Shrewsbury Chorale's Performance Record 2007-2017

Total Page:16

File Type:pdf, Size:1020Kb

Shrewsbury Chorale's Performance Record 2007-2017 The Shrewsbury Chorale FIFTY-FIRST CONCERT SEASON (2007-2008) Anthony LaGruth, Music Director Hodie Saturday, December 8, 2007, 8:00 PM Luther Memorial Lutheran Church Tinton Falls, New Jersey This Day (Hodie)...........Ralph Vaughan Williams (1872-1958) I Prologue: Nowell! Nowell! Hodie Christus natus est Chorus II Narration: Now the birth of Jesus Christ Chorus, Tenor: Paul Dunn IV Narration: And it came to pass Women’s Chorus V Choral: The blessed Son of God, only Chorus VI Narration: And there were in the same country shepherds Chorus, Soprano: Joy More, Tenors: Paul Dunn and Martin Krupp VII Song: The oxen. Christmas eve and twelve of the clock Baritone: Pete Arnold VIII Narration: And the shepherds returned Women’s Chorus IX Pastoral: The shepherds sing Narrator: Hagen Hottmann X Narration: But Mary kept all these things Women’s Chorus XI Lullaby: Sweet was the song the Virgin sang Women’s Chorus, Soprano: Joy More XII Hymn: Bright portals of the sky Narrator: Hagen Hottmann XIII Narration: Now when Jesus was born Chorus XIV The March of the Three Kings: From kingdoms of wisdom Chorus, Sopranos: Susan Croft and Sondra Lohnes, Tenors: Paul Dunn and Martin Krupp Baritones: Pete Arnold and Jack Burdy XV Choral: No sad thought His Soul affright Chorus XVI Epilogue: Emmanuel. God with us Chorus, Soprano: Sondra Lohnes Tenor: Paul Dunn, Baritone: Pete Arnold Intermission Hanerot Halalu.....................................................Ronald A. Hemmel How Much Farther Must We Go? ...............................Arnold Freed Christmas Carol Sing (with audience participation) Go Tell It On The Mountain ...............Traditional, arr. Jim Esposito With Voices Raised 8:00 PM, Saturday, March 8, 2008 First Presbyterian Church of Freehold Freehold, New Jersey Three Psalms of David ...................................Mario Lombardo Make a Joyful Noise Chorus, Soprano and Bass Soloists The Lord is My Shepherd Chorus and Tenor Soloist Sing Unto the Lord a New Song Chorus, Soprano and Bass Soloists Intermission Missa in Angustiis (Mass In Straightened Times)....Franz Joseph Haydn (1732-1809) Kyrie Eleison Chorus and All Soloists Gloria in Excelcis Deo Chorus and All Soloists Qui Tollis Pecata Mundi Chorus, Soprano and Bass Soloists Quoniam Tu Solus Chorus and All Soloists Credo Chorus Et Incarnatus Est Chorus and All Soloists Et Resurrexit Chorus and Soprano Soloist Sanctus Chorus Benedictus Chorus and All Soloists Agnus Dei All Soloists Dona Nobis Pacem Chorus Songs by Favorite Composers Saturday, June 7, 2008, 8 PM Christ Church, Middletown Lux Aeterna ................................… Morton Lauridsen (b. 1943) I. Introitus II. In Te, Domine, Speravi III. O Nata Lux IV. Veni, Sancte Spiritus V. Agnus Dei – Lux Aeterna Agnus Dei (based on Adagio for Strings)..................Samuel Barber (1910-1981) Intermission Meet America’s William Billings ..............................William Billings (1746-1800) compiled by Leonard Van Camp Now Shall My Inward Joys Arise Chester The Rose of Sharon Fa Una Canzone.............................Orazio Vecchi (1550-1605) Chansons ..................................…..Paul Hindemith (1895-1963) English translation by Elaine de Sinçay I. The Doe II. A Swan III. Since All is Passing VI. Orchard Lost In the Fifties Tonight (Medley) .......….arr. by Ed Lojeski In the Still of the Night.........................Mike Reid, Troy Seals, Fred Parris Earth Angel ..................................................Jesse Belvin Sh-Boom (Life Could be a Dream)..............James Keys, Claude Feaster, Carl Feaster, Floyd McRae, James Edwards Book of Love ............