DOCSLIB.ORG

The Brooklyn Delegation of the New York City Council for Its Vital Toric Visit to New York Gty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Brooklyn Delegation of the New York City Council for Its Vital Toric Visit to New York Gty Cbail'lllln Asher B. Edelman Brooklyn Academy of Music Preside at Harvey Lichtenstein Board of Trustees Vice Ck1irmen Neil D. Chrisman Rita Hillman I. Stanley Kriegel Franklin R. Weissberg Mem~ers Francis M. Austin, Jt Jenne K. Britell SPECIA L FUNDIN G FOR T HI S ANNU AL REPORT HAS BEEN Kevin Burke PROVIDED THROUGH THE GENEROUS SU PPORT OF Joanne L. Cossullo Warren B. Coburn MANUFACT U RERS HANOVER C O RPORATION . Beth DeWoody PRINTED B Y HARD ING Be H ARD ING GRAPHICS, INC. Charles M. Diker Brendan Duggan Choim Edelstein Mallory Foetor Ronald E. Feiner Alan H. Fishman Robert L. Forbes Michael Fuchs Faith G. Golding Morton Gottlieb Stephen R. Greenwald Sidney Kantor Stanley H. Kaplan Andrew K. Klink Bettina Bancroft Klink Robert A. Krasnow lngo Kretzschmar Edgar A. Lampert Eugene H. luntey laurie Mollet Martin F. Mertz Evelyn Ortner David L. Ramsay Bruce (. Ratner Richard M. Roson Jonathon F. P. Rose Robert (. Rosenberg Pippa Scott Mikki Shepard Vaughn (. Williams Ho10r1ry Chlirmen David N. Dinkins Officers Howa rd Go Iden Harvey Lichtenstein, IIHonry Tr11tees President and Executive Producer Seth Faison Koren Brooks Hopkins, leonard Garment Executive Vice President & Managing Director Paul lepercq Douglas W. Allan, Arne Vennemo Vice President for Marfceting and Promotion Ex-officii Jacques Brunswick, Mary Schmidt Campbell Vice President for Administration During the post yeo~ public funding of the arts weathered not only Fuchs and the Recording Industry Council chaired by Elelctro Entertoin­ Amidst a year of uncertainty at the National Endowment lor the intense challenges, but ever declining appropriation levels in the menrs Robert Krasnow, the Golo Committee organized a roving, post­ Arts, and a sense of growing unease with the country's economy, face of budget reductions of all levels of government. Iwont to toke perfonnonce dinner party throughout the Academy's theater spaces, BAM kept its nose to the grindstone. It may not have been a spectoc­ this opportunity to stole the record on the importance of public each thematically distinct with its music, food and decoc ulat breakthrough season lor BAM, but there was important work funding to BAM and to solute those government agencies that ho ve The BAM Opera Council, Belgian Consul General Roger Prues, and done, artists encouraged and produced, and BAM's leadership quali­ mode our programs possible. S.W .l.F. T. (Society lor Worldwide Interbank Financial Telecommunica­ ties in the perfonning arts reoffinned . We were delighted to welcome Without the intervention of tions) hosted a dosing night benefit lor the American debut engage­ bock Laurie Anderson, who hod New York City and Brooklyn ment of Brussels' Theiitre Royal de Ia Monnaie, featu ring its not done o major work at BAM Borough President in the early outstanding production of Mozarrs lo Fin to Giordiniero. Garrison Keil­ since the United Stoles Ports ' 60s, BAM's historicand unique lor was the guest perfonner at the BAM/BPO Real Estate Council /-/Vin ea rly 1983. It was great facility could hove gone the way Annual Dinner on April 3, which recognized BAMIBPO Trustee Robert to hove o sort of Velvet Under­ of the wrecking boll. The City, Rosenberg and Starrett City lor their leadership support of both ground reunion with John Cole together with Borough Presi­ institutions. and Lou Reed reuniting lor dent Howard Golden , al so BAM was also honored to work with the Women's Sub-Committee of Songs for 'Orella, o requiemlo r played leadership roles in the the Mandelo Welcome Committee, led by Co-Chairpersons Julie Bela­ Andy Warhol; the Ruhr Festival 1977 Flood Recovery Campaign lonte, Karen Daughtry and Jennifer Davis, in hosting the June 22 continued BAM's intemotionol and in the renovation of the BAM Majestic Theotec We also solute "Community Tribute lor Winnie Mandela" during the Mandelas' his­ mini-festivals; and the BAM Majestic perfonnances of Jacques d' Am­ the Brooklyn