DOCSLIB.ORG

March 2021 Volume 2 Number 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
March 2021 Volume 2 Number 3 C O N T E N T S March 2021 Volume 2 Number 3 Kirsten Norman leads LaVonne Yazzie you through our March gives a detailed newsletter. She previews review of the what you’ll discover in successful 2021 Coro this engaging issue Lux annual Janfest virtual event Go to the article Go to the article Dr. Joe Alcorn offers the Bradley Ellingboe gives latest news on the covid- his insights on Igor 19 virus and a forecast of Stravinsky and his what singers can expect Symphony of Psalms in the coming months Go to the article Go to the article Ashley Jonkman Doing good as reports on her we do well interview with Giving the highest George Arthur, Coro quality performances, Lux Board President we also give back to the community Go to the article Go to the article Great ways to financially Performances by help Coro Lux other local music For donors, it is about organizations leaving a legacy and Find out about insuring their gifts their future concert support the values and schedules and cyber causes that are most events important to them Go to the article Go to the article A brief introduction to the articles you’ll find in our March issue by Kirsten Norman Welcome to the March Coro Lux newsletter! With COVID-19 vaccinations underway, and some easing of restrictions around the state, it feels like it could actually be spring here in New Mexico. I say it could be spring, as in most of the country it feels like someone left the freezer door open to the Arctic Cir- cle, turning half of North America into one giant frozen popsi- cle. While we wait to defrost, here’s a bunch of new Coro Lux article to keep you entertained. This month we have a nice variety of articles for you. Ash- ley Jonkman has a great interview with George Arthur, our multi-talented Coro Lux Board President and bass. George has been with Coro Lux since its inception and with an extraordi- nary art background has been invaluable to Coro Lux as our graphic designer. LaVonne Yazzie has written a wonderful recap of our third annual MLK JanFest celebration, In the Time of COVID: Singing in a Strange Land. Finally, our Artistic Director Brad Ellingboe dives into the world of Igor Stravinsky, specif- ically his Symphony of Psalms. Once Coro Lux begins regular performances, which we hope will be soon, you can expect to see Symphony of Psalms as part of our upcoming repertoire. Until next time, stay warm and please stay connected in song! Return to the contents page The Symphony of Psalms is a three-movement choral symphony composed by Igor Stravinsky in 1930 during his neoclassical period. The symphony derives its name from the use of Psalm texts in the choral parts. Igor Stravinsky Highlights of 2021 MLK Janfest “In the time of covid: Singing in a strange Land by LaVonne Yazzie LaVonne Yazzie The new year started off with a bang for Coro Lux in the form of our 3rd Annual MLK JanFest virtual celebration presented on January 16th. This year’s festival theme, “In the Time of COVID: Singing in a Strange Land,” was a beautiful testimony to the strange times that we are living in at present, while detailing the musical history of the African American spiritual and black gospel music and how these two genres influenced the civil rights movement from the 1960’s that continues today. The celebration kicked off with the lecture “Medical Perspectives: Singing in the Pandemic” by Dr. Joe Alcorn, a bass singer in Coro Lux who is also a Doctor of Medicine, and a retired medical Poster with Dr. Rollo Dilworth pictured professor at the University of New Mexico. Dr. Alcorn, who provides updates on the novel coronavirus in the Coro Lux monthly bulletin, explains how the novel coronavirus affects the human body in a biological lecture, explaining how the virus’ spike proteins are integral to the way this virus infects its host by hijacking the body’s hardware to produce their own virus cells. Dr. Alcorn clarifies that the “seriousness is not due to its lethalness, but its infectiousness,” with the epidemic showing that some (Article continued on following page ) (JanFest continued) individuals are more at risk, specifically people of color, populations with co-existing conditions, varying levels of fitness, nutrition, immune function and behavior. As for choral singing, Dr. Alcorn explains “singing is just as effective as coughing and sneezing in spreading this virus,” encouraging COVID-prevention practices like wearing a mask and social distancing, ultimately closing with the reflection, “how we fare depends upon our neighbors nearly as much as ourselves.” The virtual celebration continued with the lecture “Spirituals and Gospel Songs: Singing in a Strange Time” by Dr. James “Jimmy” Abbington, Associate Professor Dr. Joe Alcorn of Church Music and Worship at Candler School of Theology at Emory University, and a well-known teacher, compiler, and