…....Warren Davis, George Malone, Charles Patrick Graduation Day .................Noel Sherman, Joe Sherman Three Spirituals.....………....arr. by William L. Dawson (1899-1990) Soon-Ah Will Be Done There is a Balm in Gilead Ev’ry Time I Hear the Spirit Jack Burdy, baritone The Shrewsbury Chorale FIFTY-SECOND CONCERT SEASON (2008-2009) Anthony LaGruth, Music Director Handel’s Messiah 3:00 PM, Sunday, December 7, 2008 Church of the Nativity, Fair Haven, New Jersey Messiah.............................George Frideric Handel (1685-1759) Part One 1. Symphony Orchestra 2. Accompagnato: Comfort ye, comfort ye my people Tenor 3. Air: Ev’ry valley shall be exalted Tenor 4 Chorus: And the glory, the glory of the Lord 5 Accompagnato: Thus saith the Lord, the Lord of Hosts Bass 6. Air: But who may abide the day of His coming Alto 7. Chorus: And He shall purify Recitative: Behold, a virgin shall conceive Alto 8. Air and Chorus: O thou that tellest good tidings to Zion Alto and Chorus 9. Accompagnato: For behold, darkness shall cover the earth Bass 10. Air: The people that walked in darkness Bass 11. Chorus: For unto us a Child is born 12. Pifa Orchestra Recitative: There were shepherds abiding in the field Soprano 13. Accompagnato: And lo, the angel of the Lord came upon them Soprano Recitative: And the angel said unto them Soprano 14. Accompagnato: And suddenly there was with the angel Soprano 15. Chorus: Glory to God in the highest 16. Air: Rejoice greatly, O daughter of Zion Soprano Recitative: Then shall the eyes of the blind be open’d Alto 17. Duet: He shall feed His flock like a shepherd Soprano and Alto 18. Chorus: His yoke is easy, His burthen is light Part Two 39. Chorus: Hallelujah An Evening with Fauré, Franck and Beethoven Saturday, March 7, 2009, 8 PM First Presbyterian Church, Freehold with the Garden State Philharmonic Chorus and Orchestra Requiem (Opus 48) ....................…..... Gabriel Fauré (1845-1924) Part One I. Introit and Kyrie Chorus II. Offertorium Chorus and Baritone III. Sanctus Chorus IV. Pie Jesu Soprano V. Agnus Dei Chorus VI. Libera Me Chorus and Baritone VII. In Paradisum Chorus Intermission Cantique de Jean Racine .................................. Gabriel Fauré Psalm 150 .....................................……... Cèsar Franck (1822-1890) Hallelujah from Mount of Olives..................... Ludwig von Beethoven (1770-1827) Songs of Spring Saturday, June 6, 2009, 8 PM Holy Trinity Lutheran Church, Red Bank Mass in G....................................… Franz Schubert (1797-1828) Kyrie Soprano: Sandy Zebro Gloria Soprano: Joy More, Bass: Pete Arnold Credo Sanctus Benedictus Soprano: Joy More, Tenor: Paul Dunn, Bass: Pete Arnold Agnus Dei Soprano: Sondra Lohnes, Bass:Jack Burdy Intermission In the Folk Style Four Folk Songs.....................… Johannes Brahms (1833-1897) In Stiller Nacht (In the Still Night) Abschiedslied (I’m Going Away) Der Tote Knabe (The Dead Youth) Die Wollust in den Maien (How Lovely is the Maytime) Poor Wayfarin’ Stranger ..American Folksong, arr. Salli Terri Tenor: Martin Krupp Shenandoah……….Traditional Chantey, arr. Marshall Bartholomew Summer Songs Midsummer Song ....................… Frederick Delius (1862-1934) To Be Sung of a Summer Night on the Water......................... Frederick Delius In Praise of Nature Songs of Nature, Op. 63 ...........… Antonín Dvořák (1841-1904) I. Melodies Steal into My Heart II. Vesper Bells Ring III. Golden Sunlight IV. Slender Young Birch FIFTY-THIRD CONCERT SEASON (2009 – 2010) Anthony LaGruth, Music Director Magnificat and Christmas Cantata 8:00 PM, Saturday, December 12, 2009 Christ Church, Middletown, New Jersey O Magnum Mysterium …………...Tomas Luis de Victoria (1548-1611) ed. Alice Parker and Robert Shaw Christmas Cantata (Sinfonia Sacra).............