles Robert Cushman Colman M. Mockler, Jr. D. Thomas Trigg Michael J. Daly Mrs. Elting E. Morison Mrs. C. Russell Eddv Frank E. Morris We'd like to give handicapped kids . a free education. Yes, free. | The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation to and from, medical and dental care, speech and physical therapy, social development, noon meal, testing, recrea- tion and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 021 15, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School for Handicapped Children is a private, nonprofit, nonsectarian, tuition-free institution supported primarily by private legacies, bequests and contributions. Kaufman aroused interest by playing Notes The Four Seasons on a CBS broadcast, a summer substitute in the slot occupied Antonio Vivaldi during the winter by the New York Philharmonic-Symphony.** But it was Concerto in C major for piccolo, with the arrival of the long-playing P. 79 (F.VI,4) record, that
Load more

Recommended publications
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Judgments Inexorable Rev
    Judgments Inexorable Rev. Ken Read-Brown First Parish in Hingham (Old Ship Church) Unitarian Universalist May 24, 2015 Readings Isaiah 2:3-5 Many peoples will come and say, Come, let us go up to the mountain of the LORD, to the temple of the God of Jacob. He will teach us his ways, so that we may walk in his paths.” The law will go out from Zion, the word of the LORD from Jerusalem. He will judge between the nations and will settle disputes for many peoples. They will beat their swords into plowshares and their spears into pruning hooks. Nation will not take up sword against nation, nor will they train for war anymore. Come, descendants of Jacob, let us walk in the light of the LORD. “Reconciliation” from Drum-Taps by Walt Whitman Word over all, beautiful as the sky! Beautiful that war, and all its deeds of carnage, must in time be utterly lost; That the hands of the sisters Death and Night, incessantly softly wash again, and ever again, this soil’d world: …For my enemy is dead – a man divine as myself is dead; I look where he lies, white-faced and still, in the coffin – I draw near; I bend down and touch lightly with my lips the white face in the coffin. Sermon In the summer of 1865 a woman named Mary Dunbar Williams of Winchester, Virginia, organized a group of women to give proper burial to Confederate dead whose bodies were found in the countryside, and then to decorate those graves annually.
    [Show full text]
  • Crane Chorus Crane Symphony Orchestra
    JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work.
    [Show full text]
  • Walt Whitman (1819-1892)
    Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No.
    [Show full text]
  • Calamus, Drum-Taps, and Whitman's Model of Comradeship
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Calamus, Drum-Taps, and Whitman's Model of Comradeship Charles B. Green College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Green, Charles B., "Calamus, Drum-Taps, and Whitman's Model of Comradeship" (1996). Dissertations, Theses, and Masters Projects. Paper 1539626051. https://dx.doi.org/doi:10.21220/s2-61z8-wk77 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "CALAMUS," DRUM-TAPS, AND WHITMAN’S MODEL OF COMRADESHIP A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial fulfillment of the Requirements for the Degree of Master of Arts by Charles B. Green 1996 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, December 1996 Kenneth M. Price Robert SdnoLhick Li chard Lowry 11 ACKNOWLEDGEMENTS The writer wishes to express his appreciation to Professor Kenneth M. Price, under whose supervision this project was conducted, for his patient guidance and criticism throughout the process. ABSTRACT The purpose of this paper is to explore the relationship between Whitman's "Calamus" and Drum-Taps poems, and to determine the methods by which the poet communicates what Michael Moon calls in his Disseminating Whitman: Revision and Corporeality in Leaves of Grass "a program" of revising the "meaning of bodily experience" in terms of man to man affection.
