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Many Thanks to Many People by Paul R. Judy
HarmonyTM FORUM OF THE SYMPHONY ORCHESTRA INSTITUTE NUMBER 7 • OCTOBER 1998 Many Thanks to Many People To subscribe to Harmony or provide support to the Institute, contact: Symphony Orchestra Institute 1618 Orrington Avenue, Suite 318 Evanston, IL 60201 Tel: 847.475.5001 Fax: 847.475.2460 e-mail: [email protected] www.soi.org ©1998 by the Symphony Orchestra Institute. All rights reserved. vii Many Thanks to Many People The Symphony Orchestra Institute was activated in the fall of 1995 as a catalyst for organizational change within the community of North American symphony orchestra organizations. The Institute was a new resident moving into a long- established and tightly bounded community; we were greeted with caution. As we pursued our mission and initiated early programs, we needed to build the trust of many constituencies. After three years, we believe that trust has been established, and that a groundswell of interest and enthusiasm is building in the direction of change which the Institute has fostered. The momentum of this wave arises from the breadth of involvement of many people who have helped undergird the Institute during the past three years. This is a note of thanks to all those people. The Institute’s acceptance by the leadership of other industry institutions was vital. Special personal thanks go to Brad Buckley (Saint Louis Symphony Orchestra), former chair of the International Conference of Symphony and Opera Musicians (ICSOM), his successor Robert Levine (Milwaukee Symphony Orchestra), and their colleagues on the ICSOM governing board, for the early recognition of the Institute, its independence, and its unbiased interest in better- functioning symphony organizations. -
Red River Radio Ascertainment Files October 2017 – December 2017 STORY LOG – Chuck Smith, NEWS PRODUCER, RED RIVER RADIO
Red River Radio Ascertainment Files October 2017 – December 2017 STORY LOG – Chuck Smith, NEWS PRODUCER, RED RIVER RADIO 2498 University of Louisiana System Raises College Grad Goals (1:08) Aired: October 10, 2017 Interview: Jim Henderson, President - University of Louisiana System Type: Interview Wrap 2499 La. Film Prize Wraps 6th Festival Season (3:28) Aired: October 11, 2017 Interview: Gregory Kallenberg, Exec. Dir.-LaFilmPrize, Shreveport, LA Type: Interview Wrap 2500 Many Still Haven't Applied For La. 2016 Flood Recovery Funds (1:53) Aired: October 12, 2017 Interview: Pat Forbes, director for the Louisiana Office of Community Development Type: Interview Wrap 2501 LSUS Pioneer Day Takes Us Back In Time This Saturday (3:28) Aired: October 13, 2017 Interview: Marty Young, Director – Pioneer Heritage Center, LSU-Shreveport Type: Interview Wrap 2502 Share A Story With StoryCorps In Shreveport (2:11) Aired: October 16, 2017 Interview: Morgan Feigalstickles, Site Manager / StoryCorps Type: Interview Wrap 2503 La. Coastal Restoration Projects $50 Billion Over 50 Years (2:15) Aired: Oct 17, 2017 Interview: Johny Bradberry, La. Coastal Protection and Restoration Authority Type: Interview Wrap 2504 Selling Pumpkins To Support Charities in Shreveport-Bossier (2:44) Aired: Oct. 19, 2017 Interview: Janice Boller, Chairman – St. Luke’s Pumpkin Patch Committee Type: Interview Wrap 2505 No Action From Bossier School Board Regarding Student Rights Allegations (1:54) Aired: Oct. 20, 2017 Interview: Charles Roads, South Texas College of Law / Houston, TX Type: Interview Wrap 2506 Caddo Commission Votes For Confederate Monument Removal (1:08) Aired: Oct. 20, 2017 Interview: Lloyd Thompson, President - Caddo Parish NAACP Type: Interview Wrap 2507 National Wildlife Refuge President Visits East Texas Wildlife Refuges (3:26) Aired: Oct 23, 2017 Interview: Geoffrey Haskett, President - National Wildlife Refuge Association Type: Interview Wrap 2508 NW La. -
Andreas Delfs, Conductor
ANDREAS DELFS, CONDUCTOR In January 2021 The Rochester Philharmonic Orchestra (RPO) announced the appointment of Maestro Andreas Delfs as its thirteenth music director in the organization's 98-year history. Delfs follows in the footsteps of a long line of distinguished music directors including Erich Leinsdorf, David Zinman, Mark Elder, Christopher Seaman, and Ward Stare. A native of Flensburg, Germany, and graduate of the Hamburg Conservatory and Juilliard School of Music, Andreas Delfs has established himself as a pre-eminent force in the classical music world and one of the finest conductors of his generation. He has held chief artistic posts with orchestras in Europe and North America. At the age of 20, he became the youngest-ever Music Director of the Hamburg University Orchestra and Musical Assistant at the Hamburg State Opera. Throughout his 12 seasons as Musical Director of the Milwaukee Symphony Orchestra, Delfs drew larger audiences to Uihlein Hall, selling out a record 40 concerts there during the 2000-2001 Season. Delfs led the Saint Paul Chamber Orchestra as Music Director (2001-2004) and