DOCSLIB.ORG

Balada 3/7/09 16:22 Page 28

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Balada 3/7/09 16:22 Page 28 660193-94 bk Balada 3/7/09 16:22 Page 28 Also available: Leonardo BALADA 2 CDs La Muerte de Colón A Sequel to Cristobal Colón Garrison • Jenkins • Mueller • Okerlund Carnegie Mellon Philharmonic and Repertory Chorus Robert Page 8.660237-38 8.660193-94 28 660193-94 bk Balada 3/7/09 16:22 Page 2 Leonardo Colón: ¡Dios mío! Perdonadme todos a quienes he Columbus: My God! Forgive me, all of you whom I decepcionado. Dios, todo son tinieblas y los rayos del have disappointed. God, everything is in darkness and BALADA infinito ciegan mi orgullo, iluminan la miseria de mi the rays from the infinite are blinding my pride, and (b. 1933) espíritu y de mis pecados. illuminating the misery of my spirit of my sins. La Muerte de Colón (1992-93, rev. 1996) ¡Perdonadme! Beatriz amada. Perdonadme, la tierra y el Forgive me beloved Beatrice. Forgive me, earth and sun. sol. Perdonadme el mar y los ríos. Perdonadme el aire, Forgive me, sea and rivers. Forgive me, air and species. (The Death of Columbus) las especies. Perdonadme los Indios, los negros, los Forgive me Indians, blacks, birds, saints. All of you, all Opera in two acts pájaros los santos. Todos, todos y Dios a quien creí of you and God, to whom I believed I was listening and escuchar y obedecer. ¡Dios mío lo que he visto para el obeying. Oh my God, what I have seen of the future Libretto by Leonardo Balada mañana no puede ser diseño de vuestra voluntad sino cannot be your will, but is a punishment for my Premièred at Carnegie Music Hall, Pittsburgh, Pennsylvania, on 15th January, 2005 castigo por mi soberbia! ¡Perdonadme todos! arrogance. Forgive me, all of you. In manus tuas Domine commando spiritum meum. In manus tuas Domine commando spiritum meum. Christopher Columbus (Cristóbal Colón) . Jon Garrison Queen Isabella (Reina Isabel) . Judith Jenkins FINE THE END Beatriz Enríquez . Katherine Mueller Mysterious Character (Personaje Misterioso) . David Okerlund Margarit / Hernando / Vespucci / Apocalyptic Character 1 . Arturo Martín Aguado / Diego [brother] / Magellan /Apocalyptic Character 2 . Dimitrie Lazich Friar Boil / Diego [son] / Zapata / Apocalyptic Character 3 . Raymond Blackwell Bobadilla / Bartholomew / Bolívar / Apocalyptic Character 4 . Milutin Lazich King Ferdinand (Rey Fernando) . Brent Stater Indian Voice (Voz India) . Katy Shackleton-Williams Choruses of Citizens, Courtiers, Indians, and Voices . Carnegie Mellon Repertory Chorus Chorus of Monks . Members of the Mendelssohn Choir Carnegie Mellon Philharmonic • Robert Page Assistant conductors: Jeff Turner, Katherine Mueller, Jeffrey Grossman, Jason Iannuzzi Production Advisor: Gregory Lehane • Executive Producer: Alan Fletcher Assistant Producer: Carson Cooman • Assistant Musical Director: Jeffrey Turner Head Coach: Karen Roethlisberger • Technical Engineer: Riccardo Schulz Score Preparation: Keith Bajura 8.660193-94 227 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 26 Personajes Apocalípticos (alternados): Tierra plana, Apocalyptic Characters (alternating): Flat earth, flat CD 1 50:10 CD 2 44:15 tierra plana... earth, etc. Voces: Nada queda. Voices: Nothing remains. Act I Act II Personajes Apocalípticos: ¡Ja, ja, ja! Apocalyptic Characters: Ha, ha, ha! Personajes Apocalípticos: Ya no quedan valles, ya no Apocalyptic Characters: No valley remains, no quedan flores, ya no quedan ríos. ¡Colón, Colón,! flowers remain, no rivers remain. Columbus, Columbus! 