DOCSLIB.ORG

Edition 1 | 2018-2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edition 1 | 2018-2019 September 21 • November 10, 2018 Photo: Stephen Pariser 18-19 Bravo Cover 1.indd 1 8/30/18 2:15 PM A Message from the Chair of the Board of Trustees 5 2018-2019 Musician Roster 7 SEPTEMBER 21-22 9 In Full Splendor OCTOBER 12-13 17 Leonard Bernstein Centennial Celebration OCTOBER 26-27 27 Italian Festival NOVEMBER 9-10 35 Handel: Messiah Board of Trustees/Administration 47 Friends of the Columbus Symphony 48 Columbus Symphony League 49 Partners in Excellence 50 Corporate and Foundation Partners 50 Individual Partners 51 In Kind 54 Tribute Gifts 54 Legacy Society 57 Future Inspired 58 Concert Hall & Ticket Information 59 ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The Columbus Symphony program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The Columbus Symphony program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 4 A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES Dear CSO Supporter, Welcome to another amazing season of Columbus Symphony Masterworks, and thank you for your support of exceptional live performances of classical music in our community! We have a collection of irresistible concerts this season that are sure to inspire you. We open the season In Full Splendor with magical and legendary music inspired by Disney’s classic Fantasia, including Dukas’ The Sorcerer’s Apprentice and Strauss’ iconic Also sprach Zarathustra, made famous by the film 2001: A Space Odyssey. Up next is a Leonard Bernstein Centennial Celebration (October 12-13, Ohio Theatre). This unique concert features selections from the legendary composer’s most popular Broadway works, including On the Town, West Side Story, and Candide, with “Glitter and Be Gay” highlighting the Columbus Symphony Chorus. Following that, we have our first-ever Italian Festival (October 26-27, Southern Theatre)! We welcome guest conductor Daniel Boico to the podium, and we’re thrilled to again have the talented Rachel Barton Pine on violin as she tackles Paganini’s difficult Violin Concerto No. 1. We know you’ll enjoy this marvelous tour of Italy with the music of Respighi and Mendelssohn. After a long hiatus, Handel’s Messiah returns to the Columbus Symphony (November 9-10, Ohio Theatre). This is truly an unforgettable experience that features amazing soloists and the incredible Columbus Symphony Chorus. We hope you are as excited as we are to begin the next season! On behalf of the musicians, staff, and board of the Columbus Symphony, we sincerely thank you for your enduring support, enthusiasm, and faith in this organization. Please enjoy tonight’s performance! Sincerely, Lisa Barton Chair, Columbus Symphony Board of Trustees BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 5 BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 6 2018/2019 MUSICIAN ROSTER Rossen Milanov, Music Director Andrés Lopera, Assistant Conductor Ronald J. Jenkins, Chorus Director VIOLINS Chris Saetti ENGLISH HORN BASS TROMBONE Joanna Frankel Christina Saetti Robert Royse Joseph Duchi Concertmaster Ann Schnapp Chad Arnow Jack and Joan George Chair Steven Wedell CLARINETS Leonid Polonsky David Thomas Associate Concertmaster TUBA VIOLINCELLOS Principal James Akins David Niwa Rhoma Berlin Chair Principal Assistant Concertmaster Luis Biava Principal Mark Kleine Alicia Hui Andy and Sandy Ross Chair Principal Second Paul Bambach TIMPANI Martin and Sue Inglis Chair Wendy Morton Anthony Lojo Benjamin Ramirez Assistant Principal Principal Rhonda Frascotti Gay Su Pinnell Chair Assistant Principal Second BASS CLARINET Mary Jean Petrucci **Marjorie Chan William Denza PERCUSSION **Mikhail Baranovsky Pei-An Chao Philip Shipley Michael Buccicone Mary Davis SAXOPHONE Principal Leah Goor Burtnett Victor Firlie Michael Cox Jack Jenny Amber Dimoff Tom Guth Brian Kushmaul David Edge Mark Kosmala BASSOONS Cameron Leach Robert Firdman Sabrina Lackey Betsy Sturdevant William Lutz Jeffrey Singler Principal Joyce Fishman Sheldon and Rebecca Taft Chair HARP Erin Gilliland BASSES Douglas Fisher Symphony League Chair Kirstin Greenlaw Rudy Albach Cynthia Cioffari Rachel Miller Gyusun Han Principal Jacob Darrow Jeanne Norton Tatiana V. Hanna Nationwide Chair Rachel Huch John Pellegrino CONTRABASSOON PIANO/CELESTE Heather