A Flowering Tree Blooms in Vienna
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Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011
BOSTON SYM PHONY • 4 ORCH ESTRA MTSP III __ 2010-2011 SEASON WEEK 1 James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate RMES TALE I S, LIFE AS A ^S Table of Contents Week i 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 22 BSO MUSIC DIRECTOR JAMES LEVINE 24 THE BOSTON SYMPHONY ORCHESTRA 27 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA 33 THIS WEEK'S PROGRAM 35 FROM THE MUSIC DIRECTOR Notes on the Program 39 Gustav Mahler 57 To Read and Hear More... Guest Artists 61 Layla Claire 62 Karen Cargill 64 Tanglewood Festival Chorus 67 John Oliver 70 SPONSORS AND DONORS 80 FUTURE PROGRAMS 82 SYMPHONY HALL EXIT PLAN 83 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL (OCTOBER 8, 12) AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERT KIRZINGER (OCTOBER 7, 9). program copyright ©2010 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org THE JOURNEY TO THE PRIVATE CLOUD STARTS NOW EMC is proud to support the Boston Symphony Orchestra. Learn more atwww.EMC.com/bso. EMC where information lives endary. HARVARD EXTENSION SCHOOL Greek heroes and award-winning faculty. At Harvard Extension School, we have our share of legends. Whether you are interested in ancient mythology or some other awe-inspiring subject, we invite you to check out our evening and online courses. -
ST. LOUIS SYMPHONY DAVID ROBERTSON, CONDUCTOR Wednesday, March 29, 2017, at 7:30Pm Foellinger Great Hall PROGRAM ST
ST. LOUIS SYMPHONY DAVID ROBERTSON, CONDUCTOR Wednesday, March 29, 2017, at 7:30pm Foellinger Great Hall PROGRAM ST. LOUIS SYMPHONY David Robertson, music director and conductor John Adams The Chairman Dances, Foxtrot for Orchestra (1985) (b. 1947) Aaron Copland Appalachian Spring, Ballet Suite for Orchestra (1944) (1900–1990) 20-minute intermission Ludwig van Beethoven Symphony No. 7 in A major, op. 92 (1812) (1770–1827) Poco sostenuto; Vivace Allegretto Presto; Assai meno Allegro con brio 2 THANK YOU TO THE SPONSORS OF THIS PERFORMANCE GIVING OF ACT THE Krannert Center honors the spirited generosity of these committed sponsors whose support of this performance continues to strengthen the impact of the arts in our community. Krannert Center honors the memory of Endowed Underwriters Marilyn Pflederer Zimmerman & Vernon K. Zimmerman. Their lasting investment in the performing arts and our community will allow future generations to experience world-class performances such as this one. * Krannert Center gratefully acknowledges the continued generosity of Endowed Sponsors Mary & Kenneth Andersen. With their previous sponsorships, they demonstrate their dedication to sharing beautiful and significant cultural events with our community. *PHOTO CREDIT: ILLINI STUDIO 3 * * JAMES ECONOMY HELEN & DANIEL RICHARDS Special Support of Classical Music Twenty-Seven Previous Sponsorships * * THE ACT OF GIVING OF ACT THE PEGGY MADDEN & MARY SCHULER & RICHARD PHILLIPS STEPHEN SLIGAR Fourteen Previous Sponsorships Five Previous Sponsorships Two Current Sponsorships -
Joana Carneiro Music Director
JOANA CARNEIRO MUSIC DIRECTOR Berkeley Symphony 17/18 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index Media Sponsor Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. October 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director Dear Friends, Happy New Season 17/18! I am delighted to be back in Berkeley after more than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life. -
Sally Matthews Is Magnificent
` DVORAK Rusalka, Glyndebourne Festival, Robin Ticciati. DVD Opus Arte Sally Matthews is magnificent. During the Act II court ball her moral and social confusion is palpable. And her sorrowful return to the lake in the last act to be reviled by her water sprite sisters would melt the winter ice. Christopher Cook, BBC Music Magazine, November 2020 Sally Matthews’ Rusalka is sung with a smoky soprano that has surprising heft given its delicacy, and the Prince is Evan LeRoy Johnson, who combines an ardent tenor with good looks. They have great chemistry between them and the whole cast is excellent. Opera Now, November-December 2020 SCHUMANN Paradies und die Peri, Cincinnati Symphony Orchestra, Paolo Bortolameolli Matthews is noted for her interpretation of the demanding role of the Peri and also appears on one of its few recordings, with Rattle conducting. The