Delegation of the New York City Council for its vital toric visit to New York Gty. boise's National Dance Institute contributed to our vital program­ support of BAM despite o light city budget. The BAM Visual Arts Programs expanded this season with the organi­ ming. And it was great to sponsor the lOth Anniversary blow-out of BAM first received support from the New York Stole Council on the zation of the Collaborative Arts Council, BAMART, and a third Print New Music America, both here and throughout the city. Arts in 1965, and since then has continued to receive annual grants, Portfolio Series. Through the combined efforts of its member artists, Which leads naturally tothe appointment of Dennis Russell Davies most recently in multi-year awards. For the post three years, the gallery owners, and collectors, the Collaborative Arts Council is raising os BAM Music Director and as Principal Conductor of the Brooklyn State of New York through the Brooklyn Delegation of the State funds to develop joint efforts between visual and perfonning artists. Philhannonic Orchestra; and of the newly established liaison of the Legi~ature and the Natural Heritage Trust has provided additional BAMART is a new lund raising initiative that benefits all Academy Orchestra and BAM. Maestro Davies adds tremendously to the musi­ project support for the Perfonning Arts Program for Young People programs through the generous donations of works of art. We are cal life of the Academ y and to the vitality of the Orchestra. and our multicultural programming efforts. especially grateful to Cristo, Jasper Johns, Ellsworth Kelly, Roy Uchten­ Perhaps most disturbing have been the attacks levelled at the stein, Jules Olitski, and Lawrence Weiner lor participating in this Lost, but certainly not least, is the Notional Endowment for the Notional Endowment lor the Arts throughout the yeoc It is not that undertaking. The success of the Artists Print Portfolio Editions promises Arts, which, in porticulat hoscontributed support for new initiatives, the Endowment is perfect and beyond reproach, rather that the to continue with o new third series featuring the works of Richard Estes, including the creation of the NEXT WAVE Festival in 1983. In addi­ attacks have been vicious, unfair and out of context. It has been a Peter Halley, Gaudio Hart, Sol LeWin, Will Menlot Suzan Pitt, Robert tion, the NEA has awarded three Challenge Grants to BAM: in 1977 dossic smear campaign, with one or two out of context incidents Ryan, and Tom Wesselman. Our thanks to all those participatingin the for program development, in 1983 to establish the Academy's first used to smear the Arts Endowment as a whole. And not only the cash reserve, and in 1988 to launch BAM Opera. The National Visual Arts Programs. specific grants, but the process itself has been under attack, with the Endowment for the Humanities was also an important participant Our ongoing efforts to match the NEA Challenge Ill Grant lor BAM peer panel system of awardi ng grants under siege for supposedly in the early years of the NEXT WAVE and most recently was the Opera by June 1992 were furthered by new leadership grants from The being an "old boy" system. major supporter for the television filming of Peter Brook's Pew Charitable Trusts, the Ula Wolloce-Reodets Digest Fund, the As someone who has served on NEA panels, and who cu rrently The Mohobhorato. Andrew W. Mellon Foundation, the Eleanor Naylor Dana Charitable serves as an NEA Council membe ~ Ifind these accusations scurrilous. During the 1989-90 season, BAM was very pleased to welcome to Trust, and the Booth Ferris Foundation. We are grateful as well It is on easy thing to soy, "Of course, the system is corrupt, panelists its Boord new members Kevin Burke, Brendan Dugan, Stanley to all BAM donors who increased their contributions to benefit this award grants to their friends. " The only way to refute the accuso· Kaplan, lngo Kretzschma~ Bruce Raine ~ and Vaughn Williams. I also campaign. lion is to be port of the process and to see how scrupulous and careful want to acknowledge the special dedication and generous support of The season ended with o new lund raising event, the