Kufchak Assistant Principal Cynthia Cioffari Caroline Hong William Manley ** James Faulkner Reinberger Foundation Chair Aurelian Oprea Russell Gill HORNS Gail Norine Sharp Jena Huebner Brian Mangrum ORGAN Ariane Sletner Jean-Etienne Lederer Principal James Hildreth Zoran Stoyanovich Jon Pascolini Julia Rose Anna Svirsky Associate Principal * Indicates musician on leave Elaine Swinney FLUTES Adam Koch during the 2018 -2019 Season David Tanner Brandon LePage Colin Bianchi Jonquil Thoms Heidi Ruby-Kushious Amy Lassiter ** Begins the alphabetical Olev Viro *Genevieve Stefiuk Kimberly McCann listing of players who participate Manami White Janet van Graas Megan Shusta in a system of rotated seating Lori Akins Charles Waddell within the string section. VIOLAS Karl Pedersen PICCOLO TRUMPETS KEYBOARD TECHNICIAN Principal Janet van Graas George Goad Doug Brandt Gay Su Pinnell Chair Lori Akins Principal Brett Allen Daniel Taubenheim LIBRARIANS Assistant Principal OBOES Jeffrey Korak Jean-Etienne Lederer **Leslie Dragan *Stephen Secan Brian Buerkle Principal Librarian Dee Dee Fancher Principal Tom Battenberg Mary Ann Farrington Robert Royse Yu Gan Nathan Mills TROMBONES Kenichiro Matsuda Jessica Smithorn Andrew Millat Patrick Miller Principal Richard Howenstine David Parilla The Musicians of the Columbus Symphony are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians. BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 7 FRIDAY, SEPTEMBER 21, 2018, 8:00 P.M. SATURDAY, SEPTEMBER 22, 2018, 8:00 P.M. IN FULL SPLENDOR: OPENING NIGHT AT THE SYMPHONY THE OHIO THEATRE Rossen Milanov, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • JOHANN SEBASTIAN BACH/ Toccata and Fugue in D Minor, BWV 565 LEOPOLD STOKOWSKI RICHARD WAGNER/ “The Ride of the Valkyries” from Die Walküre WOUTER HUTSCHENRUYTER PAUL DUKAS The Sorcerer’s Apprentice INTERMISSION RICHARD STRAUSS Also sprach Zarathustra, Op. 30 I. Introduction II. Of the Backworldsmen III. Of the Great Longing IV. Of Joys and Passions V. The Song of the Grave VI. Of Science and Learning VII. The Convalescent VIII. The Dance-Song IX. Song of the Night Wanderer THIS CONCERT IS DEDICATED IN MEMORY OF GEORGIANNA AND THOMAS COCHRAN AND BARBARA EASTER. ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR: BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 9 ROSSEN MILANOV, conductor Indianapolis, Milwaukee, Baltimore, Seattle, and Fort Worth symphonies, as well as the National Symphony Orchestra at the Kennedy Center and Link Up education projects with Carnegie Hall featuring the Orchestra of St. Luke’s and Civic Orchestra in Chicago. Internationally, he has collaborated with BBC Symphony Orchestra, Orchestra de la Suisse Romand, Rotterdam Philharmonic, Aalborg, Latvian, and Hungarian National Symphony Orchestras, Slovenain Radio Symphony Orchestra, and orchestras in Toronto, Vancouver, KwaZulu-Natal Philharmonic (South Africa), Mexico, Colombia, Sao Paolo, Belo Horizonte, Respected and admired by audiences and musicians and New Zealand. In the Far East, he has appeared alike, Rossen Milanov is currently the music director with NHK, Sapporo, Tokyo, and Singapore Symphonies, of the Columbus Symphony (CSO), Chautauqua and the Malaysian and Hong Kong Philharmonics. Symphony Orchestra, Princeton Symphony Orchestra, and the Orquesta Sinfónica del Principado de Noted for his versatility, Milanov is also a welcome Asturias (OSPA) in Spain. presence in the worlds of opera and ballet. He has collaborated with Komische Oper Berlin for In 2017, Milanov was a recipient of The Columbus Shostakovich’s Lady Macbeth of Mtzensk, Opera Performing Arts Prize from The Columbus Foundation Oviedo for the Spanish premiere of Tchaikovsky’s for presenting Beethoven’s Ninth Symphony as part of Mazzepa and Bartok’s Bluebeard’s Castle (awarded the CSO’s 2017 Picnic with the Pops summer series. best Spanish production for 2015), and Opera Under his leadership, the organization has expanded Columbus for Verdi’s La Traviata. its reach by connecting original programming with community-wide initiatives, such as focusing on An experienced ballet conductor, he has been seen women composers and nature conservancy, presenting at New York City Ballet and collaborated with some original festivals, and supporting and commissioning of the best-known choreographers