DOCSLIB.ORG

Baroque Ensemble Jason J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Baroque Ensemble Jason J Sunday, May 28, 2017 • 8:00 P.M. BAROQUE ENSEMBLE Jason J. Moy, director DePaul Concert Hall 800 West Belden Avenue • Chicago Sunday, May 28, 2017 • 8:00 P.M. DePaul Concert Hall BAROQUE ENSEMBLE Jason J. Moy, director PROGRAM Sebastian Bodinus (ca. 1700 – 1759) Quartet in D Major for Horn, Flute, Violin, and Continuo (1726) from Musikalischen Divertissiments Vol. 5 Nr. 1 Siciliana en Pastoral – Allegro Adagio Giga, Allegro Ali Nizamani, horn Charlie Jacobs, flute Alexndria Conrad, violin Quinn Delaney, bassoon Jason Moy, harpsichord & coach Johann Rudolf Ahle (1625-1673) Misericordias Domini from Neu-gepflanzter thuringischer Lustgarten(1665) Jianghai Ho, tenor Angela Zuñiga, soprano Susan Miller, violin Helen Dowd, violin Jessica Li, organ Brandi Berry, coach Georg Philipp Telemann (1681-1767) Quartet (Trio) No. 1 in D Minor, TWV 43:D2 (1733) Dolce Allegro Grave Allegro Rachael Dobosz, flute Emily Graham, flute Sandra Bailey, bassoon Brandi Berry, coach BAROQUE ENSEMBLE • MAY 28, 2017 PROGRAM Giovanni Battista Pergolesi (1710-1736) Stabat Mater (1736) IV. Quae moerebat et dolebat VII. Eja mater fons armoris X. Fac ut portem Christi mortem Emma WitbolsFeugen, mezzo-soprano Brent Taghap, violin Hsin-Yu Chen, violin Seth Pae, viola Jessica Li, harpsichord Brandi Berry, coach Giovanni Battista Buonamente (1595-1642) Sonata Seconda a 3 violini from Sonata et canzoni, Libro Sesto (1636) Andreas Oswald (1634-1665) Sonata a 3 violini (ca. 1690) Henry Purcell (1659-1695) Fantazia: Three parts upon a Ground, Z. 731 (ca. 1678) Cody Hiller, violin Diana Sofia Ortiz, violin Fan Zhang, violin Benjamin Sullivan, guitar Brandi Berry, coach Johann Friedrich Fasch (1688-1758) Sonata for Flute, Violin, Bassoon, and Continuo (ca. 1740) Largo Allegro Largo Allegro Charlie Jacobs, flute Alexandria Conrad, violin Quinn Delaney, bassoon Jason Moy, harpsichord & coach BAROQUE ENSEMBLE • MAY 28, 2017 BIOGRAPHIES Jason J. Moy holds degrees in harpsichord and Early Music performance from McGill University in Montreal, where his primary teachers and mentors included Hank Knox, Luc Beauséjour, and the late Bruce Haynes. Jason is a native of Chicago, and currently serves on the faculty of the DePaul University School of Music, where he teaches harpsichord and chamber music, and directs the Baroque Ensemble. His concert activities as a soloist and collaborative artist have taken him throughout the United States, Canada and Europe, and include appearances at the 2013 and 2015 Boston Early Music Festivals, and the prestigious York Early Music Festival in the United Kingdom in 2009. Jason is the Artistic Director of Ars Musica Chicago, and regularly performs with his award-winning period instrument ensemble, Trio Speranza. He is a frequent guest artist with such respected ensembles as the Bach Week Festival Orchestra, Wisconsin Chamber Orchestra, Dempster Street Pro Musica, Chicago Chamber Musicians, the Newberry Consort, and Music of the Baroque, and has been featured in live performances on ABC7 and CBS2 television, and BBC Radio 3, and is frequently heard on Chicago’s classical radio station, WFMT98.7. For more information, please visit his website at www.jjmoy.com. Violinist and recent 3Arts awardee Brandi Berry, whose “four-string acrobatics” and “indispensable skill” (TimeOut Chicago) have been praised as “alert [and] outstanding” (Chicago Classical Review), has also been noted for her “riffs.. powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee” (Washington Post). She has appeared with numerous ensembles including but not limited to Kings Noyse, Apollo’s Fire, Newberry Consort, Ars Lyrica Houston, Indianapolis Baroque Orchestra, Musica Angelica, Toronto’s Classical Music Consort; and as soloist/concertmaster of Ars Antigua, Bloomington Early Music Festival Opera Orchestra, and St. Louis’s Kingsbury Ensemble. Ms. Berry has also performed on numerous series throughout the U.S. and Canada including at the Library of Congress, a repeat performer on the Dame Myra Hess series, Ars Musica Chicago, the 2010 CMC Springtime Handel BAROQUE ENSEMBLE • MAY 28, 2017 BIOGRAPHIES Festival in Toronto, the Boston, Berkeley, Chicago, Houston, Indianapolis, and Madison Early Music Festivals, Kansas City’s Friends of Chamber Music, Early Music Now, Chicago’s Classical Music Mondays at the Cultural Center, and the Academy of Early Music in Ann Arbor. On the air, Ms. Berry has been heard on the Live and Impromptu series of Chicago’s WFMT classical radio station, WNUR, and Wisconsin Public Radio. Brandi serves on the faculty of DePaul University as co-director of their Baroque Ensembles program. A student of Stanley Ritchie and Cynthia