1 Scene 1: Barcelona: retorno de Columbus 13:04 1 Scene 1: En un poblado Indio: Danza 4:14 Beatriz and Isabel: ¡Almirante! Beatrice and Isabel: Admiral! (Columbus, Queen Isabella, King Fernando, (Indian dancers) Colón: ¡Amadísimas! Columbus: Beloved ones! a priest and helpers in baptism, Citizens, Personajes Apocalípticos: Los continentes y los mares. Apocalyptic Characters: The continents and the seas. Monks, Indians) 2 Scene 2: Lecho de Muerte n.3 2:45 Beatriz and Isabel: ¡Venid! Dadme la mano. Beatrice and Isabel: Come with me! Give me your hand! Colón: ¡No veo! Columbus: I cannot see! (Columbus, Mysterious Character, Beatriz: ¡Cristóbal! Beatrice: Christopher! 2 Scene 2: Lecho de Muerte n.1 4:45 Indians, Monks) Isabel: ¡Almirante! Isabella: Admiral. (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: Las ciudades… Apocalyptic Characters: The cities… 3 Scene 3: Amadisimas 8:29 Colón: ¡No oigo! Columbus: I cannot hear! Personajes Apocalípticos: …¡Ya no son, ya no son! Apocalyptic Characters: …they don’t exist any more! 3 Scene 3a: En un poblado Indio-Cancion 4:02 (Queen Isabella, Beatrice, Columbus) Colón (acosado por los personajes apocalípticos): Columbus (harassed by apocalyptic characters): (Indian Voice, Group of Indians in a ritual) Dejadme, no me llevéis. Release me, don’t bring me with you! 4 Scene 4: Lecho de Muerte n.4 2:41 Voces: Ay, nada queda, nada queda. Voices: Ay, nothing remains, nothing remains. 4 Scene 3b: En un poblado Indio-Pillaje 1:27 (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: (Arrastran a Colón y se Apocalyptic Characters (Dragging Columbus and ríen). (Isabel libera a Col.) laughing. Isabel frees Columbus): (Small Indian Chorus, Voices of Spaniards) Isabel: Almirante emprended el último viaje en esa Isabella: Admiral, make your last trip in this ship of 5 Scene 5: Los Heroes 8:28 nave de acero, volad al espacio, mas esta vez sin afán steel and fly through space, but this time without 5 Scene 4: Lecho de Muerte n.2 2:51 (Vespucci, Magellan, Bolívar, Zapata, de oro, y sin ánimo de gloria. Con abandono, amor y eagerness for gold or desire for glory. With abandon, (Columbus, Mysterious Character, Monks) Columbus, Mysterious Character, Monks) humildad emprended vuestra quinta travesía y love and humility, make this your fifth crossing and colonizad las estrellas celestes sin daño, dejando sus colonize the stars without harm, allowing the worlds to mundos ser. ¡Almirante, Almirante! Que sea firme be as they are. Admiral, admiral! Your undertaking 6 Scene 5: Bobadilla 7:12 6 Scene 6: Apocalipsis 9:15 vuestra empresa pero dúctil y de libertad. should be firm yet flexible, a proclamation of liberty! (Queen Isabella, King Fernando, Margarit, (Columbus, Mysterious Character, Beatriz: Cristóbal, aún en sueños subamos a esta Arca Beatrice: Christopher, even if it is a dream, let us board Aguado, Friar Boil, Bobadilla) Queen Isabella, Beatrice, Four Apocalyptic de Noé y volemos al infinito. this Noah’s Ark and fly to the infinite. Characters, Monks, Voices) Voces: Queda un monstruoso océano sin peces. Voices: Only an enormous sea without fish remains… Personajes Apocalípticos: Ja, ja, ja. Apocalyptic Characters: Ha, ha, ha. 7 Scene 6: Mirad! 