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BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Music You Know & Schubert
CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
Bbc Radio 3 - Sounds of Shakespeare April – May 2016
BBC RADIO 3 - SOUNDS OF SHAKESPEARE APRIL – MAY 2016 MONDAY 18TH – FRIDAY 22ND APRIL Essential Classics Monday 18th - Friday 22nd April 0900 - 1200 In the week leading up to the Shakespeare 400 anniversary, the guest on Radio 3’s morning programme is Adrian Lester OBE, acclaimed for his performances as Henry V and Othello at the National Theatre – winning the Evening Standard Best Actor award. He’ll talk about Shakespeare, his life as an actor and choose some fascinating music. Producer: Sarah Devonald, Somethin’Else Composer of the Week Monday 18th - Friday 22nd April 1200 – 1300 William Byrd There is frustratingly little evidence that William Byrd was personally acquainted with his fellow Elizabethan, William Shakespeare. Although, a tantalising reference to “the bird of loudest lay” in Shakespeare’s sonnet, The Phoenix and the Turtle hints that they may have been more than mere contemporaries. As a Roman Catholic in Elizabethan England, William Byrd was persecuted by the state and often forced to tread a dangerous path between his personal convictions and his duty to the Queen. His musical talent and his strength of character enabled him not just to survive, but thrive. Despite his trials, he was, and continues to be, celebrated as the greatest British musician of his age. SOUNDS OF SHAKESPEARE LIVE 22nd – 24th April, Stratford-upon-Avon Radio 3 broadcasts live all weekend from its pop-up studio at the Royal Shakespeare Company’s The Other Place theatre in Stratford-upon-Avon and at venues across the town. Actors, musicians, poets, singers and orchestras perform a huge range of songs, film scores, jazz, chamber music, choral works and world music - all inspired by Shakespeare's works. -
The Heraclitian Form of Thomas Adès's Tevot As a Critical Lens
The Art of Transformation: The Heraclitian Form of Thomas Adès’sTevot as a Critical Lens for the Symphonic Tradition and an original composition, Glimmer, Glisten, Glow for sinfonietta A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Music Composition and Theory David Rakowski and Yu-Hui Chang, Advisors In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Joseph Sowa May 2019 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Joseph Sowa’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: David Rakowski, Brandeis University Department of Music Yu-Hui Chang, Brandeis University Department of Music Erin Gee, Brandeis University Department of Music Martin Brody, Wellesley College, Department of Music iii Copyright by Joseph Sowa 2019 Acknowledgements The story of my time at Brandeis begins in 2012, a few months after being rejected from every doctoral program to which I applied. Still living in Provo, Utah, I picked up David Ra- kowski from the airport for a visit to BYU. We had met a few years earlier through the Barlow Endowment for Music Composition, when Davy was on the board of advisors and I was an intern. On that drive several years later, I asked him if he had any suggestions for my doc- toral application portfolio, to which he immediately responded, “You were actually a finalist.” Because of his encouragement, I applied to Brandeis a second time, and the rest is history. -
Calder Quartet
CAL PERFORMANCES PRESENTS PROGRAM Sunday, October 2, 2011, 3pm Franz Liszt (1811–1886) Petrarch Sonnet No. 123 (I’ vidi in terra angelici Hertz Hall costumi) from Années de Pèlerinage, Deuxième Année: Italie for Piano (1845) Calder Quartet Adès The Four Quarters for String Quartet (2010) Nightfalls Benjamin Jacobson violin Serenade: Morning Dew Andrew Bulbrook violin Days Jonathan Moerschel viola The Twenty-fifth Hour Eric Byers cello with Adès Quintet for Piano and String Quartet, Thomas Adès, piano Op. 20 (2000) PROGRAM Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40 Thomas Adès (b. 1971) Mazurkas for Piano, Op. 27 (2009) Moderato, molto rubato Prestissimo molto espressivo Grave, maestoso Adès Arcadiana for String Quartet (1994) Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et... (tango mortale) L’Embarquement O Albion Lethe INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES Igor Stravinsky (1882–1971) music at the time. He later explained the move- prominence—the piano solos Still Sorrowing American premiere at Santa Fe Opera in July Three Pieces for String Quartet ment’s inspiration in an interview with Robert and Darknesse Visible, the song cycles Five Eliot 2006 and has been announced for the 2012– Craft: “I had been fascinated by the movements Landscapes and Life Story, Catch and Living Toys 2013 Metropolitan Opera season. Composed in 1914. Premiered on November 8, of Little Tich, whom I had seen in London in for chamber orchestra—and in 1993 he was ap- The distinguished critic Andrew Porter 1915, in Chicago by the Flonzaley Quartet. -