historian of church music, and the second African American hymnodist to be elected as a Hymn Society fellow. Dr. Abbington opens with Psalm 137, where the Israelite captives have been requested to sing joyful songs for their Babylonian captors, to which they respond: “How can we sing the songs of the Lord while in a foreign land?” Dr. Abbington muses, “Much like the children of Israel, we are living in a strange land and in a strange time.” Dr. Abbington details two indigenous American genres of music, the negro spiritual and black gospel music. The negro spiritual is an “outstanding branch of folklore, and as folk music, it is apart of a musical tradition that has been evolved through the process of oral transmission.” Citing Dr. Uzee Brown, the negro spiritual was a slave survival tool with four characteristics: spirituality, creative ingenuity, adaptability, and the will the persevere. On the other hand, the development of black gospel music began at the turn of the 20th century (Article continued on following page ) (JanFest continued) as congregational music, primarily in Pentecostal congregations before moving to urban settings in cities like Chicago and New Orleans where it was influenced by jazz and blues. Dr. Abbington shares the life of Howard Thurman, a renowned American author, philosopher, There’s a time theologian, educator for applause, and civil rights leader who was a mentor to and a time for a Martin Luther King helping hand Jr. and who studied spirituals extensively. Although many of our activities Dr. Abbington also cites have been curtailed by the need to quarantine, nonetheless, our Charles A. Tindley, a expenses continue. As we do prolific hymn writer everything in our power to and progeniture of emerge from this pandemic as a black gospel music healthy organization, we ask that who pastored during you consider making a contribution. World War I, the 1918 Coro Lux is a 501(c)(3) non-profit Flu Epidemic, and the and all donations are Great Depression. tax-deductible as allowed by law. Go here to donate: Dr. James Abbington The virtual MLK https://abqcorolux.org/donations/ Janfest closed with the lecture “African American Music & Social Justice” by Dr. Rollo Dilworth, Professor of Choral Music Education at Temple University. Dr. Dilworth delves into the relationship between the African American spiritual and how it functions in today’s climate, reflecting on “George Floyd and We’re on Breonna Taylor and so many others who have lost their lives over the past year as a result of racial YouTube! discrimination and violence.” The African American spiritual played an important role during the time of slavery as it was the means of communicating coded messages, and since the modern-day civil rights movement has its roots in the deep South, spirituals were perfect for “the moment to move forward social justice causes.” In closing, the 3rd annual MLK JanFest teaches that African American spirituals and black gospel music, though created during the darkest type of oppression, are examples of the ongoing fight against the evils of racism and discrimination. Though COVID-19 has affected the art of choral music in an oppressive, physiological manner, it Check us out. still allows for optimistic hope for an end to the https://www.youtube.com/ pandemic and the restoration of choral singing for channel/UC7MYTsW_bnjJun31GBHjwjQ all peoples. Return to the contents page Covid-19 update: Viral mutation and human vaccination by Dr. Joe Alcorn The most commanding aspect of the ongoing COVID-19 pandemic now is probably the interplay of viral mutation and human vaccination. Almost anything I write today about this interaction will be superseded by the time this newsletter is available. But we’ll be better able to understand the evolving story if we try and clarify some of the concepts and nomenclature. Therefore I want to review the vocabulary of “mutations” in context . And though it is (mostly) SARS CoV 2 mutations that are in the News, I will start more generally because it’s easy to forget what an integral part of Life’s variety is attributable to mutation - they are not just the sinister ploys of a menacing virus! I’ll assume a basic working knowledge of the virus which, if you have the time can be reviewed on this video: Anyone interested in a deeper dive into vaccination and the immune system itself will find a lucid article in The Atlantic from last summer: https://www.theatlantic.com/health/ archive/2020/08/covid-19-immunity-is-the-pandemics- central-mystery/614956/ Mutant Spawn My brothers like to refer to my sons as Mutant Spawn. And I bet any fifth grader would define a Mutant more or less as (Article continued on following page) (Covid contunued) someone with an inborn error of development that results in the ability to emit magnetic rays or fire or some kind of freezing substance - always from the extended hands, never from the elbow or ankle as near as I can tell.
