DOCSLIB.ORG

The Creation by Joseph Haydn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Creation by Joseph Haydn The Fourth Annual Chancellor's Festival of Music The Creation by Joseph Haydn University Choral Union University Philharmonic Margaret Hillis, conductor Susan Brummell, soprano Kirk Stuart, tenor Kurt Link, bass Jesse Auditorium SUNDAY, MARCH 9, 1980 3:00 p.m. University of Missouri-Columbia THE CREATION The CREATION of Haydn was written in 1797-1798, at the culminating point of his great decade of composition. These years had been spent largely in Eng­ land: he had composed the magnificent L ONDON S Y MPHON IES, and had listened, deeply moved, to performances of Handel's choral works. On his return to Vienna, he asked his friend Baron van Swieten to translate into German an Eng­ lish libretto which had been given him by one Linley, who had prepared it from Milton's PARADISE wsT and from GENESIS. Haydn composed the music to this German text, and the first performance in 1798, with Haydn himself conducting, was sung in German. This same Baron van Swieten then retranslated the text into English with rather considerable changes in the duration and accentuation of Haydn's phrases, and, according to Tovey, "not without refreshing details in the style of 'English as She is Spoke'." The present translation is an attempt not only to repair the "disjecta membra of the Linley-van-Swieten­ English-as-She-is-Spoke confection," but to unite Haydn's minutely picturesque musical language with the colorful and understandable English text which it deserves. Sir Donald Francis Tovey, in his essay on the CREATION, gives a clear picture of the scope and purpose of the work. "The words of the Bible are divided between three archangels, Raphael, Uriel, and Gabriel, and a chorus which, throughout the whole work, may be considered as that of the heavenly hosts. The list and description of created things is not distributed haphazardly among the three archangels: Uriel is distinctly the angel of the sun and of daylight; his is the tenor voice, and his is the description of Man. Raphael sings of the earth and the sea, of the beginning of all things ... the description of the beasts, the great whales, and 'every living creature that moveth'; and it is he who reports God's blessing, 'Be fruitful and multiply' in a measured passage which is one of the sublimest incidents in Haydn's recit­ atives. Gabriel, the soprano, leads the heavenly hosts and describes the vege­ table kingdom and the world of bird life. Lastly, Adam and Eve appear and fulfill the purpose announced by Raphael while as yet 'the work was not complete ; theere wanted yet that wondrous being, who God's design might thankfull see, and grant His goodness joyful praise.' Or, as the first answer in the Shorter Catechism has it, Q. What is the chief end of Man? A. To glorify God and to enjoy Him for ever. --Robert Shaw and Alice Parker SOLO VOICES: Sopran o : Gabriel, Eve Tenor : Uriel Bass: Raphael, Adam PROGRAM 1. Introduction (Representation of Chaos) 2. Bass Recitative (In the beginning) 2. Tenor Aria with Chorus (Now vanished) 3. Bass Recitative (And God made the firmament) 4. Soprano Solo and Chorus (What wonder) 5. Bass Recitative (Let the waters) 6. Bass Aria (Rolling in foaming billows) 7. Soprano Recitative (Let all the earth) 8. Soprano Aria (Now cooling green) 9. Tenor Recitative (And the heavenly host) 10. Chorus (Awake the harp) 11. Tenor Recitative (Let there be lights) 12. Tenor Recitative (In shining splendor) 13. Chorus and Soli (The heavens are telling) INTERMISSION 14. Soprano Recitative (Let the waters bring forth) 15. Soprano Aria (On mighty wings) 16. Bass Recitative (And God created great whales) 17. Bass Recitative (And the angels) 18. Trio (In fairest raiment now) 19. Trio and Chorus (The Lord is great) 20. Bass Recitative (Let the earth bring forth) 21. Bass Recitative (Straight opening her fertile womb) 22. Bass Aria (Now shines the brightest glory) 23. Tenor Recitative (And God created man) 24. Tenor Aria (In native worth) 25. Bass Recitative (And God saw everything) 26. Chorus (Fulfilled at last the glorious work) 27. Trio (From thee, 0 Lord, doth all proceed) 28. Chorus (Fulfilled at last the glorious work) 29. Tenor Recitative (In rosy mantle) 30. Duet and Chorus (By Thee with grace) 31. Duet Recitative (Now is our duty) 32. Duet (Sweet Companion) 33. Tenor Recitative (O happy pair) 34. Final Chorus and Soli (Sing to God) GUEST ART! STS MARGARET HILLIS, conductor, was invited in 1957 by music director Fritz Reiner to join the Chicago Symphony to help form the Chicago Symphony Chorus, which