Juneau Symphony Performance History 1963-2014
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2018-19 Chronological Calendar
2018-19 (119TH SEASON) Chronological Calendar (as of January 31, 2018) OPENING NIGHT September 13 at 7:00 PM–Thursday evening—Verizon Hall at the Kimmel Center for the Performing Arts The Philadelphia Orchestra Yannick Nézet-Séguin Conductor André Watts Piano Rossini Overture to William Tell Strauss Don Juan Join us as we kick off The Philadelphia Orchestra’s 119th season in high style. The Opening Night Concert and Gala for the 2018-19 season promises to be a highlight of the cultural year. Yannick, internationally renowned pianist André Watts (who made his debut with the Orchestra in 1957, at the age of 10), and the Fabulous Philadelphians are planning a special celebratory program that features musical masterworks and audience favorites, including Rossini’s famous Overture to William Tell and Strauss’s Don Juan. Opening Night Co-Chairs Alison Avery Lerman and Lexa Edsall, Volunteer Association President Lisa Yakulis, Board Chairman Richard Worley, and the Opening Night Gala committee look forward to welcoming you to this special evening, featuring great music, high couture and black tie, and delicious food and champagne with Philadelphia’s cultural leaders and arts patrons. Contact Dorothy Byrne in the Volunteer Relations office at 215.893.3124 or via e-mail at [email protected] to make sure you are on the invitation list. Concert-only tickets for the evening are also available—simply add them to your subscription. January 31, 2018—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2018-19 Chronological -
The Adventurous Inner Child Programm (Denise Grocke)
1 Programmanalyse Christine Kukula The Adventurous Inner Child Programm (Denise Grocke) Das Programm, die Programmgestalterin 1 Für wen ist das Programm geeignet 64 2 Analyse des Programms im Überblick 65 3 Aufbau des Programms 67 4 Schlussfolgerung 5 Die Stücke im Einzelnen 68 5.1 Tschaikovsky: The Nutcracker Op. 71a, March 5.2 Brahms: Piano Concerto n° 2 in B Major, Op. 83 71 5.3 Tschaikovsky:The Nutcracker Op. 71a, Trepak-Russian Dance 76 5.4 Shostakovich: Ballet Suite Nr. 1, Pizzicato 78 5.5 Brahms: Waltz in A-Flat, Op. 39/15 81 6 Literatur/Referenzen 82 Das Programm (17 Min): (*11:33) Tschaikovsky: The Nutcracker, Op. 71, March 2:35 (*2:27) Brahms: Piano Concerto Nr. 2 B Flat, Op. 83 9:21 (*4:51) Tschaikovsky: The Nutcracker, Op. 71 - Trepak Russian Dance 1:11 (*1:06) Shostakovich: Ballet Suite Nr. 1, Pizzicato 1:56 (*1:39) Brahms: Waltz in A Flat, Op. 39/15 1:38 (*1:30) (* Zeitangaben der Programmgestalterin) Die Programmgestalterin The Adventurous Inner Child Programm wurde von Prof. Dr. Denise Grocke gestaltet. Denise Grocke lebt in Australien und ist Professorin und Leiterin der Musiktherapieabteilung an der Musikfakultät der Universität Melbourne. 1978 gründete sie die Musiktherapieausbildung und koordiniert verschiedene musiktherapeutische Ausbildungsprogramme sowie die Ausbildung mit Abschluss Graduiertendiplom in GIM. Zweimal im Jahr veranstaltet sie Forschungstrainingskurse, zu denen sie Gastwissenschaftler einlädt, ihre Arbeiten vorzustellen und zu unterrichten. Sie war zwei Perioden lang Präsidentin der Australischen Musiktherapeutischen Gesellschaft. Sie ist Primary Trainerin und Fellow der AMI US und promovierte über Guided Imagery and Music. Drei Mal hatte sie den Vorsitz in der Kommission für Bildung und Akkreditierung der World Federation of Music Therapiy und war die Präsidentin der World Federation of Music Therapy von 1999 - 2002. -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
Crimestoppers Offer Reward for Info, on Sex Offender
VOLUME 30-NUMBER 46 SCOTCH PLAINS-FANWGOD, N.J. NOVEMBER *19, 1987 30 CENTS in flOFVTiKi'-i I-;,^TO-7, y^r-.m? it'tiSn /.V.W'^i'. ^Xs i /C^T- V . \> {'-I L.1& WANTED Crimestoppers offer reward for info, on sex offender Crimestoppers reward Hotline (654-TIPS) with forced his way in when she or call the Crimestoppers money is waiting for the information leading to ar- answered the doorbell, number without giving tipster who can provide in- rest and indictment in police said. your name," the detective formation in the case of a serious crime cases. Detective Howard said, adding that all infor- Fanwood woman who was Fanwood Police are in- Drewes, releasing a com- mation received will be sexually assaulted inside vestigating the Oct. 16 in- posite photo of the suspect handled on a strictly con- her home last month. cident, which occurred today, said the rapist was fidential basis. Law enforcement of- around 8 p.m. when a described as a black male, Detective Drewes said it ficials are hoping to enlist 31-year-old woman was about 45 years old, six- is very possible that there the aid of concerned attacked inside her living feet two inches tall, about may be similar cases which citizens, who can qualify room. The victim had just 180 lbs., clean shaven with have gone unreported. He for up to $5,000 in reward returned home from shop- grey specks in his hair and is urging women to report money by calling the ping and was sexually brown eyes with a yellow- any such attacks and re- 24-hour Crimestoppers assaulted by a man who ed condition consistent main anonymous if they with jaundice or hepatitis. -