Load more

Recommended publications
  • Igor Stravinsky
    Igor Stravinsky Source: http://www.8notes.com/biographies/stravinsky.asp ‘Even during his lifetime, Igor Stravinsky (1882-1971) was a legendary figure. His once revolutionary work were modern classics, and he influenced three generations of composers and other artists. Cultural giants like Picasso and T. S. Eliot were his friends. President John F. Kennedy honored him at a White House dinner in his eightieth year. 'Stavinsky was born in Oranienbaum, Russia, near St. Petersburg (Leningrad), grew up in a musical atmosphere, and studied with Nikolai Rimsky-Korsakov. He had his first important opportunity in 1909, when the impresario Sergei Diaghilev heard his music. Diaghilev was the director of the Russian Ballet, an extremely influential troupe which employed great painters as well as important dances, choreographers, and composers. Diaghilev first asked Stravinsky to orchestrate some piano pieces by Chopin as ballet music and then, in 1910, commissioned an original ballet, The Firebird, which was immensely successful. A year later (1911), Stravinsky's second ballet, Petrushka, was performed, and Stravinsky was hailed as a modern master. When his third ballet, The Rite of Spring (a savage, brutal portrayal of a prehistoric ritual in which a young girl is sacrificed to the god of Spring.), had its premiere in Paris in 1913, a riot erupted in the audience--spectators were shocked and outraged by its pagan primitivism, harsh dissonance, percussiveness, and pounding rhythms--but it too was recognized as a masterpiece and influenced composers all over the world. 'During World War I, Stravinsky sought refuge in Switzerland; after the armistice, he moved to France, his home until the onset of World War II, when he came to the United States.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
    [Show full text]
  • A Level Schools Concert November 2014
    A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter.
    [Show full text]
  • STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
    STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St.
    [Show full text]
  • Stravinsky Oedipus
    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
    [Show full text]
  • Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A
    Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19.
    [Show full text]
  • Sergei Diaghilev's Ballets Russes in the Context of Symbolism Andrey Konovalov1,A Liudmila Mikheeva2,* Yulia Gushchina3,B
    Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Sergei Diaghilev's Ballets Russes in the Context of Symbolism Andrey Konovalov1,a Liudmila Mikheeva2,* Yulia Gushchina3,b 1 Institute of Fine Arts, Moscow Pedagogical State University, Moscow, Russia 2 Department of General Humanitarian Disciplines, Russian State Specialized Academy of Arts, Moscow, Russia 3 Likhachev Russian Research Institute for Cultural and Natural Heritage, Moscow, Russia a Email: [email protected] b Email: [email protected] *Corresponding author. Email: [email protected] ABSTRACT The present article focuses on the artistic culture of the Silver Age and the remarkable creative atmosphere of Russia at the turn of the 20th century characterized by the synthesis of arts: drama, opera, ballet, and scenography. A key figure of the period was Sergei Diaghilev, the editor and publisher of the magazines Mir Iskusstva (World of Art) and The Yearbook of the Imperial Theatres, the founder of the famous Ballets Russes in Paris, the organizer of exhibitions of Russian artists of different schools and movements. The article studies the features of Symbolism as an artistic movement and philosophy of art of the Silver Age, a spiritual quest of artistic people of the time, and related and divergent interests of representatives of different schools and trends. The Silver Age is considered the most sophisticated and creative period of Russian culture, the time of efflorescence, human spirit, creativity, the rise of social forces, general renewal, in other words, Russian spiritual and cultural renaissance.
    [Show full text]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye's À La Manière De Stravinsky Pour Trombone Et Piano
    A COMPARISON OF RHYTHM, ARTICULATION, AND HARMONY IN JEAN- MICHEL DEFAYE’S À LA MANIÈRE DE STRAVINSKY POUR TROMBONE ET PIANO TO COM MON COMPOSITIONAL STRATEGIES OF IGOR STRAVINSKY Dustin Kyle Mullins, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Tony Baker, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Mullins, Dustin Kyle. A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye’s À la Manière de Stravinsky pour Trombone et Piano to Common Compositional Strategies of Igor Stravinsky. Doctor of Musical Arts (Performance), August 2014, 45 pp., 2 tables, 27 examples, references, 28 titles. À la Manière de Stravinsky is one piece in a series of works composed by Jean- Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire.