she has directed since that time. Miss Hillis was graduated from Indiana University and studied with Robert Shaw and Julius Herford at the Juilliard School of Music, on whose faculty she later served. She also was assistant conductor of Mr. Shaw's Collegiate Chorale. From 1951 to 1961 Miss Hillis conducted her own chamber orchestra and chorus in New York City, and since 1952 has been choral conductor for the American Opera Society. Miss Hillis is founder and music director of the American Choral Foundation, and she organized and conducted the American Concert Choir and Orchestra, the only choral group invited to represent the United States at the Brussels World's Fair. In 1962 she directed her first compiete symphonic program in New York's Philharmonic Hall. Miss Hillis also has been conductor and choral director of the Santa Fe Opera and choral director of the NBC-TV Opera and the New York City Opera. Increasingly in demand as a guest conductor of orchestras throughout the United States, Miss Hillis made her Chicago Symphony subscription concert debut in 1976, directing the Orchestra and Chorus in the world premiere of Alan Stout's "Passion." She conducted the National Symphony Orchestra for four sold-out performances of Handel's "Messiah" at the Kennedy Performing Arts Center. She has also conducted the Milwaukee Symphony Orchestra. Miss Hillis served as director of the Cleveland Orchestra Chorus for two seasons. She currently is music director of the Elgin Symphony Orchestra and was associated with Northwestern University as professor of conducting and director of choral organ­ izations for a number of years. In the fall of 1977, Miss Hillis captured nationwide attention when she substituted for Sir Georg Solti on short notice, and conducted the Chicago Symphony Orchestra, Chorus, soloists and other choral forces in a stunning performance of Mahler's Symphony No. 8 in Carnegie Hall. A recipient of numerous honors and awards, she has received honorary Doctor of Music degrees from Temple University and Indiana University. SUSAN BRUMMELL, soprano, has appeared as soloist with the Opera Company of Philadel­ phia, the Chicago Lyric Opera and on the Grant Park Concert Series. Miss Brummell holds the Master of Arts degree in Music from North~1estern University. She was national winner of the WGN Auditions of the Air/Lyric Opera Guild and won praise for her audition for the Metropolitan Opera. KIRK STUART, tenor, received his early musical training in Minneapolis, Minnesota from his mother who was the winner of the Metropolitan Opera Regional Auditions and the National Young Artists Auditions in the Federated Music Clubs Competition. He now resides in Chicago and has appeared in a variety of music productions in the greater metropolitan area, including the nationally televised production of the "Do-It-Yourself-Messiah" conducted by Margaret Hillis as well as his Chicago Symphony Orchestra Hall debut this year in Handel's "Dettingen Te Deum." In addition Mr. Stuart has been a soloist at the Ravinia Festival in performances of Mendelssohn's "Elijah", Bach's "St. Matthew-Passion" and Verdi's "La Forza del Destine" conducted by James Levine. This fall Mr. Stuart will begin work on a Doctor of Music degree in Vocal Performance at Northwestern University where he received the Chramer Award for excellence in opera. KURT LINK, bass, graduated with honors for distinction in performance from Lawrence University Conservatory of Music with a Bachelor of Music degree in vocal performance. Since his acceptance into the Chicago Symphony Chorus, he has sung the understudies for the Bass solos in Chicago Symphony Orchestra performances of Mahler's Eighth Symphony and Beethoven's Ninth Symphony. He will make his solo debut with that orchestra in the performances of Mendelssohn's "Elijah" in February, 1980 under the direction of Margaret Hillis. UNIVERSITY CHORAL UNION John Augenblick, Chorus Master Henry Gower, Assistant Chorus Ma~ter Nora Hulse, Rehearsal Accompanist SOPRANO Grace Louise Baker Anita Adams Francesca L'hoir Margaret Bianchetta Elizabeth Anderson Marla Linthicum Maureen Breese Luanne Arras Leslie Leip Jeri Bretthorst Deana Astle Catharine Longman Robyn Campbell Edith Barker Connie Lummis Marilyn Capron Kay Bartling Sarah Marshall Carolyn Carlson Mathilde Berkley Kathleen Martin Jean Carr Margit Bilgram Paula Martin Linda Chapman Julie Binger Ester R. Mendoza Lisbeth W. Chapman Sue Bottorff Helga Meyer Marilyn Cheetham Kendra Bruns Deena Miller Janet Coats Kathryn Burlison Martha Montgomery Ginger Collins Mary Cahall Nancy Moore Gretchen Collins Donna L. Carroll Debora