Boston Symphony Orchestra Concert Programs, Summer
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Journal of the American Viola Society Volume 9 No.2/3, 1993
JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds -
Jeffrey Kahane
JEFFREY KAHANE Equally at home at the piano or on the podium, Jeffrey Kahane is recognized around the world for his mastery of a diverse repertoire ranging from Bach and Mozart to the music of our time. Kahane has appeared as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, and the Chicago and San Francisco Symphonies, and is also a popular artist at all of the major US summer festivals, including Aspen, Blossom, Caramoor, Mostly Mozart, and Ravinia. In August 2016 he was appointed Music Director of the Sarasota Music Festival, which offers master classes and chamber music coaching by a distinguished international faculty, and features chamber music performances and orchestral concerts performed by highly advanced students and young professionals, as well as faculty members. Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco, Los Angeles, and Atlanta. A highly respected chamber musician, Kahane collaborates with many of today’s most important chamber ensembles and was the Artistic Director of the Green Music Center Chamberfest during the summers of 2015 and 2016. Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major US orchestras including the New York and Los Angeles Philharmonics; Philadelphia and Cleveland Orchestras; Saint Paul Chamber Orchestra; and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis, and New World Symphonies. In May 2017 Kahane completed his 20th and final season as Music Director of the Los Angeles Chamber Orchestra. -
Elliott Carter Works List
W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) .................................................. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre
Founders Stella Abrera is the Artistic Director of Kaatsbaan and a Principal Dancer with American Ballet Gregory Cary Kevin McKenzie Theatre. Ms. Abrera is from South Pasadena, California, and began her studies with Philip and Bentley Roton Martine van Hamel Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Executive Director Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. She also spent three Sonja Kostich Artistic Director years studying the Royal Academy of Dancing method with Joan and Monica Halliday at the Stella Abrera Halliday Dance Centre in Sydney, Australia. Board of Trustees Kevin McKenzie, Chair Stella Abrera Ms. Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996, was Christine Augustine Gregory Cary appointed a Soloist in 2001, and Principal Dancer in August 2015. Her repertoire with ABT includes Sandy Choi Sonja Kostich the Girl in Afternoon of a Faun, Calliope in Apollo, Gamzatti and a Shade in La Bayadère, The Chris Omark Bentley Roton Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Martine van Hamel Moss and Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque Board of Advisors in Le Corsaire, Chloe in Daphnis and Chloe, She Wore a Perfume in Dim Lustre, the woman in white Dancers Isabella Boylston in Diversion of Angels, Mercedes, the Driad Queen and a Flower Girl in Don Quixote, Helena in The Gary Chryst Herman Cornejo Dream, the first -
Critical Success Factors in Cello Training a Comparative Study
Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London. -
Faculty Tuesdays Series Bassoon-O-Rama
Faculty Tuesdays Series Bassoon-O-Rama Yoshi Ishikawa, bassoon Carlo Colombo, bassoon With: Peter Cooper, oboe Brenda Ishikawa, piano and harpsichord Bill Douglas, piano Jason Thompson, bass Austin Camerata Marisa Ishikawa, violin Matt Lammers, violin Conrad Sclar, viola Daniel Kopp, cello CU Bassoon Studio Michelle Chen Gyungsun Im Jay Million Kristina Nelson Ethan Shuler 7:30 p.m., Tuesday, Oct. 9, 2018 Grusin Music Hall Imig Music Building Program “Kaddisch” from Deux Mélodies Hébraïques Maurice Ravel (1875-1937) Pièce en forme de Habanera Maurice Ravel Carlo Colombo, bassoon Members of the Austin Camerata Concerto for oboe and bassoon in G Major, RV 545 Antonio Vivaldi I. Andante molto (1678-1741) II. Largo III. Allegro molto Yoshi Ishikawa, bassoon Peter Cooper, oboe Members of the Austin Camerata with Brenda Ishikawa, harpsichord Tango Suite for Two Guitars Astor Piazzolla II. Andante rubato, melancolico (1921-1992) arr. Fraser Jackson, for four bassoons Azure for four bassoons Bill Douglas Carlo Colombo, Gyungsun Im, Yoshi Ishikawa and Kristina Nelson, bassoon Pause Lyrical Intermezzo for violin, bassoon and piano (2010) Gernot Wolfgang I. The Autumn Wind II. A Single Fir Tree III. Flutes, Violins and Trumpets IV. Midnight Yoshi Ishikawa, bassoon Marisa Ishikawa, violin Brenda Ishikawa, piano Melodies after works of Marco Bordogni for bassoon and piano Jean François Barthélémy Cokken (1801-1875) Carlo Colombo, bassoon Brenda Ishikawa, piano Feast for Four Bassoons and Piano Bill Douglas Michelle Chen, Jay Million, Kristina Nelson and Ethan Schuller, bassoon John Sevy, percussion Bill Douglas, piano About the Performers Yoshiyuki Ishikawa, bassoon Yoshiyuki Ishikawa has appeared as a featured soloist and has presented masterclasses and workshops at the most prestigious events and schools of music in the United States, Europe, Asia and Oceania. -
Henry Purcell, Tatiana Troyanos, Felicity Palmer, Richard