    [Show full text]
  • Cristian Macelaru Conductor Yefim Bronfman Piano Debussy Prelude
    Please note that Pierre Boulez has withdrawn from these concerts due to illness. the Cso welcomes Cristian macelaru, who has graciously agreed to conduct. Please note that Bartók’s Divertimento for string orchestra replaces messiaen’s Chronochromie. Program oNe HuNDreD TweNTY-SeCoND SeASoN Chicago symphony orchestra riccardo muti Music Director Pierre Boulez Helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, March 7, 2013, at 8:00 Saturday, March 9, 2013, at 8:00 Tuesday, March 12, 2013, at 7:30 Cristian macelaru Conductor Yefim BronfmanPiano Debussy Prelude to The Afternoon of a Faun Bartók Piano Concerto No. 2 Allegro Adagio—Presto—Adagio Allegro molto YefiM BroNfMAN IntermIssIon Bartók Divertimento for String orchestra Allegro non troppo Molto adagio Allegro assai stravinsky The Song of the Nightingale CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Claude Debussy Born August 22, 1862, Saint-Germain-en-Laye, France. Died March 25, 1918, Paris, France. Prelude to The Afternoon of a Faun he year Debussy returned to and the lively exchange of ideas, TParis from Rome—where and in time he and Mallarmé he unhappily served time as the became friends. In 1898, he was upshot of winning the coveted Prix among those first notified of the de Rome—he bought a copy of poet’s death. Stéphane Mallarmé’s The Afternoon Mallarmé’s poem, The Afternoon of a Faun to give to his friend Paul of a Faun, was published in 1876, Dukas, who didn’t get beyond the in a slim, elegantly bound volume preliminary round of the competi- with a line drawing by Edouard tion.
    [Show full text]
  • The University of Chicago an Experience-Oriented
    THE UNIVERSITY OF CHICAGO AN EXPERIENCE-ORIENTED APPROACH TO ANALYZING STRAVINSKY’S NEOCLASSICISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY SARAH MARIE IKER CHICAGO, ILLINOIS AUGUST 2017 CONTENTS List of Figures ...................................................................................................................................... iv List of Tables ..................................................................................................................................... viii Acknowledgments ............................................................................................................................... ix Abstract .................................................................................................................................................. x Introduction: Analysis, Experience, and Experience-Oriented Analysis ..................................... 1 1 Neoclassicism, Analysis, and Experience ................................................................................ 10 1.1 Neoclassicism After the Great War ................................................................................. 10 1.2 Analyzing Neoclassicism: Problems and Solutions ....................................................... 18 1.3 Whence Listener Experience? ........................................................................................... 37 1.4 The Problem of Historicism ............................................................................................
    [Show full text]
  • PROGRAM NOTES Igor Stravinsky Pulcinella, Ballet in One Act with Song
    PROGRAM NOTES by Phillip Huscher Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Pulcinella, Ballet in One Act with Song Stravinsky began the ballet Pulcinella in the late summer of 1919 and completed it on April 20, 1920. It was premiered on May 15 of that year by the Ballets Russes, at the Paris Opera. The complete score calls for soprano, tenor, and bass soloists, with an orchestra of two flutes, two oboes, two bassoons, two horns, trumpet, trombone, tenor and bass trombone, a quintet of solo strings, and orchestral strings. Performance time is approximately forty minutes. The Chicago Symphony Orchestra first performed the suite from Stravinsky's Pulcinella on subscription concerts at Orchestra Hall on July 17 and 18, 1935, with the composer conducting. Stravinsky also conducted the Orchestra's first performance of the complete ballet score on a special concert at Orchestra Hall on April 17, 1965, with Irene Jordan, Nicholas di Virgilio, and Donald Gramm as soloists. The first subscription concert performances of the complete ballet were given on March 8, 9, and 10, 1973, with Bethany Beardslee, Robert Johnson, and Leslie Gunn as soloists and Lukas Foss conducting. Our most recent subscription concert performances of the complete ballet were given on February 8, 9, and 10, 1979, with Maria Ewing, Ryland Davies, and Claudio Desderi as soloists and Claudio Abbado conducting. The suite was most recently performed on subscription concerts on November 28, 29, 30, and December 2, 1997, with Pinchas Zukerman conducting. The Orchestra first performed music from Pulcinella at the Ravinia Festival on July 12, 1970, with Michael Tilson Thomas conducting, and most recently on August 13, 1987, with Leon Fleisher conducting.
    [Show full text]