    [Show full text]
  • Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected]
    Rollins College Rollins Scholarship Online Master of Liberal Studies Theses Spring 2014 The niU versal Roar: Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the American Studies Commons Recommended Citation Balserait, Jason, "The nivU ersal Roar: Walt Whitman, John Muir, and the Song of the Cosmos" (2014). Master of Liberal Studies Theses. 54. http://scholarship.rollins.edu/mls/54 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Universal Roar: Walt Whitman, John Muir, and the Song of the Cosmos A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Liberal Studies by Jason A. Balserait May, 2014 Mentor: Dr. Steve Phelan Reader: Dr. Joseph V. Siry Rollins College Hamilton Holt School Master of Liberal Studies Program Winter Park, Florida Acknowledgements There are a number of people who I would like to thank for making this dream possible. Steve Phelan, thank you for setting me on this path of self-discovery. Your infectious love for wild things and Whitman has changed my life. Joe Siry, thank you for support and invaluable guidance throughout this entire process. Melissa, my wife, thank you for your endless love and understanding. I cannot forget my two furry children, Willis and Aida Mae.
    [Show full text]
  • BEAVERT SYMPHONY Travis Hatton, Music Director
    BEAVERT SYMPHONY Travis Hatton, Music Director Young Artists Concert: Rising Stars SVOBODA TCHAI Aishani Saha Natalie Tan Kira Wang 7:30pm Friday, May 18, 2018 3:00pm Sunday, May 20, 2018 beavertonsymphony.org 1-855-HEARBSO (1-855-432-7276) The Composers Greg Bartholomew Frédéric Chopin Leo Delibes Benjamin Britten Luigi Arditi Antonin Dvořák Jean Sibelius Beaverton Symphony Orchestra Travis Hatton, Music Director Greg Bartholomew Sunshine Music (2011) b. 1957 Sunshine in the Dooryard: Homage to a melody by David Paul Mesler Sunshine in the City Sunshine in the Mountains Antonin Dvořák Cello Concerto in b minor, Op. 104 – 3rd movement 1840 –1904 Kira Wang, cello Léo Delibes Les Filles de Cadix (1874) 1836 –1891 Benjamin Britten Be Kind and Courteous 1913 – 1976 from A Midsummer Night’s Dream Luigi Arditi Il Bacio (The Kiss) (1860) 1822 – 1903 Aishani Saha, soprano Frédéric Chopin Piano Concerto No. 2 in f minor, Op. 21 – 3rd movement 1810 –1849 Natalie Tan, piano Intermission Jean Sibelius Symphony No. 1 in e minor, Op. 39 (1899) 1865 –1957 Andante ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (Quasi una fantasia) Our Young Artists Aishani Saha, soprano, is a 17 year old senior at Westview High School. She has been studying voice with Angela Niederloh for 4 years. Aishani is the 2017 State Champion in the Soprano Voice division of the OSAA Solo/Ensemble Competition. She got 2nd place in the 2016 State Competition. She was also a winner of the 2017 MetroArts Van Buren Young Artists Debut Competition. Aishani won 3rd place in the 2017 Schmidt Vocal Competition NW Region.