BAM Auction the panelists are in evaluating the appl ications. At least tho! has departing Trustees Francis Austin, Elizabeth Bouman, Warren on June 26, hosted by Rudolf at his downtown night dub, Quick, and been my experience. Coburn, Cecil Forstet and Faith Golding. co-chaired by Rudolf, Hoi Rubenstein, Bob Patino, and Cindy How important are the arts to the citizens of this country? The The season opened with the seventh annual NEXT WAVE Festival, for Crawford. answer should by no means be taken lor granted. which Philip Morris Companies Inc. provided primary corporate spon­ In dosing, I wont to express the sincere appreciation of the BAM sorship for the fourth consecutive yeac BAM Trustees Beth DeWoody Boord and staff lor the loyal and generous support of the Friends of Harvey lichtenstein and Robert Forbes chaired the NEXT WAVE Gola on November 8 salut­ BAM, our audiences, foundation and corporate donors, and once again President and Executive Producer ing the tenth anniversary of NEW MUSIC AMERICA and honoring lor the government agencies that hove anchored BAM's financial Bianca Jogger for her long-standing dedication to the NEXT WAVE . growth and health. Together with the NEXT WAVE Producers Council led by H80 's Michael Asher B. Edelman Chairman NEXT WAVE Festival AM's NEXT WAVE FESTIVAL SETS THE PACE IN THE CONTEMPO- RARY PERFORMING ARTS FIELD, COMMISSIONING AND PRESENTING NEW WORKS BY INNOVATIVE ARTISTS FROM AROUND THE WORLD. BUT THIS YEAR IT SURPASSED EVEN ITS OWN REPUTATION WHEN IT SPONSORED AND PRODUCED THE TENTH ANNIVERSARY OF NEW MUSIC AMERICA - 69 CONCERTS BY MORE THAN 100 COMPOSERS AND ENSEMBLES IN TEN DAYS AT TWENTY- THREE VEN - UES THROUGHOUT NEW YORK- IN ADDITION TO ITS ANNUAL NEXT WAVE PRO- GRAMMING.
Load more

Recommended publications
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE to BROOKLYN Judith E
    L(30 '11 II. BROOKLYN ACADEMY OF MUSIC BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Harry W. Albright, Jr., Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L. Fisher, Leonard Garment, Elisabeth Gotbaum, Judah Gribetz, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti; Hon. Henry Geldzahler, Member ex-officio. A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE TO BROOKLYN Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development IN HONOR OF THE 100th ANNIVERSARY Micheal House Vice President for Marketing and Promotion ADMINISTRATIVE OFFICE STAFF OF THE Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk BROOKLYN BRIDGE FINANCE Perry Singer Accountant Tuesday, November 30, 1982 Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L.
    [Show full text]
  • Howard Levy Full Bio
    Howard Levy Full Bio The Early Years Howard Levy began playing piano at age 8. He started improvising after his 3rd piano lesson, and would often improvise for 30 minutes or more. His parents enrolled him in the prep division of the Manhattan School of Music, where he studied piano for 4 years with Jean Graham, and also studied music theory. When Howard was 11, The Manhattan School recommended that he study composition with Nadia Boulanger in Paris. A place for him was guaranteed, but neither he nor his parents wanted him to disrupt his life at age 11 and move to Europe for a year. Howard had a deep love for classical music, but around age 12 he started to become interested in many other styles of music - pop, folk, rock and roll, then Blues and Jazz. While in high school in New York City, Howard won his school’s “Lincoln Center Award”, given to the outstanding musician in the school. He also studied Bach on the pipe organ for 2 years. This was a major influence that has continued to this day. 4 years ago, Howard received his high school’s “Distinguished Alumni” Award. While in high school, he composed “Extension Chord”, an odd- time meter Jazz piece using Indian rhythmic formulas. He eventually recorded this in 2008, with German bass clarinetist Michael Riessler and French accordionist Jean-Louis Matinier on their Enja CD “Silver and Black”. Howard attended Northwestern University, where he played piano in the university’s Jazz Band, led by jazz musicians Bunky Green and Rufus Reid.