soprano was richly communicative in the taxing vocal lines, which called for frequent leaps and a culminating high C … Her most rewarding moments occurred in Part III, particularly in “Verstossen, verschlossen” (“Expelled again”), as she fervently Sally Matthews vowed to go to the depths of the earth, an operatic tour-de-force. Janelle Gelfand, Cincinnati Business Courier, December 2019 Soprano BARBER Two Scenes from Anthony & Cleopatra, Chicago Symphony Orchestra, Juanjo Mena This critic had heard a fine performance of this music by Matthews and Mena at the BBC Proms in London in 2018, but their performance here on Thursday was even finer. Looking suitably regal in a glittery gold form-fitting gown, the British soprano put her full, vibrant, richly contoured voice fully at the service of text and music. -
Music You Know & Schubert
CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden. -
Mcallister Interview Transcription
Interview with Timothy McAllister: Gershwin, Adams, and the Orchestral Saxophone with Lisa Keeney Extended Interview In September 2016, the University of Michigan’s University Symphony Orchestra (USO) performed a concert program with the works of two major American composers: John Adams and George Gershwin. The USO premiered both the new edition of Concerto in F and the Unabridged Edition of An American in Paris created by the UM Gershwin Initiative. This program also featured Adams’ The Chairman Dances and his Saxophone Concerto with soloist Timothy McAllister, for whom the concerto was written. This interview took place in August 2016 as a promotion for the concert and was published on the Gershwin Initiative’s YouTube channel with the help of Novus New Music, Inc. The following is a full transcription of the extended interview, now available on the Gershwin channel on YouTube. Dr. Timothy McAllister is the professor of saxophone at the University of Michigan. In addition to being the featured soloist of John Adams’ Saxophone Concerto, he has been a frequent guest with ensembles such as the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Lisa Keeney is a saxophonist and researcher; an alumna of the University of Michigan, she works as an editing assistant for the UM Gershwin Initiative and also independently researches Gershwin’s relationship with the saxophone. ORCHESTRAL SAXOPHONE LK: Let’s begin with a general question: what is the orchestral saxophone, and why is it considered an anomaly or specialty instrument in orchestral music? TM: It’s such a complicated past that we have with the saxophone. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
Download Mijn CV
Curriculum Vitae Sander Roeleveld | 26 januari 1973 Eindhoven Cameraman 2005 – 2014 2009-2013 Team Facilities Hilversum Televisie: 2013 Heel Holland Bakt De zoektocht naar Nederlands meest getalenteerde huisbakker. Regie: Armando de Boer 2013 Eureka Programma over wiskundige formules. Regie: Tom Roes 2013 Een Vandaag Actualiteiten programma 2013 Beth Juliana Serie over een tehuis voor ouderen in Israël. Regie: Lian Priemus 2013 Nieuwsuur: Actualiteiten programma 2013 KRO Kinderdocu’s Kleine verhalen voor en door kinderen. Regie: Astrid Bussink 2011-2013 Keuringsdienst van Waarde Informatief programma over ons voedsel. Regie: Marijn Frank, Maurice Dekkers, Remco Kappelhof Awards: 'Best short film', Food Film Festival, New York | Nominatie 'Gouden televisier ring' 2011-2013 De Rekenkamer Wat betalen we, waarom en waarvoor? Regie: Lian Priemus, Tom Roes 2011-2013 Kunstuur Programma over makers van kunst. Ruud Pelgrim 2010-2013 Labyrint Wetenschapsprogramma Regie: Thijs Brandsma 2010-2013 Huisje Boompje Beestje Schooltelevisie Regie: Frank van Eijk, Barry Annes 2009-2013 Promo’s SBS6 en RTL7 Film en Documentaire: 2012 Wij in het heelal, een heelal in ons Een beeld van Kees Boeke met zijn visie op het oneindig grote en oneindig kleine. Regie: Nouschka van Brakel 2012 Niets Blijft NCRV Document over een middenstands-familie in Amsterdam Zuid Regie: Natasja van Wijk 2012 In Extase Film over dance. Regie: Ruud Pelgrim 2009 Maria Documentaire over Maria Heiden, eigenaresse boekwinkel Van Gennip in Rotterdam. Regie: Jan Louter 2008 TED Documentaire -
“Turuncu Günler”
