DOCSLIB.ORG

Butler University School of Music Butler Opera Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Butler University School of Music Butler Opera Theatre BUTLER UNIVERSITY SCHOOL OF MUSIC presents BUTLER OPERA THEATRE Oliver Worthington, director I Wish it So Marc Blitzstein – The Man in His Music Musical and archival excerpts compiled and narration written by David Ronis. All songs are copyrighted by the Blitzstein Music Company; the music and lyrics for all songs are by Marc Blitzstein. The compositions of Marc Blitzstein are performed under license from the Kurt Weill Foundation for Music, Inc. Archival images shown are from the Marc Blitzstein Papers at the Wisconsin Center for Film and Theater Research, University of Wisconsin-Madison. Livestream Thursday, April 22, 2021 7:30 P.M. The ninety-seventh program of the Butler University School of Music 2020-21 season Jordan College of the Arts | Butler University | 4600 Sunset Ave | Indianapolis, IN | 46208 PROGRAM I Wish it So Marc Blitzstein – The Man in His Music Art for Art’s Sake Displaced The Nickel Under the Foot Mamasha Goose Send for the Militia I Wish It So The Cradle Will Rock Then Music, Music In the Clear Expatriate In Twos Be With Me Ages and Ages Love at First Word I am He Stay in My Arms As if a Phantom Caressed Me The Rose Song Vanzetti’s Last Statement Modest Maid Never Get Lost Emily Starring William Fisher, Narrator Professor of Theatre, Butler University Luke Barath, Munster, IN – Class of 2025 Annie Brown, Geneva, IL – Class of 2021 Adrian Daeger, Indianapolis, IN – Class of 2021 Marianne Marten, Whiteland, IN – Class of 2023 Spencer Michaels, Traverse City, MI – Class of 2025 Meg Schiliro, Elmhurst, IL – Class of 2023 Sophie Strasheim, St. Louis, MO – Class of 2022 Featuring Luke Barath as Marc Blitzstein Sophie Strasheim as his sister, Jo Blitzstein Adrian Daeger as his, wife Eva Goldbeck Jordan College of the Arts | Butler University | 4600 Sunset Ave | Indianapolis, IN | 46208 Producing Director Dr. Oliver Worthington Assistant Professor of Music Music Director and Pianist/Arranger James Caraher Adjunct Instructor of Music Production Manager Deborah Jo Knopick-Barrett Production/Stage Manager, Jordan College of the Arts Videographer, Editor, and Sound Engineer Gavin Zawacki, Wilmette, IL – Class of 2021 Lighting Designer Cathy Sipe Technical Director, Jordan College of the Arts Costume Coordinator Megan Wiegand Costume Shop Manager, Department of Theatre Assistant Production Manager Kate Fehan, Dallas, TX – Class of 2022 Special thanks to: Cutler Armstrong, Senior Lecturer in the College of Communication Bram Sheckels, Production Manager of the Schrott Center for the Arts Kelly Schmidt, Assistant Production Manager of the Schrott Center for the Arts Aaron Hurt, Executive Director, Butler Arts and Events Center Dr. Dana Zenobi, Assistant Professor in the School of Music, Jordan College of the Arts Crown Hill Cemetery Butler Theatre College of Communication The Voice of David Murray, Director of the School of Music Dr. Lisa Brooks, Dean, Jordan College of the Arts Jordan College of the Arts | Butler University | 4600 Sunset Ave | Indianapolis, IN | 46208 JCA LAND ACKNOWLEDGEMENT STATEMENT We acknowledge that we gather here at Butler University on the traditional land of indigenous peoples including the Potawatomi, Miami, Delaware, and Shawnee. We honor with gratitude the land itself and the indigenous peoples past and present who have stewarded it throughout the generations. This calls us to commit to continuing to learn how to be better stewards of the land we inhabit, while also acknowledging that some were brought to this land not by choice. The Butler University School of Music is proud to acknowledge Meridian Piano Movers as a corporate sponsor of our programs. Jordan College of the Arts | Butler University | 4600 Sunset Ave | Indianapolis, IN | 46208 .