    [Show full text]
  • Imes I Wonder What "Wrang with Me. I Keep Hearing People Soy That They Have Changed Jobs Because Five Or Ten Years in a Job Is Enough
    BROOKLYN ACADEMY OF MUSIC Letter from the President ~imes I wonder what "wrang with me. I keep hearing people soy that they have changed jobs because five or ten years in a job is enough. And here I am after 25 years, still at it, and still, for the most part, enjoying the ride. BAM has changed over the years and yet remains steadily on course. The outpouring of new work by some of our "old-timers" and by young, developing artists trying their wings, and the pursuit of several new initiatives, plus the stimulation of my BAM colleagues, have managed to keep me (or part of me) virgin, available and interested. The first major attraction of my initial season at BAM was Sarah Caldwell's newly formed American National Opera Company, which featured the first staged production in New York of Alban Berg's LULU. The next season, in 1968, had the return of The living Theater in four productions new to New York. In 1969, we introduced Jerzy Grotowski's Polish laboratory Theatre in three productions, and also Twyla Tharp's company on the Opera House stage, with the audience also onstage, seated on three sides. Robert Wilson's LIFE AND TIMES OF SIGMUND FREUD also appeared at BAM in 1969. What is the point of view that informed those early years and that is still operative today? It may seem to be contemporary work by artists outside the mainstream. I think it is deeper and more inclusive than that. For me, it is the application of a critical approach informed by a contemporary sensibility, to what is being produced for the stage today.
    [Show full text]
  • CONGRESSIONAL RECORD— Extensions of Remarks E684 HON
    E684 CONGRESSIONAL RECORD — Extensions of Remarks March 17, 2009 TRIBUTE TO KENT OLSON, EXECU- Not only will this initiative increase Internet Madam Speaker, I encourage my col- TIVE DIRECTOR OF THE PROFES- speed and accessibility for customers, but per- leagues to join me in wishing my brothers of SIONAL INSURANCE AGENTS OF haps more importantly it will create 3,000 new Omega Psi Phi Fraternity a successful political NORTH DAKOTA jobs. summit as these men continue to build a Over the next ten years, AT&T also plans to strong and effective force of men dedicated to HON. EARL POMEROY create or save an additional one thousand its Cardinal Principles of manhood, scholar- jobs through a plan to invest $565 million in OF NORTH DAKOTA ship, perseverance, and uplift. replacing its current fleet of vehicles with IN THE HOUSE OF REPRESENTATIVES f 15,000 domestically manufactured Com- Tuesday, March 17, 2009 pressed Natural Gas and alternative fuel vehi- REMEMBERING THE LIFE OF Mr. POMEROY. Madam Speaker, I rise to cles. MUSIC IMPRESARIO RALPH honor the distinguished career of Kent Olson. Research shows that this new fleet will save MERCADO I am pleased to have known Kent Olson for 49 million gallons of gasoline over the next ten the many years he served as the Executive years. It also will reduce carbon emissions by HON. CHARLES B. RANGEL Director of the Professional Insurance Agents 211,000 metric tons in this same time frame. OF NEW YORK of North Dakota working with him on important Madam Speaker, I applaud AT&T for its ini- IN THE HOUSE OF REPRESENTATIVES tiative in taking the lead in the movement to insurance issues for North Dakota farmers.
    [Show full text]
  • Annual AT&T San Jose Jazz Summer Fest Friday, August 12
    ***For Immediate Release*** 22nd Annual AT&T San Jose Jazz Summer Fest Friday, August 12 - Sunday, August 14, 2011 Plaza de Cesar Chavez Park, Downtown San Jose, CA Ticket Info: www.jazzfest.sanjosejazz.org Tickets: $15 - $20, Children Under 12 Free "The annual San Jose Jazz [Summer Fest] has grown to become one of the premier music events in this country. San Jose Jazz has also created many educational programs that have helped over 100,000 students to learn about music, and to become better musicians and better people." -Quincy Jones "Folks from all around the Bay Area flock to this giant block party… There's something ritualesque about the San Jose Jazz [Summer Fest.]" -Richard Scheinan, San Jose Mercury News "San Jose Jazz deserves a good deal of credit for spotting some of the region's most exciting artists long before they're headliners." -Andy Gilbert, San Jose Mercury News "Over 1,000 artists and 100,000 music lovers converge on San Jose for a weekend of jazz, funk, fusion, blues, salsa, Latin, R&B, electronica and many other forms of contemporary music." -KQED "…the festival continues to up the ante with the roster of about 80 performers that encompasses everything from marquee names to unique up and comers, and both national and local acts...." -Heather Zimmerman, Silicon Valley Community Newspapers San Jose, CA - June 15, 2011 - San Jose Jazz continues its rich tradition of presenting some of today's most distinguished artists and hottest jazz upstarts at the 22nd San Jose Jazz Summer Fest from Friday, August 12 through Sunday, August 14, 2011 at Plaza de Cesar Chavez Park in downtown San Jose, CA.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • David Amram in Denver May 10 - 13