Morrison Sandy Collins Jeri Caskey Beverly Nick Maura Cornman Pillie Chapman Julie Ostmann Carol Dallman Michelle Collier Christine Perisho Carole Dasta Karen Crawley Kathryn Peterman Carolyn Davis Valerie Cummins Mary Beth Ponte Mary Lou Davis Jacqueline Curtis Shari Pruitt Margaret Denker Sandra Davenport Janine Pundmann Sarah Dixon Heidi DeVore Denise Quinley Margaret Ann Durham Constance Fpple Paula Ralph Mary Edmondson Allegra Erwin Renee Robertson Sue Ellebracht Elwyn Ewer Jean Schildz Dorothy Emslie Mary Ewing Penny Sharp Norma J. Fair Lucinda Fitch Kathryne Shelby Anna Margaret Fields Lisa Friend Laura L. Shelby Pamela Flamm Cindy Gentry Laura Smith Janice Gaston Deborah Ginter Jacqueline Smith Kathryn Glenn Marilyn Cortney Sarah Spurgeon Debra Godsey Margo Gower Donna Stolper Antonia Green Victoria Grober Sharon Thomson Becky Greer Patricia Gross Dorothy Stoerker Peggy Grossmann Janet Harrison Tracey Underhill Donna Haley Laura Hord Julie Wall Mary Harbourt Jean E .
Load more

Recommended publications
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews
    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
    [Show full text]
  • American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’S Avery Fisher Hall New York, N.Y
    FOR IMMEDIATE RELEASE: American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’s Avery Fisher Hall New York, N.Y. – March 28, 2013 Outstanding music program Distinguished Concerts International New York City (DCINY) announced receives special invitation today that director Kathy Heedles and the American International School Choirs have been invited to participate in a performance of ‘Carmina Burana’ on the DCINY Concert Series in New York City. This performance at Lincoln Center’s Avery Fisher Hall is on March 10, 2014. These outstanding musicians will join with other choristers to form the Distinguished Concerts Singers International, a choir of distinction. Conductor Vance George will lead the performance and will serve as the clinician for the residency. Why the invitation was extended Dr. Jonathan Griffith, Artistic Director and Principal Conductor for DCINY states: “The American International School students and their director received this invitation because of the quality and high level of musicianship demonstrated by the singers on a previous performance of ‘O Fortuna’ from ‘Carmina Burana’. It is quite an honor just to be invited to perform in New York. These wonderful musicians not only represent a high quality of music and education, but they also become ambassadors for the entire community. This is an event of extreme pride for everybody and deserving of the community’s recognition and support.” The singers will spend 5 days and 4 nights in New York City in preparation for their concert. “The singers will spend approximately 9-10 hours in rehearsals over the 5 day residency.” says Griffith.
    [Show full text]
  • Saint Xavier College/Chicago
    Saint Xavier College/Chicago Evangeline Bollinger, Ph.D., Professor of English, Presiding Processional "Pomp and Circumstance" by Edward Elgar Invocation Avis Clendenen,D.Min. Director, Campus Ministry National Anthem Jan Bickel, M.M. Assistant Professor of Music Welcome Ronald O. Champagne, Ph.D. President, Saint Xavier College Presentation of Melvin Klafter Citation Ronald O. Champagne, Ph.D. Martin J. Detmer Chairman of the Board of Trustees Conferring of Honorary Degrees Ronald O. Champagne, Ph.D. Arturo Velasquez Arthur R. Velasquez Doctor of Public Service President, CID Broadcasting, Inc. Margaret Hillis Martha Gilmer Doctor of Humane Letters Artistic Administrator, Chicago Symphony Joseph Cardinal Bernardin Monsignor John Egan Doctor of Sacred Theology Assistant to President, DePaul University Commencement Address Joseph Cardinal Bernardin Presentation of 1938 Graduates Ronald O. Champagne, Ph.D. Presentation of August, 1987 Graduates Maureen Scott, R.S.M., Ph.D. Vice President, Dean of Faculty Presentation of January, 1988 Graduates Maureen Scott, R.S.M., Ph.D. Presentation of Candidates for Bachelor's Degree Maureen Scott, R.S.M.. Ph.D. Proclamation of Candidates from the Graham School of Management Faisal Rahman, Ph.D. Dean of the Graham School of Management Proclamation of Candidates from the School of Nursing Diane Horner, Ed.D. Dean of the School of Nursing Proclamation of Candidates from the Arts and Sciences Maureen Scott, R.S.M., Ph.D. Conferring of Degrees Ronald O. Champagne, Ph.D. Presentation of Candidates for Master's Degree Maureen Scott, R.S.M., Ph.D. Proclamation of Candidates from the Graham School of Management Faisal Rahman, Ph.D.