Load more

Recommended publications
  • Leonard Bernstein
    chapter one Young American Bernstein at Harvard In 1982, at the age of sixty-four, Leonard Bernstein included in his col- lection of his writings, Findings, some essays from his younger days that prefi gured signifi cant elements of his later adult life and career. The fi rst, “Father’s Books,” written in 1935 when he was seventeen, is about his father and the Talmud. Throughout his life, Bernstein was ever mind- ful that he was a Jew; he composed music on Jewish themes and in later years referred to himself as a “rabbi,” a teacher with a penchant to pass on scholarly learning, wisdom, and lore to orchestral musicians.1 Moreover, Bernstein came to adopt an Old Testament prophetic voice for much of his music, including his fi rst symphony, Jeremiah, and his third, Kaddish. The second essay, “The Occult,” an assignment for a freshman composi- tion class at Harvard that he wrote in 1938 when he was twenty years old, was about meeting Dimitri Mitropoulos, who inspired him to take up conducting. The third, his senior thesis of April 1939, was a virtual man- ifesto calling for an organic, vernacular, rhythmically based, distinctly American music, a music that he later championed from the podium and realized in his compositions for the Broadway stage and operatic and concert halls.2 8 Copyrighted Material Seldes 1st pages.indd 8 9/15/2008 2:48:29 PM Young American / 9 EARLY YEARS: PROPHETIC VOICE Bernstein as an Old Testament prophet? Bernstein’s father, Sam, was born in 1892 in an ultraorthodox Jewish shtetl in Russia.
    [Show full text]
  • Lost Generation.” Two Recent Del Sol Quartet Recordings Focus on Their Little-Known Chamber Music
    American Masterpieces Chamber Music Americans in Paris Like Hemingway and Fitzgerald, composers Marc Blitzstein and George Antheil were a part of the 1920s “Lost Generation.” Two recent Del Sol Quartet recordings focus on their little-known chamber music. by James M. Keller “ ou are all a lost generation,” Generation” conveyed the idea that these Gertrude Stein remarked to literary Americans abroad were left to chart Y Ernest Hemingway, who then their own paths without the compasses of turned around and used that sentence as the preceding generation, since the values an epigraph to close his 1926 novel The and expectations that had shaped their Sun Also Rises. upbringings—the rules that governed Later, in his posthumously published their lives—had changed fundamentally memoir, A Moveable Feast, Hemingway through the Great War’s horror. elaborated that Stein had not invented the We are less likely to find the term Lost locution “Lost Generation” but rather merely Generation applied to the American expa- adopted it after a garage proprietor had triate composers of that decade. In fact, used the words to scold an employee who young composers were also very likely to showed insufficient enthusiasm in repairing flee the United States for Europe during the ignition in her Model-T Ford. Not the 1920s and early ’30s, to the extent that withstanding its grease-stained origins, one-way tickets on transatlantic steamers the phrase lingered in the language as a seem to feature in the biographies of most descriptor for the brigade of American art- American composers who came of age at ists who spent time in Europe during the that moment.
    [Show full text]
  • A Study of Music As an Integral Part
    A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures.
    [Show full text]
  • The Second Instrumental Unit
    Festival Concert IV Saturday June 7, 2008 4:00 pm The American Composers Alliance presents: The Second Instrumental Unit David Fulmer, Eliot Gattegno, Marc Dana Williams, Co-Directors, and New York Women Composers, Inc. With special guests: Christopher Oldfather, piano Benjamin Fingland, clarinet, Marilyn Nonken, piano Peter Clark, baritone, Michael Fennelly, piano FIVE LIVE CONCERTS MORE THAN 30 COMPOSERS Festival Schedule: Wednesday, June 4 at 7:30pm Leonard Nimoy Thalia Thursday, June 5 at 7:30pm at Peter Norton Symphony Space Friday, June 6 at 7:30pm 2537 Broadway at 95th St. Saturday, June 7 at 4:00pm New York City Saturday, June 7 at 7:30pm Complete festival schedule of works to be performed, and additional biographical information on the composers and performers, link at www.composers.com The American Composers Alliance is a not-for-profit corporation. This event is made possible in part, with funds from the Argosy Foundation, BMI, the City University Research Fund, the Alice M. Ditson Fund of Columbia University, NYU Arts and Sciences Department of Music, and other generous foundations, businesses, and individuals. 1 The Second Instrumental Unit David Fulmer, Eliot Gattegno, Marc Dana Williams, Co-Directors New York Women Composers, Inc. Marc Dana Williams, conductor All performers from the Second Instrumental Unit unless otherwise noted: Margarita Zelenaia Homage, Suite for Clarinet and Violin (2004) * Lisa Hogan Piece for Trumpet, Marimba, and String Quartet (2005) ‡ Eleanor Aversa Something Gleamed Like Electrum (2007) Margaret Fairlie-Kennedy Summer Solstice (2007) * Intermission Elizabeth Bell Night Music (1990) Christopher Oldfather, piano Beth Wiemann Erie, on the Periphery (2005)* Benjamin Fingland, clarinet Marilyn Nonken, piano Mark Blitzstein Cain (1930) * Peter Clark as “Jehovah” Michael Fennelly, piano *World premiere ‡ New York City premiere Summer Solstice, Erie, on the Periphery, CAIN, and Night Music are published or distributed by the American Composers Alliance.