4:46 (Columbus) 7 Scene 7: Perdonadme 8:24 7 Escena II-7 Scene II-7 (Columbus, Monks) “¡Perdonadme!” Forgive me! 8 Scene 7: Jerusalen 6:57 (en el lecho de muerte) (on the death-bed) (Queen Isabella, King Fernando, Courtiers) Monjes: Ave verum corpus, natum de Maria Virgine, Monks: Ave verum corpus, natum de Maria Virgine, vere passum immolatum in cruce pro homine. Cujus vere passum immolatum in cruce pro homine. Cujus 9 Scene 8: Los Columbuses 5:05 latus perforatum unda fluxit et sanguine, esto nobis latus perforatum unda fluxit et sanguine, esto nobis (Beatrice, Columbus, Hernando, Diego [son], praegustatum in mortis examine. praegustatum in mortis examine. Diego [brother], Bartholomew) 8.660193-94 26 3 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 4 Leonardo Balada (b. 1933) Monjes (latín): Aveverum corpus natum de Maria Monks: Born of the Virgin Mary, who truly suffered, La Muerte de Colón (The Death of Columbus) Virgine, vere passum immolatum in cruce pro homine. sacrificed on the cross for man. Colón: Dios mío veo el mundo desolado. Columbus: My God, I see the world devastated Since the early 1980s opera has been a significant part The opera The Death of Columbus, in Spanish, was Personaje Misterioso: Es la trayectoria de ese Doce de Mysterious Character: It is the path of that twelfth of of Balada’s musical life. Beginning with the acclaimed composed from February 1992 to January 1993 (and Octubre lejos de la mano de Dios. October far from the hand of God. operas Hangman, Hangman (1982), Zapata (1984), and revised/expanded in 1995/96), and is a sequel to Personaje Misterioso y Colón (alternándose): ¡Mirad! Mysterious Character and Columbus (alternating): The Town of Greed (1997) and the new opera Faust-bal Christopher Columbus, which had its première in ¡Sí, veo! En mil años nada queda. See! Yes, I see! In one thousand years nothing remains. recently given its première at the Teatro Real in Madrid, Barcelona in 1989 with José Carreras and Montserrat Voces: Las libertades robadas a los pueblos. Voices: The freedoms stolen from the peoples. Balada has combined his musical and extra-musical Caballé in the leading rôles. The composition was Colón (gritando): ¡Ay! Columbus: (shouting) Ay! interests in his works for the stage. La Muerte de Colón supported in part by a grant from the National Personaje Apocalíptico 1: Yo soy el león, soy quien Apocalyptic Character 1: I am the lion; I am he who brings together his historical interest in heroic figures Endowment for the Arts. guarda el trono del Todopoderoso, soy sus tierras y guards the Almighty throne; I am his lands and species. from the age of Revolution and Discovery with his From my point of view as a composer, the important especies. Mis garras destrozan al violador del orden My claws will destroy the violator of the order characteristic musical style. Balada blends surrealism, elements in an opera are the identification by the establecido por el Creador. established by the Creator. ethnic and folk allusions, and a contemporary orchestral orchestra of each dramatic moment and the lyricism of Voces: Las libertades robadas a los pueblos, a los Voices: The freedoms taken from the peoples, from the language derived from avant-garde techniques of the the vocal soloists. Given the importance of the latter, it pueblos inocentes.
