Letters Shed New Light on Bernstein Era by Mark Horowitz
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Spring/Summer 2016
News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else. -
Explore Unknown Music with the Toccata Discovery Club
Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics is exploring it. To link label and listener directly we run the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you, free on joining, two CDs, a Toccata Press book or a number of album downloads (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases as CDs or downloads, as you prefer. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details. -
TRU Speak Program 021821 XS
THEATER RESOURCES UNLIMITED VIRTUAL BENEFIT PLAYBILL TRU SPEAK Hear Our Voices! An evening of awareness to benefit THEATER RESOURCES UNLIMITED executive producer Bob Ost associate producers Iben Cenholt and Joe Nelms benefit chair Sanford Silverberg plays produced by Jonathan Hogue, Stephanie Pope Lofgren, James Rocco, Claudia Zahn assistant to the producers Maureen Condon technical coordinator Iben Cenholt/RuneFilms editor-technologists Iben Cenholt/RuneFilms, Andrea Lynn Green, Carley Santori, Henry Garrou/Whitetree, LLC video editors Sam Berland/Play It Again Sam’s Video Productions, Joe Nelms art direction & graphics Gary Hughes casting by Jamibeth Margolis Casting Social Media Coordinator Jeslie Pineda featuring MAGGIE BAIRD • BRENDAN BRADLEY • BRENDA BRAXTON JIM BROCHU • NICK CEARLEY • ROBERT CUCCIOLI • ANDREA LYNN GREEN ANN HARADA • DICKIE HEARTS • CADY HUFFMAN • CRYSTAL KELLOGG WILL MADER • LAUREN MOLINA • JANA ROBBINS • REGINA TAYLOR CRYSTAL TIGNEY • TATIANA WECHSLER with Robert Batiste, Jianzi Colon-Soto, Gha'il Rhodes Benjamin, Adante Carter, Tyrone Hall, Shariff Sinclair, Taiya, and Stephanie Pope Lofgren as the Voice of TRU special appearances by JERRY MITCHELL • BAAYORK LEE • JAMES MORGAN • JILL PAICE TONYA PINKINS •DOMINIQUE SHARPTON • RON SIMONS HALEY SWINDAL • CHERYL WIESENFELD TRUSpeak VIP After Party hosted by Write Act Repertory TRUSpeak VIP After Party production and tech John Lant, Tamra Pica, Iben Cenholt, Jennifer Stewart, Emily Pierce Virtual Happy Hour an online musical by Richard Castle & Matthew Levine directed -
Leonard Bernstein's MASS
27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII. -
Mark-Anthony Turnage Mambo, Blues and Tarantella Riffs and Refrains | Texan Tenebrae on Opened Ground | Lullaby for Hans
Mark-anthony turnage MaMbo, blues aND TaraNTella riffs aND refraiNs | TexaN TeNebrae oN opeNeD GrouND | lullaby for HaNs vladiMir jurowski, Marin alsop and Markus stenZ conductors Christian tetZlaFF violin MiChael Collins clarinet lawrenCe power viola london philharMoniC orChestra LPO-0066 Turnage booklet.indd 1 7/26/2012 11:35:49 AM Mark-anthony turnage advocate. He continued his studies at the senior College with Knussen and Knussen’s own teacher John Lambert, and at the Tanglewood summer school in New England with Gunther Schuller. Through Tanglewood, he also came into contact with Hans Werner Henze, who kick-started Turnage’s international career by commissioning an opera for the 1988 Munich Biennale festival, an adaptation of Steven Berkoff’s play Greek. AL Turnage’s subsequent career has been defined largely by collaborations, both with enaP Ar / improvising jazz performers and in a series of d ar residencies, which have allowed him to develop tw pieces under the workshop conditions he Ga prefers. These have included associations with Philip the City of Birmingham Symphony Orchestra, © leading to several high-profile premières under Simon Rattle; with English National Opera, Mark-Anthony Turnage is a composer widely culminating in 2000 in his second full-length admired for his distinctive blending of jazz and opera, The Silver Tassie; with the BBC Symphony contemporary classical traditions, high energy Orchestra in London; and with the Chicago and elegiac lyricism, hard and soft edges. Born Symphony Orchestra. He was the London in Essex, he began inventing music to enliven Philharmonic Orchestra’s Composer in Focus his childhood piano practice. -
Little Shop of Horrors
PRESENTS LITTLE SHOP OF HORRORS Book and Lyrics by Music by HOWARD ASHMAN ALAN MENKEN Based on the film by Roger Corman Screenplay by Charles Griffith Directed by Bill Fennelly September 10 – October 16, 2016 Artistic Director | Chris Coleman LITTLE SHOP OF HORRORS Music by Book and Lyrics by ALAN MENKEN HOWARD ASHMAN Based on the film by Roger Corman Screenplay by Charles Griffith Directed by Bill Fennelly Music Supervisor Choreographer Scenic Designer Rick Lewis Kent Zimmerman Michael Schweikardt Costume Designer Lighting Designer Sound Designer Kathleen Geldard William C. Kirkham Casi Pacilio Original Vocal Original Orchestrations Fight Director Arrangements Robert Merkin John Armour Robert Billig Stage Manager Dance Captain Assistant Stage Manager Mark Tynan* Johari Nandi Mackey* JanineVanderhoff* Production Assistants New York Casting Local Casting Bailey Anne Maxwell Harriet Bass Brandon Woolley Stephen Kriz Gardner *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. CAST LIST Chiffon Johari Nandi Mackey* Crystal Alexis Tidwell* Ronnette Ebony Blake* Mushnik David Meyers* Audrey Gina Milo* Seymour Nick Cearley* Orin Jamison Stern* The Voice of Audrey II/Wino 1 Chaz Rose* Audrey II Manipulation Stephen Kriz Gardner *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Co-produced with Cincinnati Playhouse in the Park, Blake Robison, Artistic Director, and Buzz Ward, Managing Director. Originally produced by the WPA Theatre (Kyle Renick, Producing Director). Originally produced at the Orpheum Theatre, New York City, by the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization. Little Shop of Horrors was originally directed by Howard Ashman with musical staging by Edie Cowan. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