    [Show full text]
  • Eric A. Gordon's Mark the Music: the Life and Work of Marc Blitzstein Collection, 1850-2011 Coll2012.121
    http://oac.cdlib.org/findaid/ark:/13030/c8g161fq No online items Finding Aid to Eric A. Gordon's Mark the Music: The Life and Work of Marc Blitzstein Collection, 1850-2011 Coll2012.121 Finding aid prepared by Loni Shibuyama Processing this collection has been funded by a generous grant from the National Historical Publications and Records Commission. ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California 909 West Adams Boulevard Los Angeles, California, 90007 (213) 741-0094 [email protected] (c) 2012 Coll2012.121 1 Title: Eric A. Gordon's Mark the Music: The Life and Work of Marc Blitzstein Collection Identifier/Call Number: Coll2012.121 Contributing Institution: ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California Language of Material: English Physical Description: 6.0 linear feet.5 archives boxes + 1 archive binder box + 1 archive flat box. Date (bulk): Bulk, 1980-1991 Date (inclusive): 1850-2011 Abstract: Correspondence, playbills, programs, clippings, photographs, notes, grant proposals and other research material collected for the book, Mark the Music: The Life and Work of Marc Blitzstein (St. Martin's Press, 1989), by Eric A. Gordon. An American composer and gay man, Marc Blitzstein is perhaps most well-known for his 1937 musical, The Cradle Will Rock. The collection includes materials documenting Blitzstein's musical works, as well as correspondence files between biographer Eric A. Gordon and Blitzstein's family, friends and collaborators. creator: Gordon, Eric A., 1945- Biography on Marc Blitzstein Marc Blitzstein was born in Philadelphia, March 2, 1905. At the age of 6, he played his first solo piano recital in public; at 16, he performed a piano concert with the Philadelphia Symphony.
    [Show full text]
  • Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio By AKIHIRO TANIGUCHI A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2003 Copyright ©2003 Akihiro Taniguchi All Rights Reserved The members of the Committee approve the dissertation of Akihiro Taniguchi defended on 15 May 2003. ______________________________ Charles E. Brewer Professor Directing Dissertation ______________________________ Jane Piper Clendinning Outside Committee Member ______________________________ Denise Von Glahn Committee Member ______________________________ Michael B. Bakan Committee Member Approved: ________________________________________________________ Jon Piersol, Dean, School of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ........................................................................................................................ v List of Music Examples........................................................................................................
    [Show full text]
  • Blitzstein's Musical Legacy Remarks Shared by Elizabeth Blaufox
    Blitzstein’s Musical Legacy Remarks shared by Elizabeth Blaufox, Associate Director for Programs and Promotion, Kurt Weill Foundation for Music, at the installation of a historical marker at the birthplace of Marc Blitzstein, 419 Pine Street, Philadelphia, PA, 12 June 2017. Marc Blitzstein is best remembered for two works: The first is his 1937 agit-prop musical The Cradle Will Rock, made famous by the spectacle that ensued when the government attempted to shut down the production on opening night. The second is his English-language adaptation of Kurt Weill and Bertolt Brecht’s musical theater piece, Die Dreigroschenoper, or as it is known in English, The Threepenny Opera. Threepenny, though an instant success when it premiered in Berlin in 1928, was virtually unknown in America. An earlier attempt at an English translation flopped on Broadway in 1933, closing after only twelve performances. Weill, who immigrated to the US in 1935, had since gone on to stake out other successes on Broadway with such shows as Lady in the Dark, One Touch of Venus, and Street Scene. According to Blitzstein, in January 1950 he telephoned Weill to tell him that he had made a translation of "Pirate Jenny" and sang it over the phone to Weill and his wife, Lotte Lenya. Weill responded, “I think you’ve hit it. After all these years….Marc, do it all, why don’t you?...You’re the one for it!” Though Blitzstein did not complete the adaptation until after Weill’s death in 1950, he was assured by Lenya that it would have met with Weill’s approval.