of our time, such new music. Mats Ek, Benjamin Millepied, and most recently, Alexei Ratmansky in the critically acclaimed revival Milanov has established himself as a conductor of Swan Lake in Zurich with the Zurich Ballet, and in with considerable national and international Paris with La Scala Ballet. presence, appearing with the Colorado, Detroit, BRAVO SEPTEMBER/OCTOBER/NOVEMBER 2018 10 PROGRAM NOTES Toccata and Fugue in D minor, BWV 565 “The Ride of the Valkyries” (before 1708) from Die Walküre (1856) by Johann Sebastian Bach by Richard Wagner (Eisenach, Thuringia, 1685–Leipzig, 1750) (Leipzig, 1813–Venice, 1883) orchestrated in 1926 by Leopold Stokowski (London,
Load more

Recommended publications
  • The Inner Workings of Alma Deutscher's Musical Genius
    II. LaRouche on Education The Inner Workings of Alma Deutscher’s Musical Genius by Michelle Rasmussen I want to write beautiful music—music that makes the world a better place. —Alma Deutscher May 19—When I think about 12-year-old Alma Deutscher, the budding English composer, violin- ist, and pianist, I cannot help but be reminded of Robert Schumann’s first public statement about Frédéric Chopin: “Hats off, gentlemen, a genius.”1 Our political movement is dedicated to the proposition that all children can become ge- niuses, if their creative potential is developed. Alma is proof of that. We are convinced that the most important challenge of humanity is to de- velop a strategy to unleash the creativity of every man, woman and child, and that a crucial method Alex Nightingale Smith/almadeutscher.com “If the world is so ugly, then what’s the point of making it even uglier, to achieve this, is by reliving the creative discov- with ugly music? . So, if you want to hear how ugly the modern world eries of the past. Alma is also proof of that. And is, then you don’t need to come to my concert in July. You can just switch we are determined to create a new global renais- on the television.” sance, for which new musical compositions, based on the principles of the greatest classical music, In addition to the beautiful music, Alma also re- will help lead the way. Again, Alma’s young musical wrote the plot. The evil step-mother runs an opera com- mind and soul already prove that it is possible.
    [Show full text]
  • KS5 Exploring Performance Styles in Musical Theatre
    Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis.
    [Show full text]
  • KIPPS the NEW HALF a SIXPENCE MUSICAL Based on the H.G
    “We Try To Please” and “Pleased To Try” MONDAY 5th - SATURDAY 10th JULY 2021 Mountview by arrangement with Cameron Mackintosh presents KIPPS THE NEW HALF A SIXPENCE MUSICAL Based on the H.G. Wells novel “KIPPS: The Story of a Simple Soul” and the original musical by BEVERLEY CROSS and DAVID HENEKER Original Songs by DAVID HENEKER Book by JULIAN FELLOWES New Songs and Additional Music and Lyrics by GEORGE STILES and ANTHONY DREWE Orchestrations by WILLIAM DAVID BROHN Co-created by CAMERON MACKINTOSH This amateur production is presented by arrangement with Music Theatre International (Europe). All authorised performance materials are also supplied by MTI Europe. mtishows.co.uk Director STEPHEN JAMESON Musical Director ANDREW HILTON Choreographer EMMA WOODS Set and Costume Designer PJ MCEVOY Lighting Designer BEN ORMEROD Sound Designer MATT MCKENZIE Photo by RULER ABOUT MOUNTVIEW Excellence, Access and Innovation in dramatic training are at the heart of our work. Since 1945, we have trained the very best performers, directors, theatre production artists and producers. We are committed to ensuring our community of over 500 students is representative and that drama training is accessible to all. Opened in 2018, our home in Peckham was conceived in partnership with Southwark Council as a truly 21st-century drama school and a creative arts hub for all. Our state-of-the-art facilities include the 200-seat Mountview Theatre (made possible by a £1m donation from Sir Cameron Mackintosh), the 80-seat Backstage Theatre, 21 acting/dance studios, TV and radio suites and production workshops. In recognition of their extraordinary work in establishing Mountview’s new home and for their commitment to promoting inclusivity, Joint Chief Executives Stephen Jameson and Sarah Preece were presented with Olivier Awards in 2020.