    [Show full text]
  • Sunshine Music Cover
    GREG BARTHOLOMEW SunshineSunshine MusicMusic for chamber orchestra 1. Sunshine in the Dooryard: Homage to a melody by David Paul Mesler 2. Sunshine in the City 3. Sunshine in the Mountains BURKE & BAGLEY Duration: ca. 10 minutes Sunshine Music for chamber orchestra 1. Sunshine in the Dooryard: Homage to a melody by David Paul Mesler 2. Sunshine in the City 3. Sunshine in the Mountains Flute Clarinet in Bb Strings Oboe Bassoon English Horn Horn in F Sunshine Music was composed in 2011 for the Pacifica Chamber Orchestra under Fred Chu. The premiere performance is scheduled for January 22, 2012, in Everett, Washington. Sunshine Music is a single movement, in three sections performed continuously. Part One, Sunshine in the Dooryard, is an homage to a melody by David Paul Mesler from his song setting of the Walt Whitman poem When Lilacs Last in the Dooryard Bloom’d. Part Two, Sunshine in the City, is a bright and cheery depiction of urban experience, while Part Three, Sunshine in the Mountains, derives from Song of the Mountains, the composer’s choral setting of text by American naturalist John Muir. For information about the composer, visit www.gregbartholomew.com . BURKE & BAGLEY www.burkeandbagley.com 1824 North 53rd Street Seattle, WA 98103-6116 Tel: 206.632.4487 Email: [email protected] for the Pacifica Chamber Orchestra Sunshine Music Greg Bartholomew Part 1: Sunshine in the dooryard: Homage to a melody by David Paul Mesler Allegro q = 72 Flute ° # & # 4 # Oboe & # 4 # # English Horn & # 4 Ó Œ ‰ œ mpJ Clarinet in A &b 4 Bassoon ?## 4 ¢ 4 # # Horn in F & # 4 Violin I ° # & # 4 # Violin II & # 4 3 3 3 3 3 3 Viola # 4 j j j B # 4 œ™ œ œ œ œ œœœ œ œ™ œ œ œ œ œœœ œ œ™ œ œ œ œ œœœ œ mp - œ - œ - œ - - Violoncello ?# 4 œ™ œ œ œ œ œœœ œœ™ œ œ œ œœœ œœ™ œ # 4 Ó J œ œ œ J mp 3 3 J 3 3 Double Bass ?## 4 ¢ 4 Copyright © 2011 2 4 œ œ œ œ œ Fl.
    [Show full text]
  • T He R a Pe Lu C R Et Ia
    THE MARYLAND OPERA STUDIO PRESENTS THE RAPE OF LUCRETIA 1 composed by BENJAMIN BRITTEN SCHOOL of MUSIC UNIVERSITY of MARYLAND libretto by RONALD DUNCAN SOM at The Clarice KAY THEATRE KAY November 18-22, 2016 18-22, November THE MARYLAND OPERA STUDIO’S FALL OPERA PRESENTATION: THE “WHITE OPERA” During their four semesters in the Maryland Opera Studio, singers perform in two fully staged operas. The first of these, presented in the fall of the second training year, receives a minimal production: a chamber orchestra, very little in the way of sets or props, and simplified costumes. Because the basis for the fall opera’s costuming over the years has been a set of white muslin mock-ups of period clothing originally produced for classroom use, it has become known informally as the “white opera.” The purpose is both practical and pedagogical. Minimal production costs allow MOS to present two full productions, instead of just one (as is the practice in most training programs), ensuring that singers graduate with two complete roles on their resumes. Even more important, however, is a principle central to the mission of the Maryland Opera Studio: the training of singers who use their voices, acting, and physical presence to tell an effective dramatic story, without the crutches of sets, costumes, wigs, and makeup. The “white” opera is the art form at its most elemental: the singer, the story, and the music take center stage. MARYLAND OPERA STUDIO FACULTY AND STAFF Isabelle Anderson, Mask • Carmen Balthrop, Opera Repertory • Dominic Cossa, Italian
    [Show full text]
  • Is a DMA for You?
    Is a DMA for You? BY JOANIE BRITTINGHAM Three singers who hold a doctorate of musical arts discuss the benefits, misperceptions, and challenges surrounding this degree. here have been troubling articles Century: Special Report, last published There are not a limitless number of over the last several years about in 2006, 20 percent of terminal degrees positions teaching voice, opera, and T the employability of someone are conferred in the humanities, which choir at the college level. According to with a doctoral degree—and even more encompasses the arts, English, literature, the Bureau of Labor Statistics, musicians, troubling articles on the decrease in and some education programs. These including singers, earn a median of full-time, tenured positions at colleges in were broken down only in an appendix, $40,320 per year, while post-secondary nearly every field. Increased reliance on which showed that between 1920 and arts educators earn a median of $64,300. adjunct professors who do not receive 1999, more doctorates were conferred The Chronicle of Higher Education benefits combined with the possibility in music than in any of the other arts. To releases statistics of tenure and tenure- for crippling student loan debt is enough give a specific comparison: between 1960 track positions each year, and teachers to make anyone approaching the pursuit and 1964, 518 music doctorates were in the visual and performing arts with of a terminal degree think twice. Why conferred, while 3,602 were conferred a doctorate earn more—over $9,000 pursue further study if it leaves one between 1995 and 1999.