John Axelrod
JOHN AXELROD John Axelrod se graduó en 1988 en la Universidad de Harvard. Fue alumno de Leonard Bernstein, también estudió el programa para directores de la American Symphony Orchestra League y en el Conservatorio de San Petersburgo con Ilya Musin. Tras una etapa de grandes éxitos como Director Musical y Artístico del Teatro y Orquesta Sinfónica de Lucerna y como Director Musical de la Orquesta Nacional des Pays de la Loire (ONLP) es, desde 2011, Principal Director de la Orquesta Sinfónica Giuseppe Verdi de Milán y desde noviembre de 2014 Director Artístico y Musical de la Real Orquesta Sinfónica de Sevilla. Ha dirigido más de 150 orquestas, entre las que se encuentran en Europa la Berlin Rundfunk-Sinfonieorchester, NDR Hamburg Symphony, Gürzenich-Orchester Köln, Leizpig Gewandhaus Orchestra, Dresdner Philharmonic, Israel Philharmonic, Orquesta de París, Orquesta Nacional de Lyon, Royal Philharmonic de Londres, London Philharmonic, London Philharmonia, Orquesta de la Suisse Romande, Accademia Nazionale di Santa Cecilia Orchestra, Orquesta Sinfónica Nacinal de la RAI, Orquesta Filarmónica del Teatro La Fenice, Orquesta del Teatro San Carlo de Nápoles, Royal Stockholm Philharmonic, Danish National, Filarmónica de Oslo, Orquesta de la Radio de Suecia, Filarmónica Nacional de Rusia, , Salzburg Mozarteum, Camerata Salzburg, Orquestas Sinfonia y Filarmónica de Varsovia… En Norteamérica y Asia hay que destacar la Toronto Symphony, National Symphony Orchestra, Orquesta de Filadelfia, Chicago Symphony, NHK Symphony Orchestra de Tokio, Kyoto Symphony, Orquesta Sinfónica Nacional de Taiwan y la Sinfónica de Shanghai. Su actividad operística incluye el estreno de Candide de Bernstein en el Teatro du Châtelet de París en 2006 y en el Teatro de la Scala de Milán en 2007. -
View PDF Online
MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
General - Entertainment” of the Betty Ford White House Papers, 1973-1977 at the Gerald R
The original documents are located in Box 48, folder “General - Entertainment” of the Betty Ford White House Papers, 1973-1977 at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Betty Ford donated to the United States of America her copyrights in all of her unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. I NI'\ldS - S 3:;)N\ffid - V u-e.:rr - £# N'\ld'\li' - C: ~-1 ·~21 s~aNNIQ ari a~IHM t; OJ.ON. I HS V M 3SOOH 3.llHM 3HJ_ L THE WHITE HOUSE WASHINGTON WHITE HOUSE ENTERTAINMENT - PRESIDENT FORD DATE FUNCTION ENTERTA INMENT 8/16/74 STATE DINNER HONORING H<Ji7ARD DEVRON AND KING HUSSEIN (JORDAN) HIS ORCHESTRA STATE DINNER HONORING EUGENE FODOR, VIOLINIST PRIME MINISTER RABIN NORMAN SCRIBNER, (ISRAEL) ACCOMPANIST 9/25/74 STATE DINNER HONORING THE NEW ENGLAND THE PRESIDENT OF THE CONSERVATORY RAGTIME ITALIAN REPUBLIC ENSEMBLE AND MRS. LEONE 10/5/74 DIPLOMATIC CORPS MEYER DAVIS ORCHESTRA RECEPTION 10/8/74 STATE BINNER HONORING CLAUDE KIPNIS MIME HIS EXCELLENCY EDWARD GIEREK THEATRE FIRST SECRETARY OF THE CENTRAL COMMITTEE OF THE POLISH UNITED WORKER"S PARTY AND MRS. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Roberto Sierra's Missa Latina: Musical Analysis and Historical Perpectives Jose Rivera
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Roberto Sierra's Missa Latina: Musical Analysis and Historical Perpectives Jose Rivera Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ROBERTO SIERRA’S MISSA LATINA: MUSICAL ANALYSIS AND HISTORICAL PERPECTIVES By JOSE RIVERA A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 Copyright © 2006 Jose Rivera All Rights Reserved To my lovely wife Mabel, and children Carla and Cristian for their unconditional love and support. ii ACKNOWLEDGEMENTS This work has been possible with the collaboration, inspiration and encouragement of many individuals. The author wishes to thank advisors Dr. Timothy Hoekman and Dr. Kevin Fenton for their guidance and encouragement throughout my graduate education and in the writing of this document. Dr. Judy Bowers, has shepherd me throughout my graduate degrees. She is a Master Teacher whom I deeply admire and respect. Thank you for sharing your passion for teaching music. Dr. Andre Thomas been a constant source of inspiration and light throughout my college music education. Thank you for always reminding your students to aim for musical excellence from their mind, heart, and soul. It is with deepest gratitude that the author wishes to acknowledge David Murray, Subito Music Publishing, and composer Roberto Sierra for granting permission to reprint choral music excerpts discussed in this document. I would also like to thank Leonard Slatkin, Norman Scribner, Joseph Holt, and the staff of the Choral Arts Society of Washington for allowing me to attend their rehearsals.