PROMS LISTENING SERVICE Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
THE PROMS LISTENING SERVICE Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom REBEL PASCAL DUSAPIN edges of artistic and musical possibility, it’s a Le cahos Outscape common idea that music can take us to other worlds, that it can transport us out of our That crunching dissonance at the start of This piece, Pascal Dusapin’s second cello everyday consciousness into another realm Rebel’s invocation of chaos is an abrasive concerto, melts and melds the solo line of transcendence. The shamans of Siberia or masterstroke. And it rhymes throughout into the textures of the orchestra so that South-East Asia use music in their rituals as musical history with other composers’ the cellist’s line is amplified, echoed and a bridge between worlds; the American depictions of a primordial soup of musical transfigured by the musicians behind her. composer La Monte Young makes every atoms upon which harmonic and rhythmic That’s a common conceit for today’s note he writes a realisation of musical magic order is at last imposed through the force composers, who often reject the apparently – listen to the five hours of The Well-Tuned of compositional will. That’s what happens divisive rhetoric of concertos that instead pit Piano to discover how a solo piano can in the opening movement of Haydn’s The their soloists against the massed musicians become a sonic magic carpet to a place of Creation, another journey from harmonic behind them in a musical face-off in which meditative yet physical bliss. -
Michael Lewanski, Conductor
Saturday, April 28, 2018 • 8:00 P.M. DEPAUL CONCERT ORCHESTRA & DEPAUL SYMPHONIC CHOIR Michael Lewanski, conductor Concert Hall 800 West Belden Avenue • Chicago Saturday, April 28, 2018 • 8:00 P.M. Concert Hall DEPAUL CONCERT ORCHESTRA DEPAUL SYMPHONIC CHOIR Michael Lewanski, conductor PROGRAM Adolphus Hailstork (b. 1941) Epitaph for a Man Who Dreamed (In memoriam: Martin Luther King, Jr.) (1979) Johann Sebastian Bach (1685-1750) Cantata, BWV 28: Ich Habe Genug (1727) Christopher Magiera, baritone BRIEF PAUSE Igor Stravinsky (1882-1971) Symphony of Psalms (1930) Psalm 38, Tempo quarter note = 92 Psalm 49, Tempo eighth note = 60 Psalm 150, Tempo quarter note = 48; Tempo half note = 84 DEPAUL CONCERT ORCHESTRA & SYMPHONIC CHOIR • APRIL 28, 2018 PROGRAM NOTES We intend this concert to examine religion in music in various—and possibly unusual—contexts. As befits a university like DePaul—one in which its Catholic, Vincentian heritage defines and informs its identity and choices as an institution—tonight we look at the ways in which religious values, texts, and ideas find their way into pieces of music in sometimes unexpected ways. Adolphus Hailstork (b. 1941) Epitaph for a Man Who Dreamed (In memoriam: Martin Luther King, Jr.) (1979) Duration: 8 minutes On April 4, 1968—50 years and 24 days before this concert—Dr. Martin Luther King, Jr. was assassinated in Memphis by James Earl Ray. It would be hard to overestimate the influence that Dr. King had on US and world culture during his short life, much of which ramifies in unpredictable ways today. While the ways in which political struggles polarize and continue seem especially obvious and vital in 2018’s complex social environment, no less important is the diffuse but omnipresent influence his legacy has had on arts of all kinds. -
Democratising Opera: Opera North and the Access Agenda in Action Part of the AHRC Project ‘Opera As Adaptation’
Democratising Opera: Opera North and the access agenda in action Part of the AHRC project ‘Opera as Adaptation’ Jennifer Susan Daniel Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries School of Music March 2016 2 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2016 The University of Leeds and Jennifer Susan Daniel The right of Jennifer Susan Daniel to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements My thanks go out to all those at Opera North (past and present) who have been so welcoming and helpful in facilitating this study, particularly Jane Bonner, Dominic Gray, Rebecca Walsh, Timothy Burke, Jo Bedford, Stuart Leeks, Peter Restall, Jacqui Cameron, and the inspirational Martin Pickard. It was also a great privilege to have Richard Farnes as my supervisor at Opera North, who facilitated so much of this study and whose musical vision, humility and leadership I have greatly admired. I am grateful to the AHRC, to Opera North Futures and to the Fund for Women Graduates for generous funding, without which I would certainly not have been able to complete this thesis. My most profound thanks are offered to my excellent academic supervisors Kara McKechnie and Rachel Cowgill, for the opportunity to work on this project, and for the inspiration, encouragement and education. -
TAO09 AIDA.Indd