Load more

Recommended publications
  • Annual Report 2015 ANNUAL REPORT 2015 Table of Contents
    THE ROYAL OAK FOUNDATION Annual Report 2015 ANNUAL REPORT 2015 Table of Contents Letter from the Chairman and the Executive Director 2 EXPERIENCE & LEARN Membership 3 Heritage Circle UK Study Day 4 Programs and Lectures 5 Scholarships 6 SUPPORT Grants to National Trust Properties 7-8 Financial Summary 9-10 2015 National Trust Appeal 11 2015 National Trust Appeal Donors 12-13 Royal Oak Foundation Annual Donors 14-16 Legacy Circle 17 Timeless Design Gala Benefit 18 Members 19-20 BOARD OF DIRECTORS & STAFF 22 Our Mission The Royal Oak Foundation inspires Americans to learn about, experience and support places of great historic and natural significance in the United Kingdom in partnership with the National Trust of England, Wales and Northern Ireland. royal-oak.org ANNUAL REPORT 2015 2 THE ROYAL OAK FOUNDATION Americans in Alliance with the National Trust of England, Wales and Northern Ireland September 2016 Dear Royal Oak Community: On behalf of the Royal Oak Board of Directors and staff, we express our continued gratitude to you, our loyal community of members, donors and friends, who help sustain the Foundation’s mission to support the National Trust of England, Wales and Northern Ireland. Together, we preserve British history and landscapes and encourage experiences that teach and inspire. It is with pleasure that we present to you the 2015 Annual Report and share highlights from a very full and busy year. We marked our 42nd year as an American affiliate of the National Trust in 2015. Having embarked on a number of changes – from new office space and staff to new programmatic initiatives, we have stayed true to our mission to inspire Americans to learn about, experience, and support places of great historic and natural significance in the UK.
    [Show full text]
  • Kerry Stratton – Biography
    Conductor Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Contents: Karrah O’Daniel-Cambry Biography Opera and Marketing Manager [email protected] Press Francaix Reviews Mailing Address: Recordings 1000 South Denver Avenue Repertoire Suite 2104 Video Links Tulsa, OK 74119 Photo Gallery Website: http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Kerry Stratton – Biography Kerry Stratton is the Conductor and Music Director of the Toronto Concert Orchestra. He also serves as Conductor for a varied schedule of performances and recordings with a long list of European and international orchestras. In Toronto, he hosts a classical music radio show as a means to expand exposure, and is a very capable speaker as well. Stratton enjoys meeting and working with board members and donors. He has pursued a modern, successful vision in his career. Stratton’s objectives include having his orchestras perform in many venues, many styles, and many configurations while presenting a repertoire that addresses the maximum number of constituencies. It is his belief that musical excellence can be found from the concert stage to the dance floor, and significant experience shows that this philosophy works. Orchestras Conducted • Jerusalem Symphony Orchestra • The Czech Philharmonic • Vienna
    [Show full text]
  • Evolución Estilística De La Obra De Leonardo Balada
    DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL, DOCUMENTACIÓN E HISTORIA DEL ARTE PROGRAMA DE DOCTORADO EN MÚSICA EVOLUCIÓN ESTILÍSTICA DE LA OBRA DE LEONARDO BALADA. TESIS DOCTORAL Presentada por Idoia Uribarri Berrojalbiz Dirigida por el Dr. Jorge Sastre Martínez Valencia, Mayo de 2017. A mis aitas i ii ÍNDICE Agradecimientos ................................................................................................. v Resumen / Abstract / Resum .............................................................. vii, viii y ix 1. INTRODUCCIÓN. 1.1 Justificación y objetivos .................................................................... 1 1.2 Generalidades y particularidades ....................................................... 6 1.3 Metodología ...................................................................................... 9 2. LEONARDO BALADA Y SU TIEMPO. 2.1 Biografía .......................................................................................... 13 2.2 Contexto artístico ............................................................................ 36 3. PERIODOS ESTILÍSTICOS. 3.1 Primer periodo. 3.1.1 Características del periodo ............................................... 49 3.1.2 Introducción a Concert for Cello and 9 players .............. 52 3.1.3 Análisis ............................................................................. 55 3.1.4 Conclusiones ..................................................................... 97 3.2 Segundo periodo. 3.2.1 Características del periodo ............................................