    [Show full text]
  • View Commencement Program
    THOSE WHO EXCEL REACH THE STARS FRIDAY, MAY 10, 2019 THE RIVERSIDE CHURCH MANHATTAN SCHOOL OF MUSIC NINETY-THIRD COMMENCEMENT Processional The audience is requested to rise and remain standing during the processional. ANTHONY DILORENZO “The Golden Palace and the Steamship” from The Toymaker (b. 1967) WILLIAM WALTON Crown Imperial: Coronation March (1902–1983) (arr. J. Kreines) BRIAN BALMAGES Fanfare canzonique (b. 1975) Commencement Brass and Percussion Ensemble Kyle Ritenauer (BM ’11, MM ’15), Conductor Gustavo Leite (MM ’19), trumpet Changhyun Cha (MM ’20), trumpet Caleb Laidlaw (BM ’18, MM ’20), trumpet Sean Alexander (BM ’20), trumpet Imani Duhe (BM ’20), trumpet Matthew Beesmer (BM ’20), trumpet Olivia Pidi (MM ’19), trumpet Benjamin Lieberman (BM ’22), trumpet Kevin Newton (MM ’20), horn Jisun Oh (MM ’19), horn Eli Pandolfi (BM ’20), horn Liana Hoffman (BM ’20), horn Emma Potter (BM ’22), horn Kevin Casey (MM ’20), trombone Kenton Campbell (MM ’20), trombone Julia Dombroski (MM ’20), trombone David Farrell (MM ’20), trombone Morgan Fite (PS ’19), bass trombone Patrick Crider (MM ’19), bass trombone Mark Broschinsky (DMA ’11), euphonium Logan Reid (BM ’20), bass trombone Emerick Falta (BM ’21), tuba Brandon Figueroa (BM ’20), tuba Cooper Martell (BM ’20), percussion Hyunjung Choi (BM ’19), percussion Tae McLoughlin (BM ’20), percussion Hamza Able (BM ’20), percussion Introduction Monica Coen Christensen, Dean of Students Greetings Lorraine Gallard, Chair of the Board of Trustees James Gandre, President Presentation of Commencement Awards Laura Sametz, Member of the Musical Theatre faculty and the Board of Trustees Musical Interlude GEORGE LEWIS Artificial Life 2007 (b. 1952) Paul Mizzi (MM ’19), flute Wickliffe Simmons (MM ’19), cello Edward Forstman (MM ’19), piano Thomas Feng (MM ’19), piano Jon Clancy (MM ’19), percussion Presentation of the President’s Medal for Distinguished Service President Gandre Joyce Griggs, Executive Vice President and Provost John K.
    [Show full text]
  • 2005 Distinguished Faculty, John Hall
    The Complete Recitalist June 9-23 n Singing On Stage June 18-July 3 n Distinguished faculty John Harbison, Jake Heggie, Martin Katz, and others 2005 Distinguished Faculty, John Hall Welcome to Songfest 2005! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer 1996 Young Artist program with co-founder John Hall. Songfest 2005 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2005 at Pepperdine University once again this summer. In our third year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song to exploring the varied and rich American Song. We are once again privileged to have John Harbison with us this summer. He has generously donated a commission to Songfest – Vocalism – to be premiered on the June 19 concert. Our singers and pianists will be previewing his new song cycle on poems by Milosz. Each time I read these beautiful poems, I am reminded why we love this music and how our lives are enriched. What an honor and unique opportunity this is for Songfest.
    [Show full text]