    [Show full text]
  • Staging Orson Welles
    STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences.
    [Show full text]
  • Robert J. Dietz-The Operatic Style of Marc Blitzstein in the American (( Agit-Prop" Era
    Robert J. Dietz-The Operatic Style of Marc Blitzstein in the American (( Agit-Prop" Era Ann Arbor: University Microfilms (UM order no. 70-15,591, 1970. 475 pp., University of Iowa diss.) Edward Berlin As part of an ongoing study of music in the United States between the World Wars, Dr. Dietz focuses in this dissertation upon the period of the Depression and on a single artistic manifestation of that era, as represented by Marc Blitzstein. The scope of the essay is exceedingly broad, encompassing social, economic, and political aspects, as well as the relevant musical and theatrical trends. This overview, an attempt to capture the very spirit of the era, is wholly appropriate, for Blitzstein was an outspoken participant in society, an artist notably conscious of his role and responsibilities. Dr. Dietz's organization is clear and logical. As background he considers Blitzstein's early training and influences; the effect of social and economic conditions on the arts; federal support of music and theater; the influence of labor movements on theater; and the influences of Brecht, Weill, and Eisler. Following this section is an account of Blitzstein's musical and theatrical activities between 1936 and 1941 which concentrates on two stage productions, The Cradle Will Rock and No for an Answer, and a song-play for radio, I've Got the Tune. The final portion is devoted to an examination of the music. The biographical outline draws upon personal papers on deposit at the State Historical Society of Wisconsin, letters from Blitzstein to Dr. Dietz (1963), and published materials.
    [Show full text]
  • RESOURCES for the Beggar's Opera and the Threepenny Opera
    RESOURCES FOR The Beggar’s Opera and T he ThreePenny Opera The Beggar’s Opera Resources: The Beggar’s Opera by John Gay, Penguin Classics Books paperback, 1986. ISBN-13: 978-0-14-043220-6 Polly Peachum – Being the story of Lavinia Fenton and the Beggar’s Opera , Charles Pearce, Great Britain. (From GoogleBooks) Oxford Companion to English Literature, Oxford University Press, 6 th edition WWW.Wikipedia.com and other Internet resources, including YouTube.com clips DVD: The Beggar’s Opera, adapted by Christopher Fry. Produced by Warner Brothers, with Laurence Olivier as Macheath. Director: Peter Brook. 1954. Music CD: The Beggar’s Opera, London, Hyperion Records, 1991. The Three Penny Opera Resources: The ThreePenny Opera by Bertold Brecht, paperback, Grove Press, NY, 1960. English book by Desmond Vesey, English lyrics by Eric Bentley. ISBN 0-8021-5039-X. Bertolt Brecht – his Life, his Art and his Times, Frederic Ewen, The Citadel Press, New York, 1967. Oxford Companion to English Literature, Oxford University Press, 6 th edition Wikipedia and other Internet sources, e.g., KWF.org (for Kurt Weill), www.theatredatabase.com Other Internet resources, including YouTube.com clips Music CD: complete score of Broadway production at Theater de Lys, New York City, 1955 or later, Decca Broadway Original Cast Album, translation by Marc Blitzstein from the German. Featuring Scott Merrill, Martin Wolfson, Jo Sullivan, Charlotte Rae, Gerald Price, Beatrice Arthur and Lotte Lenya. Note: this was the first cast album of an off-Broadway show ever made. Movies (VHS): The ThreePenny Opera by G.W. Pabst, in German with English subtitles, 1931.