    [Show full text]
  • Bitstream 11805.Pdf
    MУЗИКОЛОГИЈА Часопис Музиколошког института САНУ MUSICOLOGY Journal of the Institute of Musicology SASA I (20) 2016 Музиколошки институт Institute of Musicology Српске академије наука и уметности Serbian Academy of Sciences and Arts UDK 78(05) ISSN 1450-9814 MUSICOLOGY Journal of the Institute of Musicology SASA I (20) Еditorial council Dejan Despić, Jim Samson (London), Albert van der Schoot (Amsterdam), Jarmila Gabrielová (Prague) Editorial board Aleksandar Vasić, Danka Lajić Mihajlović, Biljana Milanović, Melita Milin, Vesna Peno, Katarina Tomašević Editor-in-chief Jelena Jovanović Editor of the Main Theme Ivana Medić Еditorial assistant Jelena Janković-Beguš Belgrade 2016 UDK 78(05) ISSN 1450-9814 МУЗИКОЛОГИЈА Часопис Музиколошког института САНУ I (20) Уређивачки савет Дејан Деспић, Џим Семсон (Лондон), Алберт ван дер Схоут (Амстердам), Јармила Габријелова (Праг) Редакција Александар Васић, Данка Лајић Михајловић, Биљана Милановић, Мелита Милин, Весна Пено, Катарина Томашевић Главни и одговорни уредник Јелена Јовановић Уредник Теме броја Ивана Медић Секретар редакције Јелена Јанковић-Бегуш Београд 2016. Часопис Музикологија је рецензирани научни часопис који издаје Музиколошки институт САНУ (Београд) од 2001. године. Посвећен је истраживању музике као естетичког, културног, историјског и друштвеног феномена. Поред примарне оријентисаности на музиколошка и етноузиколошка разматрања, часопис је отворен према различитим сродним или мање сродним дисциплинама (историја, историја уметности и књижевности, етнологија, антропологија, социологија, комуникологија, семиотика, психологија музике итд.) као и према интердисциплинарним подухватима. Излази два пута годишње. Oбавештења о позивима за радове као и упутства за израду прилога налазе се на адреси: http://www.music.sanu.ac.rs/Srpski/MuzikologijaR.htm. The journal Musicology is a peer-reviewed scientific journal published by the Institute of Musicology SASA (Belgrade) since 2001.
    [Show full text]
  • 826 Schermerhorn
    826 schermerhorn COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2020 Dear students, colleagues, and friends, Had I written this text in February, it would have been guided by the same celebratory spirit as those in the past. There has indeed been much to be grateful for in the department. During the 2019–20 academic year, we received extraordinary gifts that allowed the endowment of no fewer than four new professorships. One, from an anonymous donor, honors the legacy of Howard McP. Davis, a famously great teacher of Renaissance art. Messages sent to me from his former students testify to the profound impact he had on them, and I am thrilled that we can commemorate a predecessor in my own field in this way. A second gift, from the Renate, Hans and Maria Hofmann Trust, supports teaching and scholarship in the field of modern American or European art. Our distinguished colleague Kellie Jones has been appointed the inaugural chairholder. A third, donated by the Sherman Fairchild Foundation and named in honor of the foundation’s former president, Walter Burke, will likewise go to a scholar of early modern European art. A search is underway for the first chairholder. Finally, a gift this spring allowed us to complete fundraising for the new Mary Griggs Burke Professorship in East Asian Buddhist Art History. A search for that position will take place next year. Beyond these four new chairs, the department also has two new chairholders: Holger Klein has completed his first year as Lisa and Bernard Selz Professor of Medieval Art History, and Noam Elcott is the inaugural Sobel– Dunn Chair, a title that will henceforth be held by the chair of Art Humanities.