    David Amram in Denver May 10 - 13 * David Amram has composed more than 100 orchestral and chamber music works, written many scores for Broadway theater and film, including the classic scores for the films Splendor in The Grass and The Manchurian Candidate; two operas, including the ground-breaking Holocaust opera The Final Ingredient; and the score for the landmark 1959 documentary Pull My Daisy, narrated by novelist Jack Kerouac. He is also the author of two books, Vibrations, an autobiography, and Offbeat: Collaborating With Kerouac, a memoir. A pioneer player of jazz French horn, he is also a virtuoso on piano, numerous flutes and whistles, percussion, and dozens of folkloric instruments from 25 countries, as well as an inventive, funny improvisational lyricist. He has collaborated with Leonard Bernstein, who chose him as The New York Philharmonic's first composer-in-residence in 1966, Langston Hughes, Dizzy Gillespie, Dustin Hoffman, Willie Nelson, Thelonious Monk, Odetta, Elia Kazan, Arthur Miller, Charles Mingus, Lionel Hampton, E. G. Marshall, and Tito Puente. Amram's most recent work Giants of the Night is a flute concerto dedicated to the memory Charlie Parker, Jack Kerouac and Dizzy Gillespie, three American artists Amram knew and worked with. It was commissioned and recently premiered by Sir James Galway, who also plans to record it. Today, as he has for over fifty years, Amram continues to compose music while traveling the world as a conductor, soloist, bandleader, visiting scholar, and narrator in five languages. He is also currently working with author Frank McCourt on a new setting of the Mass, Missa Manhattan, as well as on a symphony commissioned by the Guthrie Foundation, Symphonic Variations on a Theme by Woody Guthrie.
    [Show full text]
  • Generously Supported by Jody & John Arnhold; the Andrew W. Mellon
    Generously supported by Jody & John Arnhold; the Andrew W. Mellon Foundation; and the Joseph W. Polisi Artist as Citizen President’s Fund. The future, today. Generously supported by Jody & John Arnhold; the Andrew W. Mellon Foundation; and the Joseph W. Polisi Artist as Citizen President’s Fund Restart Stages at Lincoln Center presents Juilliard NOW: Preparatory Division Saturday, May 29, 1pm ET Damrosch Park Pre-College Symphony: String Ensemble Adam Glaser, Conductor DOMINICK ARGENTO Valse Triste (1996) (1927–2019) WILLIAM GRANT STILL Mother and Child (1943) (1895–1978) DAVID DIAMOND Rounds (1944) (1915–2005) Pre-College Orchestra: String Ensemble Adam Glaser, Conductor ARNOLD SCHOENBERG Notturno for Strings and Harp (1895) (1874–1951) GABRIELA LENA FRANK Selections from Leyendas: An Andean Walkabout (b. 1972) (2001), arr. string orchestra Tarqueada Himno de Zampoñas Chasqui Coqueteos 1 Pre-College Symphony: String Ensemble Violin Cello Joshua Song (Pre-College ‘23), Katina Pantazopoulos (Pre-College ‘24), Concertmaster Principal Nami Nazar (Pre-College ‘23), Principal Joseph Darcourt (MAP ‘19, Pre-College ‘24) Dexter Doris (Pre-College ‘23) Shaw Edwards (Pre-College ‘24) Ella Eom (Pre-College ‘24) Ari Freed (Pre-College ‘23) Yui Hasagawa (Pre-College ‘23) Michelle Kwon (Pre-College ’24) Bernadette Kim (Pre-College ‘23) Miles Levine (Pre-College ‘24) Julie Kim (Pre-College ‘24) Katelyn Moon (Pre-College ‘23) Double Bass Iris Sung (Pre-College ‘23) Lauren Ugarte (Pre-College ‘21), Principal Nicholas Yoo (Pre-College ‘24) Athena Allen
    [Show full text]
  • From Museums to Film Studios, the Creative Sector Is One of New York City’S Most Important Economic Assets