… Daniel Pinkham (1923-2006) I Quem vidistis pastores? II O magnum mysterium III Gloria in excelsis Deo Audience Sing-along Frosty the Snowman ..........................Walter "Jack" Rollins, Steve Nelson White Christmas........................................…. Irving Berlin Rudolph the Red-Nosed Reindeer..............… Johnny Marks Christmas Day (Choral Fantasy on Old Carols) …..Gustav Holst (1874-1934) arr. Dale Wood Intermission Magnificat..............................................… John Rutter (b. 1945) I Magnificat anima mea II Of a Rose, a lovely Rose III Quia fecit mihi magna IV Et misericordia Chorus and Soprano: Elizabeth Andrews Roberts V Fecit potentiam VI Esurientes Chorus and Soprano VII Gloria Patri Chorus and Soprano The Creation 3:00 PM, Sunday, March 21, 2010 First Presbyterian Church Freehold, New Jersey With the Garden State Philharmonic Chorus and Orchestra Anthony LaGruth, Music Director The Creation .........................Franz Joseph Haydn (1732-1809) Part I 1. Representation of chaos orchestral prelude 2. In the beginning, God created heaven and earth bass recitative And the spirit of God chorus 3. Now vanish before the holy beams the gloomy dismal shades of dark tenor air 4. And God made the firmament bass recitative 5. The marvelous work beholds amazed the glorious hierarchy of heaven soprano and chorus 6. And God said, Let the waters under the heaven be gathered together unto one place bass recitative 7. Rolling in foaming billows, uplifted roars the boisterous sea bass air 8. And God said, Let the earth bring forth grass soprano recitative 9. With verdure clad the fields appear delightful to the ravished sense soprano air 10. And the heavenly host proclaimed the third day tenor recitative 11. Awake the harp , the lyre awake chorus 12. And God said, Let there be lights in the firmament of heaven tenor recitative 13. In splendor bright is rising now the sun tenor recitative 14. The heavens are telling the glory of God soprano, tenor, bass, and chorus Intermission Part II 15. And God said, Let the waters bring forth in plenty soprano recitative 16. On mighty pens uplifted soars the eagle
Recommended publications
  • An Interview with Robert Shaw: Reflections at Eighty
    An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con­ the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per­ decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu­ as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S.
    [Show full text]
  • Vision / Dance Innovations
    2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol.
    [Show full text]
  • CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
    *141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital).
    [Show full text]
  • The Media and Reserve Library, Located on the Lower Level West Wing, Has Over 9,000 Videotapes, Dvds and Audiobooks Covering a Multitude of Subjects
    Libraries MUSIC The Media and Reserve Library, located on the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 24 Etudes by Chopin DVD-4790 Anna Netrebko: The Woman, The Voice DVD-4748 24 Hour Party People DVD-8359 Anne Sophie Mutter: The Mozart Piano Trios DVD-6864 25th Anniversary Rock and Roll Hall of Fame Concerts DVD-5528 Anne Sophie Mutter: The Mozart Violin Concertos DVD-6865 3 Penny Opera DVD-3329 Anne Sophie Mutter: The Mozart Violin Sonatas DVD-6861 3 Tenors DVD-6822 Art Blakey and the Jazz Messengers: Live in '58 DVD-1598 8 Mile DVD-1639 Art of Conducting: Legendary Conductors of