    [Show full text]
  • America's National Gallery Of
    The First Fifty Years bb_RoomsAtTop_10-1_FINAL.indd_RoomsAtTop_10-1_FINAL.indd 1 006/10/166/10/16 116:546:54 2 ANDREW W. MELLON: FOUNDER AND BENEFACTOR c_1_Mellon_7-19_BLUEPRINTS_2107.indd 2 06/10/16 16:55 Andrew W. Mellon: Founder and Benefactor PRINCE OF Andrew W. Mellon’s life spanned the abolition of slavery and PITTSBURGH invention of television, the building of the fi rst bridge across the Mississippi and construction of Frank Lloyd Wright’s Fallingwater, Walt Whitman’s Leaves of Grass and Walt Disney’s Snow White, the Dred Scott decision and the New Deal. Mellon was born the year the Paris Exposition exalted Delacroix and died the year Picasso painted Guernica. The man was as faceted as his era: an industrialist, a fi nancial genius, and a philanthropist of gar- gantuan generosity. Born into prosperous circumstances, he launched several of America’s most profi table corporations. A venture capitalist before the term entered the lexicon, he became one of the country’s richest men. Yet his name was barely known outside his hometown of Pittsburgh until he became secretary of the treasury at an age when many men retire. A man of myriad accomplishments, he is remem- bered best for one: Mellon founded an art museum by making what was thought at the time to be the single largest gift by any individual to any nation. Few philan- thropic acts of such generosity have been performed with his combination of vision, patriotism, and modesty. Fewer still bear anything but their donor’s name. But Mellon stipulated that his museum be called the National Gallery of Art.
    [Show full text]
  • Art Song in the South Slav Territories (1900-1930S): Femininity, Nation and Performance
    Creating Art Song in the South Slav Territories (1900-1930s): Femininity, Nation and Performance Verica Grmuša Department of Music Goldsmiths, University of London PhD Thesis The thesis includes a video recording of a full evening lecture-recital entitled ‘Performing the “National” Art Song Today – Songs by Miloje Milojević and Petar Konjović’ (November 22nd, 2017, Deptford Town Hall, Verica Grmuša, soprano, Mina Miletić, piano) 1 Declaration This unpublished thesis is copyright of the author. The thesis is written as a result of my own research work and includes nothing that is written in collaboration with other third party. Where contributions of others are involved, every effort is made to indicate this clearly with reference to the literature, interviews or other sources. The thesis is submitted for the degree of Doctor of Philosophy and I further state that no substantial part of my dissertation has been already submitted to another qualification or previously published. Signed: ____________________________ Date: __________________ Verica Grmuša 2 Acknowledgments I express my gratitude to Goldsmiths’ Music Department, the Postgraduate Research Committee and the Graduate School for their awards and support for my research. I express my gratitude to my supervisors, Dr Berta Joncus and Dr Dejan Djokić, for their specialist help which greatly shaped this thesis. I am indebted to Nan Christie for her indispensable vocal tuition and support during my studies. I am indebted to the late Professor Vlastimir Trajković for access to the Miloje Milojević Family Collection, and for his support and guidance. I would also like to thank a number of friends and colleagues for their support and advice at different stages during my studies: Richard Shaw, Aleksandar Vasić, Tijana Miletić, Melita Milin, Anthony Pryer, Stephen Smart, Nada Bezić, Davor Merkaš, Slobodan Varsaković, Sarah Collins.
    [Show full text]
  • Reference Library Faqs
    Y A L E C E N T E R F O R B R I T I S H AR T YCBA Reference Library FAQs YCBA Reference Library FAQs 1. What materials are in the YCBA Reference Library? The YCBA Reference Library contains nearly 40,000 titles and over 120 current periodicals devoted to British art, artists, and culture from the sixteenth century to the present day. The collections include essential reference works on British artists, but also contain resources on British architecture, print and book culture, performing arts, costume, town and county histories, and travel books. We also maintain a Photograph Archive, a collection of art conservation and technical analysis materials, as well as videos and DVDs of the Center’s past lectures and programs. There are three public computers available for use, as well as a copier, scanner, printer, microfilm reader, and DVD players. – 2. Can I use the YCBA Reference Library? Yes, the Reference Library is open to researchers of all types: students, scholars, and the general public without an appointment. For more information on specific policies and procedures for using the Reference Library, please see our Policies and Procedures document on our Reference Library and Archives page. – 3. How do I use the YCBA Reference Library? The Reference Library is free and open for use. No appointment is required. Visitors can simply enter the Library on the second floor and sign in to our Guest Book. – 4. Can I check out books from the YCBA Ref Lib? No. The Reference Library is a non-circulating library; however, we do have a scanner and copier located within the library for use.