İstanbul Modern Sinema’da güncel Hollanda sinemasından bir seçki “Turuncu Günler” İstanbul Modern Sinema , 4 - 21 Ekim tarihleri arasında Hollanda’nın prestijli film merkezi EYE Film Enstitüsü ve Hollanda Başkonsolosluğu 'nun işbirliğiyle Hollanda sinemasından bir seçki sunuyor. Hollanda ve Türkiye arasındaki diplomatik ilişkilerin 400. yılı kutlamaları kapsamında gerçekleşen program beş farklı bölümden oluşuyor: Uzun Metrajlar , Kısalar , Frank Scheffer Retrospektifi , Cinedans Filmleri ve Salon filmleri. Turuncu Günler ’in bölümleri arasında, son zamanlarda büyük beğeni toplayan ve ödül alan sekiz uzun metraj film; EYE Film Enstitüsü’nün son dönemden seçtiği, animasyon ve belgesel türünde 20 kısa film; dans filmlerini ekrana taşıyan, kreatif direktörü Janine Dijkmeijer ’in gösterimleri sunmak için katılacağı, Cinedans Festivali ile ortak bir program ve İstanbul Tasarım Bienali kapsamında yer alan, sanat, tasarım ve moda arasında ilham verici diyaloglar ve deneyimler yaratan bir merkez olan SALON/Amsterdam ’ın 20 filmlik seçkisi yer alıyor. Programda gösterilecek bir diğer bölüm ise Edgard Varesé , Frank Zappa , John Cage gibi müzik tarihinin efsane isimleri üzerine belgeseller çeken Frank Scheffer ’ın sekiz filmlik retrospektifi. Günümüz müziğinin üç önemli ismi Brian Eno , Steve Reich ve Philip Glass ’ı New York şehrinde konu edinen Okyanusta; alternatif rock müzik tarihinin efsane ismi Frank Zappa ’nın hayatı ve eserleriyle ilgili Frank Zappa, Faz II, Büyük Nota; dünyanın en önemli çağdaş bestecilerden biri sayılan Elliot Carter ’ı -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
N E W S R E L E A
N E W S R E L E A S E CONTACT: Katherine Blodgett Director of Public/Media Relations phone: 215.893.1939 e-mail: [email protected] FOR IMMEDIATE RELEASE DATE: March 2, 2009 CHIEF CONDUCTOR AND ARTISTIC ADVISER CHARLES DUTOIT LEADS THE PHILADELPHIA ORCHESTRA IN A PROGRAM CELEBRATING THE INFLUENCE OF AFRICAN- AMERICAN CULTURE ON CLASSICAL MUSIC George Walker’s 1996 Pulitzer Prize-winning Lilacs receives its first Philadelphia Orchestra performances with tenor Russell Thomas as featured soloist Bass-baritone Eric Owens performs Mahler’s Songs of a Wayfarer in tribute to Philadelphia-native Marian Anderson Two works inspired by African-American music—Milhaud’s The Creation of the World and Dvo řák’s Symphony No. 9 in E minor (“From the New World”)—complete the program March 17 concert at Carnegie Hall part of HONOR! A CELEBRATION OF THE AFRICAN AMERICAN CULTURAL LEGACY , a Carnegie Hall festival curated by renowned soprano Jessye Norman (Philadelphia , March 2, 2009)—Philadelphia Orchestra Chief Conductor and Artistic Adviser Charles Dutoit leads the Orchestra in three concerts in Verizon Hall at the Kimmel Center celebrating the influence of African-American culture on classical music (March 12-14). The program features Milhaud’s jazz-inspired The Creation of the World ; George Walker’s 1996 Pulitzer Prize-winning work Lilacs for voice and orchestra, with tenor Russell Thomas as soloist in its first Philadelphia Orchestra performances; Mahler’s Songs of a Wayfarer , a work for which the late, great contralto Marian Anderson was known, with Philadelphia-native bass-baritone Eric Owens as soloist; and Dvořák’s Symphony No. -
MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Recorded at Southbank Centre’s Royal Festival Hall, London, 17 April 2011 Producer – Misha Donat Engineer – Jonathan Stokes, Classic Sound Ltd Design – With Relish (for the Philharmonia Orchestra) and Darren Rumney Cover image CLebrecht Music & Arts MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO. 2, RESURRECTION 24 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. “On Mahler” Mahler’s earlier symphonies frequently draw GUSTAV MAHLER on the world of his Wunderhorn songs – A century after his death, Mahler’s music settings of simple folk poems about birds and SYMPHONY NO. 2, RESURRECTION resonates more powerfully than ever. Its animals, saints and sinners, soldiers and their unique mix of passionate intensity and lovers. But this apparently naive, even childlike CD1 terrifying self-doubt seems to speak directly to tone is found alongside vast musical our age. One moment visionary, the next 1 I. Allegro maestoso 25.13 canvasses that depict the end of the world. In despairing, this is music that sweeps us up in quieter, more intimate movements, Mahler CD2 its powerful current and draws us along in its seems to speak intimately and directly to the 1 II. Andante moderato. Sehr gemächlich 11.25 drama. We feel its moments of ecstatic rapture listener, but the big outer movements are 2 III. Scherzo. In ruhig fliessender Bewegung 12.14 and catastrophic loss as if they were our own.