    [Show full text]
  • Ira Gershwin 6 December 1896-17 August 1983 100 Years Bruce D
    Volume 14 Kurt Weill Number 2 Newsletter Fall 1996 Ira Gershwin 6 December 1896-17 August 1983 100 Years bruce d. mcclung and miles kreuger examine the weill-gershwin collaboration Volume 14 In this issue Kurt Weill Number 2 Newsletter Fall 1996 Ira Gershwin—100 Years Life after George: The Genesis of Lady in the Dark’s Circus Dream 4 bruce d. mcclung ISSN 0899-6407 Some Words About © 1996 Kurt Weill Foundation for Music Where Do We Go From Here? 10 7 East 20th Street Miles Kreuger New York, NY 10003-1106 tel. (212) 505-5240 Books fax (212) 353-9663 Die Dreigroschenoper: A Facsimile of the Holograph Full Score (Kurt Weill Edition) 13 The Newsletter is published to provide an open forum Hermann Danuser wherein interested readers may express a variety of opin- The American Musical Theatre Song Encyclopedia ions. The opinions expressed do not necessarily represent by Thomas S. Hischak 14 the publisher’s official viewpoint. The editor encourages the Celso Loureiro Chaves submission of articles, reviews, and news items for inclusion in future issues. Ira Gershwin: The Art of the Lyricist by Philip Furia 16 David Anthony Fox Teaching New Classicality: Ferruccio Busoni’s Master Staff Class in Composition by Tamara Levitz 17 David Farneth, Editor Lys Symonette, Translator Stephen Hinton Edward Harsh, Associate Editor Dave Stein, Production Performances Joanna Lee, Associate Editor Brian Butcher, Production One Touch of Venus in New York 18 Kurt Weill Foundation Trustees Jon Alan Conrad Kim Kowalke, President Paul Epstein Der Protagonist in New
    [Show full text]
  • ''THE THREEPENNY OPERA" B:, Bert Brecht and Kurt Weill Adapted by Marc Blitzstein
    };(.LV THIRTY-NINTH SEASON 1962-83 2355 East 89th Street CLEVELAND 6, OHIO · presents ''THE THREEPENNY OPERA" b:, Bert Brecht and Kurt Weill adapted by Marc Blitzstein September 18th--October 13th ARENA THEATRE "THE THREEPENNY OPERA" Adapted by Marc Blitzstein Music by Kurt Weill Original Text by Bert Brecht * • * Directed by Benno D. Frank Music Director J. Harold Brown Lights & Setting by Leonard Dryansky Choreography by Maurice Nystrom * * * CAST OF CHARACTERS STREETSINGER (alias Matt) Tom Grabien Chuck Storey MR. J. J. PEACHUM George Gould MRS. PEACHUM Martha Gillespie Mary Bradley Marable POLLY PEACHUM Mary Fulton Elinor McGreevey MACHEATH (Mack the Knife) George Bishop Damon Brazwell JENNY Providence Hollander, Gwenn Yarnell REVEREND KIMBALL Norman Honaiuto TIGER BROWN (Commissioner of Police) Victor Karp, George Probst WARDEN SMITH Norman Bonaiuto LUCY HROW'N Betty Appling, Norma Powell MACK'S GANG: JAKE Robert Fontaine, Tom Klasek BOB (The Saw) Nathaniel c. Barnett Percy Marshall WALT DREARY Joe Fields, Clarence Langley GI1{LS: BETTY Helen Porter MOLLY Ellen Thornton COAXER J. Vanleer Williams C0NSTA8LE William Terrance .t3E GGAR Joe Fields FILCH William Terrance VICTORIA'S MESSENGER Victor Karp George Probst MUSICAL •NUMBERS ACT ONE 1. OVERTURE 2. BALLAD OF MACK T~E KNIFE Streetsinger 3. MORNING ANTHEM P~ac~µm 4 • . INSTEAD OF SONG Peachum, Mrs. Peachum 5. WEDDING SONG Macheath's Gang 6. TH E SIDE-A-WE~ IN SONG Polly 7. ARMY S0NG Macheath, Tiger Brown, Gang 8. LOVE SONG Macheath, Polly 9. :BALLAD OF DEPENDENCY Mrs. Pea chum 10. 1ST FINPLE THE W~RLD IS MEAN Polly, Peachum, Mr,s • .Pe,cht,tt11 I N T E R M I S S I O N .
    [Show full text]