AMERICAN SYMPHONIES Composers
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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. -
Xm Radio to Broadcast New Series of Baltimore Symphony Orchestra Concerts in 2007-2008 Season
NEWS RELEASE XM RADIO TO BROADCAST NEW SERIES OF BALTIMORE SYMPHONY ORCHESTRA CONCERTS IN 2007-2008 SEASON 6/14/2007 SEPT. 27 SERIES DEBUT TO BE BROADCAST LIVE FROM STRATHMORE, FEATURING MARIN ALSOP’S INAUGURAL CONCERT AS BSO MUSIC DIRECTOR Washington, D.C., and Baltimore, Md. June 14, 2007 – XM, the nation’s leading satellite radio service with more than 8 million subscribers, and the Baltimore Symphony Orchestra (BSO) announced today that XM will broadcast eight performances during the Baltimore Symphony’s 2007-2008 season on XM Classics (XM 110), one of XM’s three classical music channels. The series will debut with a live broadcast on September 27, 2007, the inaugural concert of the music directorship of Marin Alsop, the dynamic conductor who that evening will become the first female music director of a major American orchestra. This series marks the BSO’s foray into satellite radio, gaining exposure for the orchestra to a much broader national audience as it enters a new artistic chapter under Marin Alsop. The historic inaugural concert marking Maestra Alsop’s directorship features John Adams’ Fearful Symmetries, and a hallmark of Alsop’s repertoire, Gustav Mahler’s Symphony No. 5, and will be broadcast live on XM Classics from the Music Center at Strathmore in N. Bethesda, Md. at 8 p.m. ET on Thursday, September 27, with an encore broadcast on Sunday, September 30, at 3 p.m. ET. The live broadcast will be the first of its kind at the Music Center at Strathmore since the performing arts venue opened in February 2005. -
Participating Artists
The Flowers of War – Participating Artists Christopher Latham and in 2017 he was appointed Artist in Ibrahim Karaisli Artistic Director, The Flowers of War Residence at the Australian War Memorial, Muezzin – Re-Sounding Gallipoli project the first musician to be appointed to that Ibrahim Karaisli is head of Amity College’s role. Religion and Values department. Author, arranger, composer, conductor, violinist, Christopher Latham has performed Alexander Knight his whole life: as a solo boy treble in Musicians Baritone – Re-Sounding Gallipoli St Johns Cathedral, Brisbane, then a Now a graduate of the Sydney decade of studies in the US which led to Singers Conservatorium of Music, Alexander was touring as a violinist with the Australian awarded the 2016 German-Australian Chamber Orchestra from 1992 to 1998, Andrew Goodwin Opera Grant in August 2015, and and subsequently as an active chamber Tenor – Sacrifice; Race Against Time CD; subsequently won a year-long contract with musician. He worked as a noted editor with The Healers; Songs of the Great War; the Hessisches Staatstheater in Wiesbaden, Australia’s best composers for Boosey and Diggers’ Requiem Germany. He has performed with many of Hawkes, and worked as Artistic Director Born in Sydney, Andrew Goodwin studied Australia’s premier ensembles, including for the Four Winds Festival (Bermagui voice at the St. Petersburg Conservatory the Sydney Philharmonia Choirs, the Sydney 2004-2008), the Australian Festival of and in the UK. He has appeared with Chamber Choir, the Adelaide Chamber Chamber Music (Townsville 2005-2006), orchestras, opera companies and choral Singers and The Song Company. the Canberra International Music Festival societies in Europe, the UK, Asia and (CIMF 2009-2014) and the Village Building Australia, including the Bolshoi Opera, La Simon Lobelson Company’s Voices in the Forest (Canberra, Scala Milan and Opera Australia. -
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. -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
Tong Chen, Conductor
Tong Chen, conductor “Masterfully presented the Mendelssohn’s Fifth Symphony,” described the Leipzig Time. A prizewinner of the prestigious International Malko Conducting Competition, Tong Chen has quickly established herself as one of the most promising and exciting young conductors in her generation. Ms. Chen has worked with numerous orchestras across the globe, including Orquestra Sinfônica do Estado de São Paulo, Danish National Symphony Orchestra, Mikkelin Kaupunginorkesteri, Besançon Symphony Orchestra, Leipzig Symphony Orchestra, Bamberg Symphony Orchestra, Alabama Symphony Orchestra, Baltimore Symphony Orchestra, Charleston Symphony Orchestra, Richmond Symphony, Aspen Music Festival Orchestra, Manhattan School of Music Orchestra, Orchestra St. Luke’s, Peabody Symphony Orchestra, Xia Men Philharmonic, Qing Dao Symphony Orchestra, Guang Zhou Symphony Orchestra, and Shanghai Opera House, where she worked as the assistant Photo credit: Bob Plotkin conductor. 2019-2020 season’s highlight includes Tong’s debuts with New Jersey Symphony Orchestra, Shanghai Philharmonic, and Rutgers Symphony Orchestra; a return to Los Angeles Philharmonic working with Gustavo Dudamel and assisting Iván Fisher with Budapest Festival Orchestra at the Hollywood Bowl. This season marks her fifth anniversary as music director of Yonkers Philharmonic Orchestra. As an avid advocate of education, Chen taught orchestral conducting and led the orchestra program at Copland School of Music from 2012-2018. Summer 2019 marked her second years as the director of Queens College Conductor’s workshop, founded by Maurice Peress in 2010. Additionally, Tong is a regular guest conductor at Manhattan School of Music, Montclair State University, Manners Pre- college orchestra, and All-State Youth Orchestras in New York State area, as well as a guest lecturer at Shanghai Conservatory of Music. -