Henry Purcell Dido & Aeneas mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Dido & Aeneas Country: France Released: 1977 Style: Opera, Baroque MP3 version RAR size: 1624 mb FLAC version RAR size: 1666 mb WMA version RAR size: 1745 mb Rating: 4.4 Votes: 696 Other Formats: MOD DMF WMA MP4 MOD MMF DMF Tracklist Overture A1 Act I: The Palace A2 Act II: Scene 1: The Cave B1 Act II: Scene 2: The Grove 9:25 B2 Act III 19:04 Credits Choir – English Chamber Choir* Conductor – Raymond Leppard Liner Notes – Raymond Leppard Mezzo-soprano Vocals [First Witch] – Alfreda Hodgson Mezzo-soprano Vocals [Sorceress] – Patricia Kern Orchestra – English Chamber Orchestra Soprano Vocals [Belinda] – Felicity Palmer Soprano Vocals [Dido] – Tatiana Troyanos Soprano Vocals [Second Witch] – Linn Maxwell Soprano Vocals [Second Woman (Venus)] – Elizabeth Gale Tenor Vocals [Aeneas] – Richard Stilwell Tenor Vocals [Sailor] – Philip Langridge Notes Liner notes in English, French, Italian, and German. 8-page booklet with lyrics in English, French, Italian, and German. Other versions Category Artist Title (Format) Label Category Country Year Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, Tatiana The Classic Orchestra, Tatiana Troyanos, Felicity French ARL1-3021 Troyanos, Felicity ARL1-3021 US 1978 Palmer, Richard Erato Palmer, Richard Stilwell, Raymond Collection Stilwell, Raymond Leppard - Dido & Leppard Aeneas (LP, Box) Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, The Orchestra, The English Chamber -
Library of Congress Rule Interpretations for Aacr 2, Revision 2002
LIBRARY OF CONGRESS RULE INTERPRETATIONS FOR AACR 2, REVISION 2002 Basic cumulation updated through Cataloging Service Bulletin No. 128 Compiled by Alan Boyd and Elaine Druesedow OBERLIN COLLEGE LIBRARY OBERLIN, OHIO January, 2012 [This page intentionally left blank] Chapter 1 General Rules for Description 1.0:CSB124 Decisions Before Cataloging Table of Contents What is Being Cataloged? Type of Issuance Monograph vs. Serial Situations Requiring Further Consideration 1) Electronic resources 2) Resources issued in loose-leaf format 3) Conference publications 4) Supplements 5) Republications 6) Printed travel guides 7) Certain other printed resources Edition or Copy of Monograph Change in Cataloging Decision: Monograph/Serial Change in Type of Issuance Initial Articles ____________________________________________________________________________________ What is Being Cataloged? This section represents LC/PCC practice. Before creating a bibliographic record, determine what is being cataloged. Answer these two questions: OBERLIN LCRI CUMULATED 1-2 rev. 12-10 1) What aspect of the bibliographic resource will the bibliographic record represent? a) A resource may not be part of a larger resource and so the bibliographic record can represent only that resource. b) A resource may be part of a larger resource (one part of a multipart item, one analytic of a monographic series, one of several separate resources on a Web site, etc.). The bibliographic record could represent the “smaller” or the “larger” resource. c) A resource may not be part of a larger resource but local cataloging policies may specify creating a bibliographic record for a made-up larger resource of materials that are not published, distributed, or produced together.1 2) What is the type of issuance of that aspect? a) See both the definitions from AACR2 appendix D and the diagram in “Type of Issuance” below. -
Boston Symphony Orchestra Concert Programs, Summer, 1992, Tanglewood
LEWOOD I 77 2 g Tools ofExcellence In every discipline, outstanding performance springs from the combination of skill, vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92 Trustees of the Boston Symphony Orchestra, Inc. Emeritus Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barger, Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James E Cleary Francis W Hatch Mrs. Robert B. Newman John F. Cogan,Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. -
Nederlands Dans Theater Bambill
1994 NEXT WAVE FESTIVAL 1994 NEXT WAVE COVER AND POSTER ARTIST ROBERT MOSKOWITZ NEDERLANDS DANS THEATER BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer presents in the BAM Opera House October 17, 1994, 7pm; October 18-22, 8pm and in the BAM Majestic Theater October 24-29, 8pm; October 30, 3pm NEIERLANIS IANS THEATER Artistic Director: JIRI KYLIAN Managing Director: MICHAEL DE Roo Choreographers: JIRI KYLIAN & HANS VAN MANEN Musical Director: CHRISTOF ESCHER Executive Artistic Directors: GLENN EDGERTON (NDT1), GERALD TIBBS (NDT2), ARLETTE VAN BOVEN (NDT3) Assistants to the Artistic Directors: HEDDA TWIEHAUS (NDT 2) & GERARD LEMAITRE (NDT 3) Rehearsal Assistant to the Rehearsal/Video Director Artistic Director Director ROSLYN ANDERSON ULF ESSER HANS KNILL Company Organization Musical Coordinator/ Manager (NDT 2) (NDT1&3) Pianist CARMEN THOMAS CARINA DE GOEDEREN RAYMOND LANGEWEN Guest Choreographers (1994/95 season) MAURICE BEJART CHRISTOPHER BRUCE MARTHA CLARKE PATRICK DELCROIX WILLIAM FORSYTHE LIONEL HoCtIE PAUL LIGHTFOOT JENNIFER MULLER OHAD NAHARIN GIDEON OBARZANEK PHILIPPE TREHET PATRIZIA TUERLINGS Guest Teachers BENJAMIN HARKARVY (Guest teacher, North American tour) CHRISTINE ANTHONY KATHY BENNETS JEAN-PIERRE BONNEFOUX OLGA EVREINOFF IVAN KRAMAR IRINA MILOVAN JAN NUYTS ALPHONSE POULIN LAWRENCE RHODES MARIAN SARSTADT Technical Director Marketing & Publicity Joop CABOORT KEES KORSMAN & EVELINE VERSLUIS Costume Department Tour Management JOKE VISSER WANDA CREMERS Pianist Dance Fitness Therapist Chiropractor