Russian Dance Trepak from the Nutcracker Sheet Music
Russian Dance Trepak From The Nutcracker Sheet Music Download russian dance trepak from the nutcracker sheet music pdf now available in our library. We give you 5 pages partial preview of russian dance trepak from the nutcracker sheet music that you can try for free. This music notes has been read 10638 times and last read at 2021-09-26 23:46:08. In order to continue read the entire sheet music of russian dance trepak from the nutcracker you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Cello, Viola, Violin Ensemble: String Quartet Level: Intermediate [ Read Sheet Music ] Other Sheet Music Trepak Russian Dance From The Nutcracker Trepak Russian Dance From The Nutcracker sheet music has been read 11381 times. Trepak russian dance from the nutcracker arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-23 12:16:00. [ Read More ] The Nutcracker Suite 4 Russian Dance Trepak The Nutcracker Suite 4 Russian Dance Trepak sheet music has been read 11382 times. The nutcracker suite 4 russian dance trepak arrangement is for Advanced level. The music notes has 1 preview and last read at 2021-09-26 05:56:00. [ Read More ] Russian Dance Trepak From Tchaikovskys Nutcracker Ballet Suite Russian Dance Trepak From Tchaikovskys Nutcracker Ballet Suite sheet music has been read 10751 times. Russian dance trepak from tchaikovskys nutcracker ballet suite arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-24 16:18:00. -
Mr. Mitty, a Tone Poem for Bassoon and Chamber Ensemble by Nansi Carroll: an Analysis Javier Antonio Rodriguez
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Mr. Mitty, a Tone Poem for Bassoon and Chamber Ensemble by Nansi Carroll: An Analysis Javier Antonio Rodriguez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MR. MITTY, A TONE POEM FOR BASSOON AND CHAMBER ENSEMBLE BY NANSI CARROLL: AN ANALYSIS By JAVIER ANTONIO RODRIGUEZ A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2012 Javier Antonio Rodriguez defended this treatise on October 15, 2012. The members of the supervisory committee were: Jeffrey Keesecker Professor Directing Treatise Richard Clary University Representative Eva Amsler Committee Member Frank Kowalsky Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii In loving memory of Martha Ann Stark iii ACKNOWLEDGEMENTS I would like to thank Dr. Nansi Carroll for the contributions she has made to the bassoon repertoire, especially the subject of this treatise, Mr. Mitty, a tone poem for bassoon and chamber ensemble. I am especially grateful for her willingness to allow me to write about her life and experiences as a composer, teacher, pianist, and vocalist. I am also thankful for her friendship and guidance throughout my education and career. I would like to thank my advisor, Professor Jeffrey Keesecker for his guidance while preparing this treatise and during my time as a student at Florida State University. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Choral Ensemble – Three-City Tour Photo: William Ellis Photo: William
SUMMER 2009, VOLUME 13 www.queensu.ca/music Choral Ensemble – Three-City Tour Photo: William Ellis Photo: William The Queen’s University Choral Ensemble with the University of derful leadership and remarked that, “In addition to being able Toronto MacMillan Singers performed in Toronto, Ontario on to take our students on the road and have them perform beau- March 28th, Kingston, Ontario on April 2nd and in New York tifully in both Toronto and New York, it was the simple things City on April 5, 2009. like the sing ing on the bus, and the conversations between the Accompanied by an instrumental ensemble of students from students that made the entire trip truly memor able.” From a Queen’s and the University of Toronto, the three concerts were student perspective, it was the trip to another university, then to devoted entirely to a performance of Dr. John Burge’s Mass for New York City, where they not only performed in the presti- Prisoners of Conscience. In addition to the choir and instrumen- gious Lincoln Centre, but also had free time to explore a new tal ensemble, this work has prominent solos for baritone, mezzo- city with fellow students. soprano and a child vocalist. Dr. Doreen Rao, Elmer Iseler Chair Dr. Ireneus Zuk, Acting Director of the School of Music at of Choral Activities at University of Toronto, conducted the per- Queen’s, stated in an earlier letter, “The experience of perform- formances. As the work is dedicated to Amnesty International, ing on tour can have a profound influence on musical develop- we were fortunate to have the support of the Toronto, Kingston ment, as it provides students with an opportunity to perform a and Queen’s branches of Amnesty International; Alex Neve, program in wonderful venues in different locations, which Director General of Amnesty International Canada, traveled from results in higher levels of polish and excellence. -