artistic consultant (2004-2006). Delfs has conducted numerous world premieres and has close links with many of today’s composers. He counts among his profound musical inspirations musicians such as John Corigliano, Philip Glass, Roberto Sierra, and Hans Werner Henze. He is the frequent partner to many of the world’s most renowned solo artists, including André Watts, Emanuel Ax, Joshua Bell, Hilary Hahn, Yo Yo Ma, Lang Lang, and Renée Fleming. He has an extensive discography, including all five of the Beethoven Piano Concertos; opera and choral works such as Hansel and Gretel, and the Mozart Requiem; and new works for the classical repertoire such as Roberto Nordic Artists Management / Denmark VAT number: DK29514143 http://nordicartistsmanagement.com Sierra’s Missa Latina. -
Teacher's Guide
Let’s Tell A Story TEACHER’S GUIDE Very Young People’s Concerts Knoxville: January 28, 2016 Maryville: January 29, 2016 Music Can Make Your Life Complete Table of Contents Lucas Richman Meet the Conductor ............................................................... 2 Notes on Pieces and Composers ........................................ 3-8 The Birthday Present Anatomy of a Symphony Orchestra ...................................... 9 Lucas Richman Meet the Performers and Musicians ............................... 10-11 Activities and Lessons ..................................................... 12-14 O T M F verture to he arriage of igaro Concert Program ............................................................. 15-16 Wolfgang Amadeus Mozart Audience Job Description / Acknowledgements ................. 17 Playground Escapades Lucas Richman Blow the Man Down Traditional / arr. Lucas Richman Flight of the Bumblebee Hi! I’m Picardy Penguin. Follow me through this Nikolai Rimsky-Korsakov guide for interesting musical facts and history. First, we will learn about the conductor. Peter and the Wolf A conductor is a person who leads the orchestra. You can learn Sergei Prokofiev more about conductors on the next page of this guide! Look for this symbol throughout the guide for specific Please note that this publication may be copied things to listen for at the concert. and used for educational purposes only. You are encouraged to copy the concert program on pages And this symbol means you should sing 15-16 for use with your students in the classroom. along with us at the concert! 1 Meet the Conductor Steven Karidoyanes grew up in Boston, where his Greek parents taught him and his sisters and brother to love music, friends and family. He was also taught the importance of hard work and dedication. His father owned a sandwich shop where young Steven worked as a teenager, and it was there that he learned to “treat [people] so well that they have to come back and bring family and friends…” From that idea developed Mr. -
Program Notes Hosted by the Score Board 7:00
DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum. -
Ÿþa N N U a L R E P O R T D O C U M E N
Annual AMERICAN Report YOUTH 2015/16 SYMPHONY Concert Season Come as your are. Leave Inspired. New Music Our Mission, Our Our Our Fiscal Alumni AYS Our Our Director! Our Vision Programs Events Audience Responsibility Spotlights Testimonials Tea m Supporters I am incredibly honored and excited to become Orchestra, to name a few. And it is because of this the next Music Director of the American Youth belief that I cherish the opportunity to contribute Symphony, an ensemble with a deep history and to the future of classical music by taking what I view a bright future in the great city of Los Angeles. as the natural next step in the progression of my journey and my life -- the American Youth Symphony. I come to AYS as a dedicated musician who after years of experience as a regular guest I am thrilled to begin guiding our musicians both conductor across five continents, a concert cellist, off-stage and on for my inaugural concert season in and a composer, looks forward to working with 2016/17. Featuring several major classical works, the today’s most talented young musicians. I’m also repertoire prepares AYS musicians for the demands the Music Director of the Alabama Symphony of a 21st century professional orchestra. Such giants Orchestra, a husband, and father of three little kids. as Mozart and Korngold need no introduction, and I am particularly excited to kick off the season Having grown up in Caracas in a musical household has with Mahler’s Symphony No.1 on October 16 and to certainly been instrumental in my choice to become join electric-guitar icon Steve Vai on-stage at Walt both a musician and a passionate advocate of the Disney Concert Hall on March 11 for a concert that arts. -
The Boston Choral Ensemble Miguel Felipe, Music Director Peaceablea Kingdom Friday, May 30, 2008 Sunday, June 1, 2008 First Church, UCC St