a Golden DVD-7689 Era (PAL) Abduction from the Seraglio (Mei) DVD-1125 Art of Piano: Great Pianists of the 20th Century DVD-2364 Abduction from the Seraglio (Schafer) DVD-1187 Art of the Duo DVD-4240 DVD-1131 Astor Piazzolla: The Next Tango DVD-4471 Abstronic VHS-1350 Atlantic Records: The House that Ahmet Built DVD-3319 Afghan Star DVD-9194 Awake, My Soul: The Story of the Sacred Harp DVD-5189 African Culture: Drumming and Dance DVD-4266 Bach Performance on the Piano by Angela Hewitt DVD-8280 African Guitar DVD-0936 Bach: Violin Concertos DVD-8276 Aida (Domingo) DVD-0600 Badakhshan Ensemble: Song and Dance from the Pamir DVD-2271 Mountains Alim and Fargana Qasimov: Spiritual Music of DVD-2397 Ballad of Ramblin' Jack DVD-4401 Azerbaijan All on a Mardi Gras Day DVD-5447 Barbra Streisand: Television Specials (Discs 1-3)
    [Show full text]
  • A Midsummer Night's Dream 3.6 – 3.12.Indd 1 1/29/2020 9:24:18 AM March 2020 | Volume 27, No
    2020 MARCH A MIDSUMMER PROGRAM 04 NIGHT'S DREAM The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 Engaging and eclectic in the East Bay. Oakland is the gateway to the East Bay with a little bit of everything to offer, and St. Paul’s Towers gives you easy access to it all. An artistic, activist, and intellectual Life Plan Community, St. Paul’s Towers is known for convenient services, welcome comforts and security for the future. With classes, exhibits, lectures, restaurants, shops and public transportation within walking distance, St. Paul’s Towers is urban community living at its best. Get to know us and learn more about moving to St. Paul’s Towers. For information, or to schedule a visit, call 510.891.8542. 100 Bay Place, Oakland, CA 94610 www.covia.org/st-pauls-towers A not-for-profit community owned and operated by Covia. License No. 011400627 COA# 327 Untitled-3 1 12/11/19 12:50 PM One team with a singular goal: your real estate success.
    [Show full text]
  • Ann Arbor Festival of Song Presents the Sixteenth Annual
    ANN ARBOR FESTIVAL OF SONG PRESENTS THE TWENTY-SIXTH ANNUAL WEEK AFTER ART FAIR SONG FEST TUESDAY-FRIDAY, JULY 23-26, 2019 KERRYTOWN CONCERT HOUSE, ANN ARBOR OUR 25TH ANNIVERSARY TUESDAY, JULY 23, 8:00PM THURSDAY, JULY 25, 8:00PM LIZ PEARSE, PERFORMER SEX, DRUGS, AND OPERA SCENES FRIDAY, JULY 26 8:00PM CABARET SCHMABARET WEDNESDAY, JULY 24, 8:00PM Herz, Schmerz/Toujours L’amour 2019 ARTISTS Key to abbreviations: BGSU = Bowling Green State Univ; EMU = Eastern Michigan Univ; MOT= Michigan Opera Theatre; UM = Univ of Michigan Pianist KEVIN BYLSMA‘s work has taken him in recent years to Venice, Paris, Romania, Eastern Europe, New York City, Boston, Los Angeles, and Thailand. Recent collaborations include recitals with Jennifer Rowley, Irina Mishura, Michelle DeYoung, and Kathryn Lewek, and accompanying masterclasses of Samuel Ramey, Dianne Soviero, and Marilyn Horne. His music directing and coaching credits include Ann Baltz' OperaWorks in Los Angeles, Toledo Opera, MOT, OPERA!Lenawee, Papagena Opera Company, and the UM. Currently serving as Head of Music Preparation at Toledo Opera, and Lecturer of Opera at the College of Musical Arts at BGSU, Kevin has also served the Toledo, Adrian, and Greater Lansing Symphony Orchestras as keyboardist, and since 1993 has been associate organist at Mariners' Church of Detroit. CHRISTINE AMON, MEZZO-SOPRANO, a Grand Rapids native, has performed in recent seasons with Opera Carolina, Nashville Opera, Opera Memphis, Toledo Opera, Opera Louisiane, Union Avenue Opera, and Opera Grand Rapids. In 2018 she was a finalist in the Lotte Lenya Competition hosted by the Kurt Weill Foundation for Music. She is a voice instructor in the Grand Rapids area.