    [Show full text]
  • 1 Women Conductors: Credibility in a Male-Dominated Profession KAY LAWSON
    1 Women Conductors: Credibility in a Male-Dominated Profession KAY LAWSON At one time the mere suggestion that a woman is capable and more than qualified to lead an orchestra would have brought exclamations of disbelief, perhaps even chuckles muffled behind a discreet hand to the mouth. The nineteenth-century "beau ideal" of the conductor as the musical world's flamboyant, handsome cult hero continues to prevail even today in the minds of audiences, thus making it difficult for conductors not in that mold to gain prominence. Recent attention accorded women conductors might give the impression that they are a phenomenon of the twentieth century, but this is clearly not the case. Tracing the historical path of conducting to its source, we find that modem conducting may have had its beginnings in the convent of St. Vito, a nunnery renowned for its musical performances. Bottrigari, in his publication of 1594, Il Desiderio, described a performance given there: A long table has been prepared, at one end of which is a large clavicembalo, you would see them enter one by one, quietly bringing their instruments, either stringed or wind. They all enter quietly and approach the table without making the least noise and place themselves in the proper place, and some sit, who must do so in order to use their instruments, and others remain standing. Finally, the Maestra of the concert sits down at one end of the table; and with a long, slender and well-polished wand (which was placed there ready for her, because I saw it) and when all the other sisters are clearly ready, gives them without noise, several signs to begin, and then continues by beating the measure of time which they must obey in singing and playing.' Most historical references to the earliest examples of musical leadership in­ dicate that a group of performers was kept together by a leader who beat time by hand or by pounding with a stick.
    [Show full text]
  • The· Central Division Hotel Continental Chicago, Illinois February 23-25
    1984 Divisional Convention . The· Central Division Hotel Continental Chicago, Illinois February 23-25 HEADLINERS AND SPECIAL SESSIONS: Singers. He recently co-authored the current seventh- and eight-grade textbooks published by Silver-Burdette. Professor McNeil's sessions will focus upon World Music. He will be assisted by Harriet Ziegenhals. The first session, "A Celebration of World Music," will include the presenta­ tion of four choral groups performing selected compositions with explanatory remarks by the clinicians. A later general Margaret Hillis session will consist of a brief demonstration-lecture using choral music from the Phillipines, West Africa, Brazil, Japan, and the southern U.S.A. In this session, a sixteen­ voice ensemble from the Community Renewal Chorus of Chicago will be the demonstration group. His third and final session will be a reading session presenting choral works representing diyerse ethnic areas. Hailed as "one of the great choral conductors of the age," L Margaret Hillis is also making her mark as an orchestral con- ductor. In the current season, she will appear with the Chicago Symphony Orchestra, the Louisville Orchestra, and the Hartford Symphony, as well as with the Elgin Sym­ phony, which she has served as Music Director for eleven years. Hillis captured nationwide attention in the fall of Weston Noble 1977, when she substituted on short notice for the ailing Sir Georg Solti in a performance of Mahler's Symphony No.8 in New York's Carnegie Hall. In recent seasons she has con­ ducted the National Symphony, the Minnesota Orchestra, the Milwaukee Symphony, and the Indianapolis Sym­ phony.
    [Show full text]
  • Real Men Sing!