The Boston Choral Ensemble Miguel Felipe, Music Director peaceablea kingdom Friday, May 30, 2008 Sunday, June 1, 2008 First Church, UCC St. John the Evangelist Harvard Sq, Cambridge Beacon Hill, Boston the Boston Choral Ensemble Miguel Felipe, Music Director All About Us… the Boston Choral Ensemble Our Mission The Boston Choral Ensemble creates a fun, friendly, and open atmosphere for the musical development of musicians and audiences in the Greater Boston area. Members of the Boston Choral Ensemble grow musically, both as individuals and as an en- semble, through the rehearsal and performance of challenging, high-quality music. We strengthen Greater Boston’s choral community by: making choral music accessible and interesting to all listeners, regardless of musical background; developing musical inter- est and ability in young adult musicians; and collaborating with other local musicians. The Greater Boston Choral Consortium The Boston Chorale Ensemble is a member of the Greater Boston Choral Consortium (GBCC ), a cooperative association of diverse choral groups in Boston and the surround- ing areas. [See the GBCC listings beginning on page 19.] Saying Thanks We’d like to thank the following people and organizations: Nils Erickson for his record- ing expertise; Perrin Tellock for all the good food; Katrina Armando, Mark Buckles, Jane Ring Frank, Andy Vores, and all the others for help with the 2008 Commission Competition; Sara Willis for her outstanding leadership on BCE ’s participation in the 5th annual Walk for Music; Jon Swift, Rob McGilvray, and Rob Hanna at Starbucks for coordinating a generous corporate donation; friends and family for volunteering as ushers; The 21st Amendment for supporting the choir’s post-concert festivities; the administrators, staffs, and congregations of the Church of St. -
130 West 57Th Street Studio Building, 130 West 57Th Street, (Aka 126-132 West 57Th Street), Manhattan
Landmarks Preservation Commission October 19, 1999, Designation List 310 LP-2042 130 West 57th Street Studio Building, 130 West 57th Street, (aka 126-132 West 57th Street), Manhattan. Built, 1907-08, Pollard & Steinam, architects. Landmark Site: Borough of Manhattan Tax Map Block 1009, Lot 46. On July 13, 1999, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the 130 West 57th Street Studio Building and the proposed designation of the related Landmark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. There were six speakers in support of designation, including the owner of the building, representatives of the Landmarks Conservancy, the Society for the Architecture of the City, and the Historic Districts Council. There were no speakers in opposition to designation. In addition, the Commission has received letters from Assemblyman Richard N. Gottfried and from Community Board 5 in support of designation. Summary Built in 1907-08 to provide living and working facilities for artists, the studio building at 130 West 57th Street is a rare surviving example of this unusual building type, and a reminder of the early twentieth century period when West 57th Street was a center of artistic activities. Designed by architects Pollard & Steinam, who had previously created several artists' studio cooperatives on West 67th Street, this building profited from the experience of the developers and builders who had worked on the earlier structures. The artists' studio building type was developed early in the twentieth century, and was an important step toward the acceptance of apartment living for wealthy New Yorkers. -
Boston Symphony Orchestra Concert Programs
m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
Symphony Orchestra
School of Music ROMANTIC SMORGASBORD Symphony Orchestra Huw Edwards, conductor Maria Sampen, violin soloist, faculty FRIDAY, OCT. 11, 2013 SCHNEEBECK CONCERT HALL 7:30 P.M. First Essay for Orchestra, Opus 12 ............................ Samuel Barber (1910–1983) Violin Concerto in D Major, Opus 77 .........................Johannes Brahms Allegro non troppo--cadenza--tranquillo (1833–1897) Maria Sampen, violin INTERMISSION A Shropshire Lad, Rhapsody for Orchestra ..................George Butterworth (1885–1916) Symphony No. 2 in D Major, Opus 43 ............................Jean Sibelius Allegro moderato--Moderato assai--Molto largamente (1865–1957) SYMPHONY ORCHESTRA Huw Edwards, conductor VIOLIN I CELLO FRENCH HORN Zachary Hamilton ‘15, Faithlina Chan ’16, Matt Wasson ‘14 concertmaster principal Billy Murphy ‘16 Marissa Kwong ‘15 Bronwyn Hagerty ‘15 Chloe Thornton ‘14 Jonathan Mei ‘16 Will Spengler ‘17 Andy Rodgers ‘16- Emily Brothers ‘14 Kira Weiss ‘17 Larissa Freier ‘17 Anna Schierbeek ‘16 TRUMPET Sophia El-Wakil ‘16 Aiden Meacham ‘14 Gavin Tranter ‘16 Matt Lam ‘16 Alana Roth ‘14 Lucy Banta ‘17 Linnaea Arnett ‘17 Georgia Martin ‘15 Andy Van Heuit ‘17 Abby Scurfield ‘16 Carolynn Hammen ‘16 TROMBONE VIOLIN II BASS Daniel Thorson ‘15 Clara Fuhrman ‘16, Kelton Mock ‘15 Stephen Abeshima ‘16 principal principal Wesley Stedman ‘16 Rachel Lee ‘15 Stephen Schermer, faculty Sophie Diepenheim ‘14 TUBA Brandi Main ‘16 FLUTE and PICCOLO Scott Clabaugh ‘16 Nicolette Andres ‘15 Whitney Reveyrand ‘15 Lauren Griffin ‘17 Morgan Hellyer ‘14 TIMPANI and