    [Show full text]
  • Elena Ulyanova – Biography
    Piano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Contents: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles Biography 415-504-3654 / San Francisco Reviews & Testimonials Skype: pricerubent | marcparella Repertoire Email: Short Notice Concertos [email protected] CD/DVDs [email protected] Recordings Curriculum Vitae Website: http://www.pricerubin.com Complete artist information including video, audio Yahoo!Messenger and interviews are available at www.pricerubin.com pricerubin Elena Ulyanova – Biography Praised as "a phenomenal, gifted performer" by Roy Gillinson of the Beethoven Society of America, Elena Ulyanova is a pianist whose style runs the gamut of power, strength, and technique to a delicate, floating elegant finesse. Hailed by the Moscow Conservatory as one of their most gifted musicians, her Professor Victor Merzhanov noted that she possesses "Great virtuosity, brilliant artistic temperament, unique interpretive expression and a rich sound pallet." At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin.
    [Show full text]
  • Alma Deutcher.Indd
    如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 COMPOSER/PIANIST/PIANIST Alma Deutcher ARTISTIC ACHIEVEMENTS Alma Deutscher, born 2005, is a composer, violinist and pianist. She started playing the piano when she was two years old and the violin when she was three. Soon afterwards she started improvising simple melodies on the piano. Her attempts at composition started aged four, when she began writing an opera about a pirate called Don Alonzo.When she was 6, she composed her first full piano sonata, and at 7 she composed a very short opera called The Sweeper of Dreams. There followed various compositions for violin, piano, and chamber ensembles. Aged 9, Alma wrote a Concerto for violin and orchestra, which she premiered in 2015. Her first piece for symphony orchestra, Dance of the Solent Mermaids was also premiered in 2015. Aged 10, Alma finished a full length opera, Cinderella. A chamber version of the opera wasperformed in 2015, and the full version will be premiered in Vienna in December 2016. As a soloist on both violin and piano, Alma has performed in England, Germany, Austria, Italy, Switzerland, Spain, Uruguay, USA, Israel, and Japan. She has also performed in prestigious events, including Google's Zeitgeist, alongside speakers such as Physicist Stephen Hawking. Alma’s first CD, The Music of Alma Deutscher was released in 2013, featuring a selection of her early compositions up to age 8. Alma has featured prominently in the international press and broadcast media, including the Ellen Degeneres Show in the US. Her YouTube channel has more than 3 million views.
    [Show full text]
  • Mozart Requiem September 2018
    Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Soprano Violin 1 Oboe Laura Amend Gina DiBello, Anne Bach, principal Alyssa Bennett Elliott Golub Honorary Erica Anderson Bethany Clearfield Concertmaster Chair Rosalind Lee Kathleen Brauer, Hannah Dixon co-assistant Basset Horn McConnell concertmaster Susan Warner, principal Susan Nelson Teresa Fream Daniel Won Bahareh Poureslami Martin Davids Emily Yiannias Michael Shelton Jeri-Lou Zike Bassoon William Buchman, Alto principal Ilana Goldstein Violin 2 Lewis Kirk Julia Hardin Sharon Polifrone, Amanda Koopman principal Maggie Mascal Ann Palen Trumpet Quinn Middleman Rika Seko Barbara Butler, co- Anna VanDeKerchove Paul Vanderwerf principal Helen Kim Charles Geyer, co- principal Tenor Channing Philbrick Sam Grosby Viola Patrick Muehleise Elizabeth Hagen, Josh R. Pritchett principal Trombone Ryan Townsend Strand Claudia Lasareff- Reed Capshaw, principal Zachary Vanderburg Mironoff David Binder Christopher Windle Benton Wedge Jared Rodin Amy Hess Bass Timpani Cornelius Bouknight Cello Douglas Waddell Cody Michael Bradley Barbara Haffner, Corey Grigg principal Jan Jarvis Judy Stone Organ Nicholas Lin Mark Brandfonbrener Stephen Alltop Dylan Martin Bass Collins Trier, principal Michael Hovnanian The Mozart Requiem Jane Glover, conductor William Jon Gray, chorus director Saturday, September 15, 2018, 7:30 PM Harris Theater for Music and Dance, Chicago Sunday, September 16, 2018, 3:00 PM North Shore Center for the Performing Arts, Skokie Coronation Anthem No. 1, “Zadok the Priest”
    [Show full text]
  • MUSICWEB INTERNATIONAL Recordings of the Year 2019
    MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec.