    About Real Men Sing! Guest Chorus Director Guest Voice Clinician The Staples Area Men’s Chorus (SAMC) wants to help Timothy Sawyer has enjoyed an active Mark Stover is the Director of Worship, young men find the joy and richness that singing brings to career as a conductor, educator and Music and Arts at Colonial Church in life. It also wants to help high school and college music professional singer after formal musical Edina, Minnesota. He received his programs attract and retain male singers for their choral training at Bethel University (St. Paul, Bachelors degree from St Olaf College and ensembles, and to help them remain strong and vibrant Minnesota), Exeter University (England), recently completed his M.S.M. in choral organizations. To accomplish this we have started the the University of Minnesota, and in conducting from Luther Seminary. Before REAL MEN SING Choral Festival. doctoral-level study at the University of Iowa. He has done Luther Seminary, Stover served as Director of Worship and advanced conducting studies with Helmuth Rilling, the late Arts at Walnut Creek Presbyterian Church, California, while At no charge to participating schools, the SAMC books the Margaret Hillis, Vance George, Gregg Smith, and Sweden’s teaching choral music at Campolindo High School, and facility, hires a guest conductor and a voice teacher, buys the Eric Ericson, among others. In addition to extensive serving as worship leader for the Open Door Community. music, and provides an evening meal. Rehearsals and experience as a tenor soloist, he is a veteran chorister with Mark has designed contemporary a cappella shows for high workshops are scheduled in the afternoon and the event is several professional choirs, among them the Dale Warland school and college ensembles and regularly works as a capped off with a concert in the evening.
    [Show full text]
  • Chorus Director Duain Wolfe to Retire in 2022 After More Than a Quarter Century Leading the Chicago Symphony Chorus
    For Immediate Release: Press Contacts: May 20, 2021 Eileen Chambers 312-294-3092 CHORUS DIRECTOR DUAIN WOLFE TO RETIRE IN 2022 AFTER MORE THAN A QUARTER CENTURY LEADING THE CHICAGO SYMPHONY CHORUS CHICAGO—The Chicago Symphony Orchestra Association (CSOA) announces that Duain Wolfe, chorus director of the Chicago Symphony Chorus (CSC) since 1994, will retire from his position in spring 2022. Wolfe is only the second director to hold the position since the Chorus was founded in 1957 by its first director Margaret Hillis at the request of Music Director Fritz Reiner. During Wolfe’s notable career he has prepared the Chicago Symphony Chorus for more than 150 programs, including Chicago Symphony Orchestra (CSO) subscription concerts in Orchestra Hall, as well as programs at the Ravinia Festival, Pritzker Pavilion in Chicago’s Millennium Park, Carnegie Hall and the Berlin Philharmonie. Wolfe has prepared the CSC for programs led by CSO music directors Riccardo Muti and Daniel Barenboim; Music Director Laureate Sir Georg Solti; Principal Guest Conductor and Conductor Emeritus Pierre Boulez; Principal Conductor Bernard Haitink; Ravinia Festival music directors Christoph Eschenbach and James Conlon and Artistic Curator Marin Alsop; and numerous guest conductors. “After more than a quarter century, I remain impressed and deeply moved by the astonishing merits of the Chicago Symphony Chorus and the standards it continues to set for our noble profession,” said Chorus Director Duain Wolfe. “My time with this incredible ensemble has been a gift, but it is now time for a new director who can carry the legacy of the Chicago Symphony Chorus to even greater heights of artistic achievement and awareness.
    [Show full text]
  • March 25, 2021 from the CSO's Archives: the First 130 Years This Chicago Symphony Orchestra
    For Immediate Release: March 25, 2021 From the CSO’s Archives: The First 130 Years This Chicago Symphony Orchestra (CSO) radio broadcast series airs weekly through June 2021 on Tuesday evenings from 8:00 to 10:00 p.m. on WFMT (98.7 FM) in Chicago, and is also available via streaming on wfmt.com and the WFMT app (wfmt.com/app). Chicago Symphony Orchestra Tuesday, April 6, 2021, 8:00 p.m. Benny Goodman in Nielsen and Weber Weber Overture to Oberon Sir Georg Solti conductor November 1973 (London) Weber Clarinet Concerto No. 2 in E-flat Major, Op. 74 Jean Martinon conductor Benny Goodman clarinet May 1968 (RCA) Weber Overture to Euryanthe Frederick Stock conductor January 1940 (Columbia) Nielsen Symphony No. 2, Op. 16 (The Four Temperaments) Morton Gould conductor June 1966 (RCA) Weber/Berlioz Invitation to the Dance, Op. 65 Daniel Barenboim conductor March 1979 (Deutsche Grammophon) Nielsen Clarinet Concerto, Op. 57 Morton Gould conductor Benny Goodman clarinet June 1966 (RCA) Fisher/Gould Chicago (That Toddlin’ Town) Morton Gould conductor Benny Goodman clarinet June 1966 (CSO: The First 100 Years) Chicago Symphony Orchestra Tuesday, April 13, 2021, 8:00 p.m. Celebrating Victor Aitay Rimsky-Korsakov Sheherazade Seiji Ozawa conductor Victor Aitay violin June and July 1969 (RCA) Liszt Hungarian Rhapsody No. 2 in D Minor Sir Georg Solti conductor November 1993 (London) Weiner Prince Csongor and the Goblins Sir Georg Solti conductor November 1993 (London) Bartók Hungarian Sketches Fritz Reiner conductor December 1958 (RCA) Kodály Háry János Suite Neeme Järvi conductor February 1990 (Chandos) Beethoven Benedictus from Missa solemnis in D Major Sir Georg Solti conductor Victor Aitay violin Lucia Popp soprano Yvonne Minton mezzo-soprano Mallory Walker tenor Gwynne Howell bass Chicago Symphony Chorus Margaret Hillis director May 1977 (London) Chicago Symphony Orchestra Tuesday, April 20, 2021, 8:00 p.m.