    [Show full text]
  • Usc Thornton Oriana Women's Choir and Apollo Men's Chorus
    UNIVERSITY OF SOUTHERN CALIFORNIA THORNTON SCHOOL OF MUSIC USC THORNTON ORIANA WOMEN’S CHOIR AND APOLLO MEN’S CHORUS FRIDAY | OCTOBER 28, 2016 | 8:00PM NEWMAN RECITAL HALL ORIANA WOMEN’S CHOIR IRENE APANOVITCH conductor MICHAEL DAWSON co-conductor ASHLEY RAMSEY co-conductor HANBO MA accompanist APOLLO MEN’S CHORUS ERNEST H. HARRISON conductor SCOTT RIEKER co-conductor DA’JON JAMES co-conductor LUIS REYES accompanist PROGRAM ORIANA WOMEN’S CHOIR PABLO CASALS Eucaristica Ashley Ramsey, conductor CHARLES IVES At the River Irene Apanovitch, conductor RANDALL THOMPSON “A Girl’s Garden” from Frostiana Irene Apanovitch, conductor MICHAEL MCGLYNN The White Rose Michael Dawson, conductor GIDEON KLEIN Bachuri Le’an Tisa Ashley Ramsey, conductor Katharine LaMattina, soloist EUGENE SUCHON Bodaj by vás čerti vzali Michael Dawson, conductor MICHAEL MCGLYNN, arr. Song for Jerusalem Michael Dawson, conductor Sunmi Shin, soloist Kathy Tu, soloist Clare Wallmark, soloist SRUL IRVING GLICK “Psalm 23” from Psalm Trilogy Irene Apanovitch, conductor OSCAR PETERSON Hymn to Freedom Irene Apanovitch, conductor APOLLO MEN’S CHORUS MICHAEL COX Praise him! Ernest H. Harrison, conductor MXOLISI MATYILA Bawo Thixo Somnadla Mxolisi Matyila Ernest H. Harrison, conductor AARON COPLAND Simple Gifts Scott Rieker, conductor ROBERT SHAW & Blow the Man Down Scott Rieker, conductor ALICE PARKER Da’Jon James, soloist Daniel Newman-Lessler, soloist David Massatt, soloist ROBERT SHAW & Vive L’Amour Da’Jon James, conductor ALICE PARKER Stephan Pellisier, soloist Ivan Tsung, soloist Luke Can Lant, soloist JOHN FARMER Fair Phyllis Scott Rieker, conductor AARON COPLAND The Dodger Ernest H. Harrison, conductor Chung Ming Zen, soloist Daniel Newman-Lessler, soloist Stephan Pellissier, soloist PAUL BASLER Sing to the Lord Ernest H.
    [Show full text]
  • Biography -- Printable Version
    Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled.
    [Show full text]
  • Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
    Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • Inforiwatfonto USERS
    INFORIWATfONTO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and teaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI' THE ART SWGS OF ANDRÉ PREVIN WITH LYRICS BY TONI MORRISON: HONEY AND RUE AND FOUR SOSGS FOR SOPRANO, CELLO AND PIANO A PERFORMER'S PERSPECTIVE D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Misical Arts in the Graduate School of the School of The Ohio State University By Stephanie McClure Adrian, B.M., M M ***** The Ohio State University 2001 D.M.A.
    [Show full text]
  • The Collaborative Arrangements of Alice
    THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ROBERT SHAW by JAMES EDWARD TAYLOR JOHN RATLEDGE, COMMITTEE CHAIR DON FADER METKA ZUPANCIC SUSAN FLEMING KENNETH OZZELLO MARVIN JOHNSON A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2012 Copyright James Edward Taylor 2012 ALL RIGHTS RESERVED ABSTRACT This document is a comprehensive survey of the two hundred and twenty-three choral arrangements created in the collaboration between Alice Parker (b.1925) and Robert Shaw (1916-1999). This repertoire was written between 1950 and 1967 for seventeen RCA Victor recordings made by the Robert Shaw Chorale. Part I presents an overview of the music, title listings, and publisher information. Part II is a history of the collaboration, beginning with its genesis and the working relationship between the two. Their work occurred in the “Golden Age” of choral music in America and during the American folk music revival, both of which contributed to commercial album sales and the fame of Shaw and the Chorale. Part III describes the style of the arrangements, whose nineteen style characteristics are demonstrated in excerpts from six different songs. A detailed method developed by Dr. Parker for identifying distinguishing features of these arrangements is applied to one of the folk hymns. Over half of the Parker-Shaw arrangements are then compared in spreadsheets, found in Appendix III, with successive appendices presenting summaries of the results of the comparisons. This process reveals, among other things, the central role of melody and counterpoint in determining the nature of this music, and the arrangers’ preference for working with melodies based on traditional church modes and gapped scales over those with strong tonal implications.
    [Show full text]