N005 Nut Study Guide Season
A Study Guide to Did you know that no two versions of the ballet The Nutcracker are exactly alike? Through its history, it has changed so many times that there’s no single “original” version. Every ballet company that performs it – including Ballet Nebraska – has its own Nutcracker with its own special touches. But behind them all is the same story… the story is the one on which Te Nutcracker is based. In fact, The Story Behind the Story Dumas’ version of Te Nutcracker is why many Nutcracker storybooks call the main character “Marie” instead of “Clara.” Te Nutcracker is one of the most-loved ballets of all time. It’s But in most versions of the ballet, she is still known as Clara. become a Christmas tradition throughout much of the world. In the 1890s, the director of the Russian Imperial Ballet decided Many people grow up seeing it every year, and many young to stage a ballet based on Dumas' telling of the Nutcracker story. dance students dream of being part of a Nutcracker production. His chief choreographer, Marius Petipa, asked the famous It’s no wonder the ballet is so popular — it’s got fun music, composer Peter Tchaikovsky to write music for the scenes that beautiful costumes, wonderful dancing, and a story that he developed. Petipa became ill, so his assistant, Lev Ivanov, combines fantasy, sweets, a magical land, princes, fairies, and developed the choreography for that frst ballet version of Te Christmas. But did you know — it wasn’t always so popular? It Nutcracker. Te ballet, with the heroine named “Clara” again, actually started out looking much, much different. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Music That Moves! 2020 Youth Concerts at Krannert Center
CHAMPAIGN-URBANA SYMPHONY ORCHESTRA Stephen Alltop, Music Director & Conductor MUSIC THAT MOVES! 2020 YOUTH CONCERTS AT KRANNERT CENTER Stephen Alltop, Music Director & Conductor April 7 and April 8, 2020 Foellinger Great Hall Krannert Center for the Performing Arts University of Illinois at Urbana-Champaign produced by The Champaign-Urbana Symphony Orchestra University of Illinois School of Music Public Engagement Office Krannert Center for the Performing Arts The Guild of the Champaign-Urbana Symphony Orchestra EDUCATOR’S GUIDE CHAMPAIGN-URBANA SYMPHONY ORCHESTRA Stephen Alltop, Music Director & Conductor “Music That Moves!” The 2020 Champaign-Urbana Symphony Orchestra Youth Concerts Stephen Alltop, Music Director & Conductor TABLE OF CONTENTS 3 To the Educator 4 To the Parents 5 Why Go To a Music Performance? 6-7 General Concert Information 8 Listening 9 Before the Concert 10 Concert Program 11-13 About the Composers 14 About the Music: from Maestro Stephen Alltop 15 Guess the Dance! Guide 16-19 About the Music: Danse Macabre Worksheets 20 After the Concert 21-25 The Instruments of the Orchestra 26-30 Listening Guides and Worksheets 31-32 About the Orchestra and the Conductor 33-35 Information & Acknowledgments To the Educator Music is one of the great pleasures of life. It has the power to command our attention and inspire us. It speaks to our spirit and to our inner feelings. Music reaches deep into our nature to console us, to reassure us, and to help us express who we are. All people, from the earliest recorded history, have created music. Like birds and whales, humans have a natural tendency to make sounds and to respond to them. -
Dansk Musikforskning Online / Særnummer 2016 Danish Musicology Online / Special Edition 2016
DANSK MUSIKFORSKNING ONLINE / SÆRNUMMER 2016 DANISH MUSICOLOGY ONLINE / SPECIAL EDITION 2016 PROCEEDINGS OF THE 17TH NORDIC MUSICOLOGICAL CONGRESS Preface 3 Justin Christensen Preparing Empirical Methodologies to Examine Enactive, Embodied Subjects Experiencing Musical Emotions 7 Marit Johanne Høye Sequence Melodies in Icelandic and Norwegian Manuscripts 27 Gunnar Ternhag, Erik Wallrup, Elin Hermansson, Ingela Tägil, and Karin Hallgren Writing Composer Biographies in the Project Swedish Musical Heritage 43 Per Dahl Text, Identity and Belief in Stravinsky’s Symphony of Psalms 61 Martin Knust Musical and Theatrical Declamation in Richard Wagner’s Works and a Toolbox for Vocal Music Analysis 81 Erik Steinskog Analog Girl in a Digital World Erykah Badu’s Vocal Negotiations of the Human 107 Erik Wallrup From Mood to Tone: On Schoenberg and Musical Worlds 123 Heli Reimann Jazz and Soviet Censorship: The Example of Late-Stalinist Estonia 147 Anne Reese Willén The Capital – The Core of Musical Life 165 Thomas Solomon The Play of Colors: Staging Multiculturism in Norway 187 Áurea Dominguez Manuel Garcia’s Infl uence on Nineteenth-century Instrumental Music: Bassoon Playing in France as a Case Study 203 Robin Rolfhamre Embellishing Lute Music: Using Renaissance Italian Passaggi Practice as a Model and Pedagogical Tool for an Increased Improvisation Vocabulary in the French Baroque Style 219 Note on the contributors 239 Guest editors Mark Grimshaw (Department of Communication and Psychology, Music and Sound Knowledge Group – MaSK, Aalborg University).