FEBRUARY 27, MARCH 2,5,7(M), 2O1O dennis hanthorn - Zurich General Director TTAO09AO09 AAIDA.inddIDA.indd 999191 22/8/10/8/10 111:12:241:12:24 AAMM att.com talk, text, repeat. We live on the cutting edge of technology. And with innovations like our 3G wireless network that powers the iPhone and our award-winning AT&T U-verse TV, we help keep you there. In the business world, we deliver productivity and results. In your personal world, we deliver conversations, messages and pictures. And all because of our commitment to keep you connected. AT&T proudly supports the Atlanta Opera. © 2010 AT&T Intellectual Property. All rights reserved. AT&T and the AT&T logo are trademarks of AT&T Intellectual Property. TTAO09AO09 AAIDA.inddIDA.indd 9992-192-1 22/8/10/8/10 111:12:261:12:26 AAMM TTAO09AO09 AAIDA.inddIDA.indd 22-3-3 22/8/10/8/10 111:12:291:12:29 AAMM TABLE OF CONTENTS 5 6 Message from the Zurich General Director 9 Credits 11 Synopsis 12 Program Notes 16 Meet the Cast 22 The Atlanta Opera Chorus 23 The Atlanta Opera Orchestra 24 Volunteers 26 Education and Outreach 30 The Society for Artistic Excellence 31 Partners 37 Annual Fund / Individual Giving 44 Tributes and Memorials 46 The Encore Circle 48 The Verdi Society 52 Board of Directors 54 House Policies 56 The Atlanta Opera Staff dennis hanthorn - Zurich General Director Cover Photo: Dallas Duncan Franklin 1575 Northside Drive, N.W. Building 300, Suite 350 Atlanta, GA 30318 www.atlantaopera.org ©2010 ARIA is published by The Atlanta Opera TTAO09AO09 AAIDA.inddIDA.indd 44-5-5 22/8/10/8/10 111:12:301:12:30 AAMM 6 MESSAGE FROM THE ZURICH GENERAL DIRECTOR DENNIS HANTHORN (J.D. -
Study Guide for Teachers
Study Guide For Teachers Project Trio In Outside the Bachs Presented by Young Audiences (866) 500-9265 www.yanjep.org ABOUT THE PROGRAM BACKGROUND INFORMATION FOR STUDENTS Combining the virtuosity of world-class artists with the energy of rock stars, PROJECT Trio remixes traditional Chamber music is a form of classical music that is ideas of chamber music in Outside the Bachs! In this composed for a small group of instruments—traditionally a genre-defying performance, students discover the joys of group that could fit in a palace chamber or a large room. classical and jazz music through exciting arrangements Most broadly, it includes any art music that is performed by of music from Bach to Beethoven, to Django Reinhardt to a small number of performers, with one performer to a part Jethro Tull, and plenty of PROJECT Trio originals. By (in contrast to orchestral music, in which each string part is played by a number of performers). However, by combining classical repertoire with elements of hip-hop convention, it usually does not include solo instrument and popular music, students experience this trio’s performances or performers. innovative process of blending eclectic musical elements into a universal language through the art of collaboration refers to music composed during the late Classical music eighteenth and early nineteenth centuries, characterized by the development of the sonata by such composers as Mozart. In popular use, however, the term is used to mean any serious art music as distinct from jazz, pop, or folk. LEARNING GOALS Jazz music is style of music, native to America, characterized by a strong but flexible rhythmic Students will: understructure with solo and ensemble improvisations on basic tunes and chord patterns and, more recently, a • Hear high energy, innovative chamber music highly sophisticated harmonic idiom. -
PROJECT Trio -Study Guide
PROJECT Trio -Study Guide- Combining the virtuosity of world-class artists with the energy of rock stars, PROJECT Trio is breaking down traditional ideas of chamber music. Blending their classical training with an eclectic taste in musical styles, they make a big impact on audiences of all ages. The genre-defying Trio is acclaimed by the press as “packed with musicianship, joy and surprise” and “exciting a new generation of listeners about the joys of classical and jazz music.” Objective of the Performance: PROJECT Trio explores all the amazing genres and styles that music has to offer from the last 400 years. • ENGAGE the audience with world-class performance and story telling. • EXPLORE and teach the timeline of music using the great musicians/ composers of the history of Western Music. • INSPIRE creativity through witnessing virtuosic performance from incredible performers. • ENLIGHTEN the audience to the power of music and all that it has to offer. Table of Contents What to Expect..........................................................................3 About the Artists.......................................................................4 Pre Performance Preparation...................................................5 Instruments................................................................................6 Vocabulary..................................................................................7 Post Performance.......................................................................8 Resources....................................................................................9