    [Show full text]
  • Journal of the Conductors Guild
    Journal of the Conductors Guild Volume 31, Number 2 2014 719 Twinridge Lane Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 Table of Contents E-mail: [email protected] [email protected] . Advancing the Art and Profession Website: www.conductorsguild.org Officers Gordon J. Johnson, President David Leibowitz, Secretary A Conductors’ Philosopher: page 1 John Farrer, President-Elect Christopher Blair, Treasurer Erin R. Freeman, Vice-President James Allen Anderson, Past President Susanne Langer on Music by Michael Luxner Board of Directors Ira Abrams Reginald Houze John Gordon Ross Conducting Agon; page 8 John P. Boyd John Koshak Lyn Schenbeck* Wesley Broadnax Anthony LaGruth Jonathan Sternberg* the Balanchine/Stravinsky Brooke Creswell Brenda Lynne Leach James R. Tapia Contribution to the Development John Devlin Sasha Mäkilä Emily Threinen of a Specialism Thomas Gamboa Jeffery Meyer Julius Williams by Dr. Eugenie Burkett Andrew George Jon C. Mitchell Burton A. Zipser* Jacob Harrison* Michael Mishra *ex officio Claire Fox Hillard Philip Morehead Bruno Walter, page 22 Advisory Council Leonard Bernstein, and Pierre Boulez Michael Griffith Harlan D. Parker Tempo Interpretation in Emily Freeman Brown Samuel Jones Maurice Peress Mahler Scores Michael Charry Tonu Kalam Donald Portnoy by Nathaniel F. Parker Sandra Dackow Wes Kenney Barbara Schubert Harold Farberman Daniel Lewis Gunther Schuller page 28 Adrian Gnam Larry Newland Leonard Slatkin Scores & Parts Max Rudolf Award Winners Tchaikovsky Romeo & Juliet Herbert Blomstedt Daniel Lewis Gunther Schuller Fantasy—Overture: A guide to David M. Epstein Gustav Meier Jonathan Sternberg preparing a correct score and parts Donald Hunsberger Otto-Werner Mueller Paul Vermel by David Bernard Thelma A.