    [Show full text]
  • Press Release
    Press Contacts Cara Egan PRESS Seattle Art Museum P.R. [email protected] 206.748.9285 RELEASE Wendy Malloy Seattle Art Museum P.R. [email protected] JULY 2015 206.654.3151 INTIMATE IMPRESSIONISM FROM THE NATIONAL GALLERY OF ART OPENS AT THE SEATTLE ART MUSEUM OCT 1, 2015 October 1, 2015–January 10, 2016 SEATTLE, WA – Seattle Art Museum (SAM) presents Intimate Impressionism from the National Gallery of Art, featuring the captivating work of 19th-century painters such as Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Edgar Degas and Vincent van Gogh. The exhibition includes 71 paintings from the National Gallery of Art in Washington, D.C., and features a selection of intimately scaled Impressionist and Post-Impressionist still lifes, portraits and landscapes, whose charm and fluency invite close scrutiny. “This important exhibition is comprised of extraordinary paintings, among the jewels of one of the finest collections of French Impressionism in the world,” says Kimerly Rorschach, Seattle Art Museum’s Illsley Ball Nordstrom Director and CEO. “We are pleased to host these national treasures and provide our audience with the opportunity to enjoy works by Impressionist masters that are rarely seen in Seattle.” Seattle is the last opportunity to view this exhibition following an international tour that included Ara Pacis Museum of the Capitoline Museums, Rome; Fine Arts Museums in San Francisco; McNay Art Museum, San Antonio, and Mitsubishi Ichigokan Museum, Tokyo. The significance of this exhibition is grounded in the high quality of each example and in the works’ variety of subject matter. The paintings’ dimensions reflect their intended function: display in domestic interiors.
    [Show full text]
  • Henry A. Millon
    A LIFE OF LEARNING Henry A. Millon Charles Homer Haskins Lecture for 2002 American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 54 ISSN 1041-536X © 2002 by Henry A. Millon A LIFE OF LEARNING Henry A. Millon Charles Homer Haskins Lecture for 2002 American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 54 The Charles Homer Haskins Lecture Charles Homer Haskins (1870-1937), for whom the ACLS lecture series is named, was the first Chairman of the American Council of Learned Societies, from 1920 to 1926. He began his teaching career at the Johns Hopkins University, where he received the B.A. degree in 1887, and the Ph.D. in 1890. He later taught at the University of Wisconsin and at Harvard, where he was Henry Charles Lea Professor of Medieval History at the time of his retirement in 1931, and Dean of the Graduate School of Arts and Sciences from 1908 to 1924. He served as president of the American Historical Association in 1922, and was a founder and the second president of the Medieval Academy of America in 1926. A great American teacher, Charles Homer Haskins also did much to establish the reputation of American scholarship abroad. His distinction was recognized in honorary degrees from Strasbourg, Padua, Manchester, Paris, Louvain, Caen, Harvard, Wisconsin, and Allegheny College, where in 1883 he had begun his higher education at the age of thirteen. Previous Haskins Lecturers 1983 Maynard Mack 1984 Mary Rosamond Haas 1985 Lawrence Stone 1986 Milton V. Anastos 1987 Carl E. Schorske 1988 John Hope Franklin 1989 Judith N.