    [Show full text]
  • 570452 Bk Karlowicz EU
    572190 bk Kletzki 31/12/09 20:28 Page 5 Joseph Banowetz Russian Philharmonic Orchestra Paul GRAMMY® nominated American pianist Joseph Banowetz The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an has been heard as recitalist and orchestral soloist on five impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most KLETZKI continents, with performances with such orchestras as the St famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Petersburg Philharmonic, the Moscow State Symphony, the Symphony Orchestra. The Russian Philharmonic Orchestra was originally formed as a recording ensemble and has Prague and Bratislava Radio Orchestras, the Budapest gone on to receive high acclaim also for its concert performances. In addition to regular recordings for leading Symphony, the Barcelona Concert Society Orchestra, the international companies, the orchestra has also undertaken tours to Turkey, Austria, Germany, China, Taiwan, Piano Concerto New Zealand Symphony (on a twelve-concert national Finland and elsewhere. Dmitry Yablonsky was appointed Music Advisor to the orchestra in 2003. In 2006 the tour), the Beijing National Philharmonic, the Shanghai orchestra won a Gramophone Prize for their recording of Shostakovich on Deutsche Grammophon. Symphony, the Hong Kong Philharmonic, and the Seoul Three Preludes • Three Piano Pieces • Fantasie Philharmonic. In December 2007 Banowetz’s recording of Balakirev’s works received two official GRAMMY® Thomas Sanderling nominations. His recordings have been given wide critical Joseph Banowetz, Piano acclaim, including Fanfare (U.S.) describing Banowetz as Thomas Sanderling grew up in St Petersburg, where his “a giant among keyboard artists of our time”.
    [Show full text]
  • Sergey Prokofiev
    A PORTRAIT Sergey Prokofiev 1891–1953 Preface Modish confidence and malignant conformity – two extremes that reflect the mores of western liberalism on the one hand and Soviet totalitarianism on the other – are the contradictory social and political poles that shaped the artistic and personal world of Prokofiev. While enjoying the former, and enduring the latter, he displayed an outstandingly original and fertile creativity that places him among the most distinctive and attractive musical voices of the twentieth century. Both his popularity and his status as one of the great composers of recent times are assured, for his music is devoid of intellectual posturing. Rarely does he sacrifice rigorous authenticity for artifice, or exchange well-wrought organic structure for glamour and superficiality. Prokofiev’s orchestral sonorities can be percussively steely and ironic one minute and poignantly romantic and witty the next, but they are always governed by a personal sincerity and fundamental musical honesty. The twentieth century witnessed many trends in music, some of which were self- conscious and indulgent, while others were simply blind alleys. Prokofiev, however, remained largely unaffected by strict artistic creeds (whether self-imposed or compulsorily enforced), and managed to maintain a distinctly independent musical voice that listeners continue to find refreshing. Sergey Prokofiev: A Portrait Contents Page Track List 6 Sergey Prokofiev: A Portrait – by Gregory Hart 10 I: A Provincial Boyhood 12 II: In the Imperial Capital 16 III: Artistic Freedom, War and Revolution 24 IV: An American Interlude 32 V: Paris and Marriage 36 VI: A Russian Interlude 45 VII: Paris Again 50 VIII: Paris or Moscow? 61 IX: Back to Moscow 68 X: Great Patriotic War 77 XI: Post-war Optimism 85 XII: Official Condemnation and Late Flowering 91 Credits 104 5 Sergey Prokofiev: A Portrait Track List CD 1 1 Dreams, Op.
    [Show full text]
  • Dissertation Final Corrected
    FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices.
    [Show full text]
  • Musical Prodigies: Past, Present, and Future Perspectives on Exceptional Performance and Creativity
    UTRECHT UNIVERSITY MUSICAL PRODIGIES: PAST, PRESENT, AND FUTURE PERSPECTIVES ON EXCEPTIONAL PERFORMANCE AND CREATIVITY A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF HUMANITIES IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS RESEARCH MASTER MUSICOLOGY BY FREYA MARGARETHA DE MINK STUDENT ID. 3083101 SUPERVISOR DR. I. VAN DER TUIN SECOND READER PROF. K. KÜGLE UTRECHT, THE NETHERLANDS MAY 2013 Copyright © 2013 by F. M. de Mink All rights reserved Seine Miene macht Bibi für die Leute, weil er weiß, daß er sie ein wenig unterhalten muß. Aber er selbst für sein Zeil hat im stillen sein besonderes Vergnügen bei der Sache, ein Vergnügen, das er niemandem beschreiben könnte. —Thomas Mann, Das Wunderkind Contents Acknowledgements ................................................................................................................. vii Introduction ............................................................................................................................... 1 Chapter 1 Mozart, a Figure of Exceptionality ........................................................................... 8 1.1 Definition ......................................................................................................................... 8 1.2 Historical Sources .......................................................................................................... 10 1.3 Research on Prodigies ................................................................................................... 13 1.4 The Figure of Mozart ....................................................................................................
    [Show full text]
  • ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
    ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music.
    [Show full text]