    CREATIVE NEW YORK From museums to film studios, the creative sector is one of New York City’s most important economic assets. But the city’s working artists, nonprofit arts groups and for-profit creative firms face a growing number of challenges. June 2015 www.nycfuture.org CREATIVE NEW YORK Written by Adam Forman and edited by David Giles, Jon- CONTENTS athan Bowles and Gail Robinson. Additional research support from from Xiaomeng Li, Travis Palladino, Nicho- las Schafran, Ryan MacLeod, Chirag Bhatt, Amanda INTRODUCTION 3 Gold and Martin Yim. Cover photo by Ari Moore. Cover design by Amy ParKer. Interior design by Ahmad Dowla. A DECADE OF CHANGE 17 Neighborhood changes, rising rents and technology spark This report was made possible by generous support anxiety and excitement from New York Community Trust, Robert Sterling Clark Foundation, Laurie M. Tisch Illumination Fund, Rock- SOURCES OF STRENGTH 27 efeller Brothers Fund and Edelman. Talent, money and media make New York a global creative capital CENTER FOR AN URBAN FUTURE CREATIVE VOICES FROM AROUND THE WORLD 33 120 Wall St., Fl. 20 New YorK, NY 10005 Immigrants enrich New York’s creative sector www.nycfuture.org THE AFFORDABILITY CRISIS 36 Center for an Urban Future is a results-oriented New Exorbitant rents, a shortage of space and high costs York City-based think tank that shines a light on the most critical challenges and opportunities facing New ADDITIONAL CHALLENGES 36 YorK, with a focus on expanding economic opportunity, New York City’s chief barriers to variety and diversity creating jobs and improving the lives of New York’s most vulnerable residents.
    [Show full text]
  • Teaching Music Through Performance in Band
    Teaching Music through Performance in Band A Comprehensive Listing of All Volumes by Grade, 2018 Band, volumes 1 (2nd ed.)–11 Beginning Band, volumes 1–2 Middle School Band Marches GIA Publications, Inc. Contents Core Components . 4 Through the Years with the Teaching Music Series . 5 Band, volumes 1 (2nd ed .)–11 . .. 6 Beginning Band, volumes 1–2 . 30 Middle School Band . 33 Marches . .. 36 Core Components The Books Part I presents essays by the leading lights of instrumental music education, written specifically for the Teaching Music series to instruct, inform, enlighten, inspire, and encourage music directors in their daily tasks . Part II presents Teacher Resource Guides that provide practical, detailed reference to the best-known and foundational band compositions, Grades 2–6,* and their composers . In addition to historical background and analysis, music directors will find insight and practical guidance for streamlining and energizing rehearsals . The Recordings North Texas Wind Symphony Internationally acknowledged as one of the premier ensembles of its kind, the North Texas Wind Symphony is selected from the most outstanding musicians attending the North Texas College of Music . The ensemble pursues the highest pro- fessional standards and is determined to bring its audiences exemplary repertoire from all musical periods, cultures, and styles . Eugene Migliaro Corporon Conductor of the Wind Symphony and Regents Professor of Music at the University of North Texas, Eugene Corporon also serves as the Director of Wind Studies, guiding all aspects of the program . His performances have drawn praise from colleagues, composers, and critics alike . His ensembles have performed for numerous conventions and clinics across the world, and have recorded over 600 works featured on over 100 recordings .
    [Show full text]
  • The Desert Music' at the Brooklyn Academy of Music's Next Wave Festival
    Swarthmore College Works English Literature Faculty Works English Literature 1984 Steve Reich's 'The Desert Music' At The Brooklyn Academy Of Music's Next Wave Festival Peter Schmidt Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit Part of the English Language and Literature Commons Let us know how access to these works benefits ouy Recommended Citation Peter Schmidt. (1984). "Steve Reich's 'The Desert Music' At The Brooklyn Academy Of Music's Next Wave Festival". William Carlos Williams Review. Volume 10, Issue 2. 25-25. https://works.swarthmore.edu/fac-english-lit/211 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. 25 Steve Reich's The Desert Music at the Brooklyn Academy of Music's Next Wave Festival "For music is changing in character today as it has always done." -WCW (SE 57) On October 25-27, the 1984 Next Wave Festival at the Brooklyn Academy of Music presented the American premiere of Steve Reich's The Desert Music, a piece for chorus and orchestra setting to music excerpts from three poems by William Carlos Williams, "Asphodel, That Greeny Flower," "The Orchestra," and his translation of Theocritus' Idyl I. Michael Tilson Thomas conducted the Brooklyn Philharmonic Symphony Orchestra and chorus, and he, the musicians, and the composer received standing ovations after the performances. Steve Reich is one of this country's most promising young composers.
    [Show full text]