    [Show full text]
  • 579056 Itunes Balada
    Leonardo BALADA Works for Clarinet Caprichos Nos. 6 and 7 • Double Concerto Ivan Ivanov, Clarinet Leta Chin, Greta Mutlu, Violin Sarah Lee, Cello Annie Gordon, Kristine Rominski, Flute Rebecca Bush, Percussion Jacob Polaczyk, Erberk Eryılmaz , Piano Geoffrey Larson Leonardo Leonardo Balada (b. 1933) Caprichos Nos. 6 and 7 • Double Concerto BA(bL. 1A933D) A A native of Spain, composer Leonardo Balada (b. 1933) Balada’s creative style has been labeled ‘Dali’s graduated from Barcelona’s Conservatorio del Liceu and Surrealism in music’, yet historically the link between The Juilliard School. He has been on the faculty of the surrealist aesthetics and musical composition has been Carnegie Mellon School of Music since 1970, where he is poorly understood. When I realised the deep importance of Works for Clarinet university professor of composition. He has been Dalí to Balada, suddenly everything in his compositions commissioned by the Aspen Music Festival, the San become logical and meaningful to me, and I recorded his Caprichos No. 7 ‘Fantasies of La Tarara’ Diego Opera, the orchestras of Pittsburgh, Cincinnati and music with passion. To understand Balada as a surrealist Chamber concerto for clarinet and instrumental ensemble Lausanne, the Spanish National Orchestra, Berlin Radio composer, it is best to begin with his Caprichos , two of which Symphony Orchestra and other organisations, and has are included on this recording. The term ‘ caprichos ’ has a 1 (2009) 23:03 received several awards from the National Endowment for special place in Spanish history and culture. Far from being the Arts. Balada’s works have been performed by the the lighthearted cultural fantasy implied by other composers 2 I.
    [Show full text]
  • 660198-99 Bk Mayr EU
    572176 bk Balada US 20/10/10 13:31 Page 12 Leonardo Balada Leonardo Nació en Barcelona el 22 de Septiembre de 1933. Tras cursar sus estudios de piano y teoría en el Conservatorio del Liceu de Barcelona, se trasladó a Nueva York en donde concluyó sus estudios de composición en la Juilliard School en 1960. Entre sus maestros figuran Aaron Copland, Vincent Percichetti y Igor Markevitch. En la actualidad es BALADA catedrático de Composición en la Universidad Carnegie Mellon de Pittsburgh, EE.UU. Algunas de sus obras más conocidas fueron compuestas en un estilo de gran drama dentro de la vanguardia de los años sesenta (Guernica, María Sabina, Steel Symphony, No-res etc.). Posteriormente se le reconoce como pionero en la simbiosis de música étnica con las técnicas vanguardistas, con lo que ha creado un estilo personal e influyente, Caprichos Nos. 2, 3 and 4 estilo iniciado con Sinfonía en Negro- Homenaje a Martin L.King(1968) y Homenajes a Casals y Sarasate(1975). Ha recibido varios premios internacionales y una distinción de la American Academy of Arts and Letters por su relevante carrera y en reconocimiento a su personalidad artística. Andrés Cárdenes, Violin / Conductor Su extensa lista de obras se interpretan regularmente en Europa y América por las principales orquestas y solistas. Entre las primeras figuran las Filarmónicas de Nueva York, Los Ángeles, Israel; la Orquesta de Filadelfia; las Sinfónicas de Pittsburgh, Dallas, Cincinnati, Detroit, New Orleans, Praga, México, Sao Paulo, Barcelona, Jeffrey Turner, Double bass Düsseldorf; Orquestas Nacionales de Washington, Irlanda, España, Colombia, Lima, Lyon, Toulouse, Jerusalén; Philarmonia de Londres; orquestas de las radios de Luxemburgo, BBC(Manchester), Berlín, Leipzig, Helsinki, Pittsburgh Sinfonietta Lawrence Loh Hannover, RTV Española, Moscú, Orq.
    [Show full text]