    [Show full text]
  • CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2020
    CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2020 PROGRAM #: CSO 20-40 RELEASE DATE: September 25, 2020 Riccardo Muti conducts Beethoven’s Fifth Symphony Beethoven: Symphony No. 2 in D Major, Op. 36 Bacri: Ophelia's Tears (J. Lawrie Bloom, bass clarinet; world premiere) Beethoven: Symphony No. 5 in C Minor, Op. 67 Mozart: Serenade No. 13 for Strings in G Major, K. 525 (Eine kleine Nachtmusik) (Fritz Reiner, cond.) PROGRAM #: CSO 20-41 RELEASE DATE: October 2, 2020 Carlo Maria Giulini conducts Mozart and Mahler Rossini: Overture to L'italiana in Algeri Mozart: Sinfonia concertante for Oboe, Clarinet, Bassoon, and Horn in E-flat Major (Ray Still, oboe; Clark Brody, clarinet; Willard Elliot, bassoon; Dale Clevenger, horn) Prokofiev: Symphony No. 1 in D Major, Op. 25 (Classical) Mahler: Symphony No. 1 in D Major PROGRAM #: CSO 20-42 RELEASE DATE: October 9, 2020 Theodore Thomas's 185th Birthday (October 11) Brahms: Academic Festival Overture, Op. 80 (Daniel Barenboim, cond.) Wagner: Prelude and Liebestod from Tristan and Isolde (Artur Rodzinski, cond.) Elgar: Variations on an Original Theme, Op. 36 (Enigma) (Sir Georg Solti, cond.) Strauss: Ein Heldenleben, Op. 40 (Fritz Reiner, cond.) Tchaikovsky: Final Waltz and Apotheosis from The Nutcracker, Op. 71 (Morton Gould, cond.) PROGRAM #: CSO 20-43 RELEASE DATE: October 16, 2020 Hannu Lintu and Pekka Kuusisto Sibelius: Finlandia, Op. 26, No. 7 Nielsen: Violin Concerto, Op. 33 (Pekka Kuusisto, violin) Traditonal: Kuusisto Danish Bridal Tune (Pekka Kuusisto, violin) Nielsen: Helios Overture, Op. 17 Sibelius: Symphony No. 5 in E-flat Major, Op. 82 Sibelius: The Swan of Tuonela from Four Legends of The Kalevala, Op.
    [Show full text]
  • Mendelssohn's Elias (Elijah)
    Mendelssohn's Elias (Elijah) Chicago Symphony Orchestra and critical acclaim as one of the fi nest symphonic choruses Riccardo Muti, music director in the world through its performances in Chicago, through- out the United States, and abroad. The Chicago Symphony Chorus’ storied history began in September 1957, when the Chicago Symphony Orchestra announced that Margaret Hillis, at music director Fritz Rein- er’s invitation, would organize and train a symphony chorus. Auditions began two weeks later, and in March 1958, the Chicago Symphony Chorus made its subscription concert debut performing Mozart’s Requiem with Bruno Walter conducting. A few weeks later, Reiner led the Chorus for the fi rst time in performances of Verdi’s Requiem. The Chicago Symphony Orchestra (CSO) is consistently Since then, the Chicago Symphony Chorus has per- hailed as one of today’s leading orchestras. Performances formed and recorded virtually all the major works in the by the CSO are much in demand at home and in the most choral symphonic repertoire, given important world pre- prestigious music capitals of the world. Led by renowned mieres, appeared with visiting orchestras, and taken part in Italian conductor Riccardo Muti as its tenth music director, many noteworthy milestones in the CSO’s history. In June the CSO is working to fulfi ll his vision for the Orchestra— 1994, Duain Wolfe was appointed the second director of to deepen its engagement with the Chicago community, the Chicago Symphony Chorus, succeeding Hillis, who was to nurture the legacy of the CSO while supporting a new named director laureate. generation of musicians, and to collaborate with visionary Chicago Symphony Orchestra recordings featuring the artists.
    [Show full text]
  • A Legacy Continues Cheryl Frazes Hill VOLUME 58 | NUMBER 3 | FALL 2020
    A Legacy Continues Cheryl Frazes Hill VOLUME 58 | NUMBER 3 | FALL 2020 he NCCO has recently taken up the mantle Hillis developed three divisions within her of an important project: carrying on the Foundation, one of which included a Research work begun by Dr. Margaret Hillis and Dr. and Publications Division, established in 1956. TAlfred Mann. NCCO will be making available two This division was designed to provide Association choral research publications developed by both members access to information on performance Hillis and Mann, during the formative years of practice and scholarly guidance in pedagogical, the choral profession. The American Choral Review historical, and analytical approaches to choral and Research Memorandum Series were first repertoire. One of several ways Hillis advanced created by the renowned conductor and Founder/ this information was through a quarterly Bulletin of the Director of the Chicago Symphony Chorus, publication, known then as the American Concert Choir and Choral Foundation Margaret Hillis. Less well known about Margaret Inc Hillis was her establishment of the American , first distributed in June, 1958. An additional publication, entitled Research Memorandum Series, Choral Foundation in 1954, an organization was launched in January, 1959. whose mission it was to promote quality choral performances throughout the United States. The American Choral Foundation (1954) predated the Topics of early Bulletin publications included American Choral Directors Association (1959) articles such as “The Choirmaster and the and was in fact the first organization of its kind Renaissance Choral Repertory” by Noah to foster support during the nascent period of the Greenberg, Music Director of Pro Musica, choral profession.
    [Show full text]