Curriculum Vitae
Curriculum Vitae Nathan E. Nabb, D.M. Associate Professor of Music – Saxophone Stephen F. Austin State University www.nathannabbmusic.com Contact Information: 274 Wright Music Building College of Fine Arts - School of Music Stephen F. Austin State University TEACHING EXPERIENCE Associate Professor of Saxophone Stephen F. Austin State University 2010 to present Nacogdoches, Texas Maintain and recruit private studio averaging 20+ music majors Applied saxophone instruction to saxophone majors (music education and performance) Saxophone quartets (number depending on enrollment) Private Applied Pedagogy and Repertoire for graduate saxophone students Recruitment tour performances and master classes with other wind faculty Saxophone studio class Assistant Professor of Saxophone Morehead State University 2005 to 2010 Morehead, Kentucky Maintain and recruit private studio averaging 17-22 music majors Applied saxophone instruction to saxophone majors (education, performance and jazz) Saxophone quartets (three or four depending on enrollment) Woodwind methods course (flute, clarinet and saxophone) Saxophone segment of Advanced Woodwind Methods Course Private Applied Pedagogy and Performance Practice for graduate saxophone students Guided independent study courses for graduate saxophone students Present annual clinics for Kentucky high-school saxophonists for the MSU Concert Band Clinic Present annual All-State audition preparation clinics Academic advisor for undergraduate private applied saxophonists Saxophone studio class Nathan E. Nabb Curriculum -
English Prgram
Biennale Team Director of the Arts Center Maestro Sherif Mohie Eldin Deputy Director of the Arts Center Dr. Azza Madian Curator of Biennale Sherif El Razzaz Compiling & Editiing Biennale's Booklet Dr. Nahla Mattar Executive Assistant Iman Hosny Reem Kassem Budget Officer Rasha Eid Graphic Designer Asmaa Haggag Head of Technical Unit Eng. Mohamed Taha Specialist Mostafa Saad Stage Manager Mayada Saeed Technicians Ahmed Aly Ahmed Ezzat Atef Sabry Essam Fathy Hamada Elkomi Mohamed Farrag Remon Kadry Aly Mahmoud Saeed Mohamed Documentary Film-maker Ahmed Nabil PR Officer Yasmin Aly Special thanks to: Mr. Yahia Mansour- Head of Finance and Administration Sector The mission of the Alexandrina Contemporary Music Biennale is consistent with the mission of the Bibliotheca to be “the window of the world on Egypt, and the window of Egypt on the world.” This Biennale is another addition to the Arts Center unique international activities. Without doubt, the founding of the Alexandrina Contemporary Music Ensemble is a real contribution to the musical life in Egypt, as well as an attempt to connect the present with the future and at the same time connect to the past. We hope it would prove successful and become a permanent event in our calendar. Dr. Ismail Serageldin Director Bibliothca Alexandrina It has always been a source of pleasure to be part of the support process devoted to the contemporary arts in our Arts Center. In the field of Theater, we did establish “The Creative Forum for Independent Theater Groups”, to make sure that a fair chance is given to the experimental and contemporary theatrical groups. -
COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1…………………………….. -
Superb Sibelius
Superb Sibelius Friday, May 12 10:30am Join the BPO in welcoming back guest conductor Christopher Wilkins and presenting the Buffalo debut of British pianist Mark Bebbington! Sibelius’ grand Symphony No. 2 forms the centerpiece of this program, as British pianist Mark Bebbington brings the work of often-overlooked English composer John Ireland to Kleinhans. REPERTOIRE Christopher Wilkins, conductor Mark Bebbington, piano WEBER Overture to Der Freischütz IRELAND Piano Concerto in E-Flat Major In tempo moderato Lento espressivo Allegretto giocoso INTERMISSION SIBELIUS Symphony No. 2 in D Major, Op. 43 I. Allegretto II. Tempo Andante, ma rubato III. Vivacissimo IV. Allegro moderato Overture to Der Freischütz: Carl Maria von Weber (1786-1826) Composed in 1820, 10 Minute Duration Weber’s opera Der Freischütz tells the age-old tale of making a deal with the devil in return for favors. In this situation, the protagonists make a deal with a Black Huntsmen in return for seven magic bullets that will always hit their mark. The catch is that bullet No. 7 will be guided by the Black Huntsmen himself. The Overture appropriately establishes all of the main themes of the opera from the ominous sketches and horn music meant to represent the Black Huntsmen to the soaring string and wind melody which represents the hero’s future bride. Piano Concerto in E-Flat Major: John Nicholson Ireland (1879-1962) Composed in 1930, 23 Minute Duration John Ireland’s Piano Concerto features a perfect blend of Romantic timbre and 20th century harmonies. The first movement expresses fragmentation of melodies with string as well as piano solos while the second movement pays lyrical homage to Chopin and Brahms with solo and orchestra interplay. -
April 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.