Roberts, she holds degrees in violin performance from Indiana University and the University of North Texas. Ms. Berry is artistic director of the Bach & Beethoven Ensemble. BAROQUE ENSEMBLE • MAY 28, 2017 UPCOMING EVENTS Tuesday, May 30 • 7:00 P.M. Recital Hall Faculty Recital: Stephen Balderston, cello Wednesday, May 31 • 8:00 P.M. Recital Hall DePaul Jazz Combos Wednesday, May 31 • 8:00 P.M. Concert Hall String Chamber Showcase II Thursday, June 1 • 8:00 P.M. Recital Hall DePaul Jazz Combos Friday, June 2 • 8:00 P.M. Concert Hall DePaul Wind Symphony Saturday, June 3 • 8:00 P.M. Concert Hall Vocal Showcase Sunday, June 4 • 2:00 P.M. Recital Hall Guitar Ensemble As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Sign up for Music @ DePaul E-Notes! Receive bi-weekly updates in your inbox on performances taking place at the School of Music, as well as special offers and discounts to ticketed events! You can choose to unsubscribe from the list at any time. We have a strict privacy policy and will never sell or trade your email address. You can sign up for E-Notes by visiting music.depaul.edu and clicking on Concerts and Events. DePaul University School of Music Concert Hall • 800 West Belden Avenue • Chicago Recital Hall • 804 West Belden Avenue • Chicago music.depaul.edu • 773.325.7260 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
Load more

Recommended publications
  • A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors.
    [Show full text]
  • 4 Classical Music's Coarse Caress
    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    “Early music is dead, long live early music!” The Holland Baroque ensemble and the Dutch early music revival Carine Hartman Student number: 6626726 MA Applied Musicology MA thesis Academic year 2018-2019 Utrecht University Supervisor: Dr. Ruxandra Marinescu Acknowledgements I would first like to thank my thesis supervisor, Dr. Ruxandra Marinescu. During the research process, she gave me helpful feedback and advice on my writings and I am grateful for her supervision. I also would like to thank Judith and Tineke Steenbrink from Holland Baroque for letting me interview them and answering further questions that I had considering this research. I also wish to thank Holland Baroque’s producer Clara van Meyel for contributing ideas to the research and giving me additional information on Holland Baroque. The organization of Holland Baroque in general has let me in on the ensemble’s ideas, vision and challenges and I am thankful for their open attitude towards me. I thank my friends for their interest in my research and their additional knowledge. Lastly, I thank my mother, father and sister and my boyfriend in particular for their motivational words and sympathy, which have helped me to complete this thesis. I hope you enjoy reading my thesis. 1 Table of contents ABSTRACT 3 INTRODUCTION 4 CHAPTER 1. THE HISTORICAL PERFORMANCE PRACTICE DEBATE 7 1.1 SCHOLARLY VIEWS ON HIP 7 1.1.1 “Getting it right” 9 1.1.2 The “literalistic performance” 11 1.1.3 Period instruments 12 1.2 THE DUTCH EARLY MUSIC MOVEMENT 14 1.3 A NEW GENERATION 15 CHAPTER 2.
    [Show full text]
  • 2015 National Flute Association Convention Go Baroque! Historically Informed Performance for Modern Flutists
    2015 National Flute Association Convention Go Baroque! Historically Informed Performance for Modern Flutists Leela Breithaupt www.leelabreithaupt.com Historical Informed Performance (HIP) HIP is a movement that cherishes the challenge and discovery of playing music as it could have been played when it was originally composed. Have you ever wondered how Baroque composers like Bach and Telemann might have imagined their pieces, or how flutists like Frederick the Great or Jacques Hotteterre might have played them while the ink was still fresh? Learning about HIP is not rocket science. It can inspire you to look at music in a different way and will require patience – like learning any new language! Traverso demonstration Suite in b minor op 35/5 (1731) Joseph Bodin de BOISMORTIER Prélude 1689 - 1755 Bourrée en rondeau Rondeau Fantaisie Gigue HIP goal: declamatory and rhetorical musical phrasing “If the words were not separated from one another by the accents associated with the length and brevity of the syllables, […] the most beautiful speech [would] sound no better than the letter-by-letter reading of children.” – Johann Phllipp Kirnberger, 1776 The Big Three: HIP concepts that will change your Baroque playing. 1. Beat hierarchy 2. Micro-dynamics 3. Varied Articulations 1. Beat hierarchy Strong and weak beats within each bar - strict order of importance As a rule, beat one is the strongest in all meters In common time: In triple time: 1 2 3 4 1 2 3 Pickups don’t lead in to downbeats Hierarchy extrapolates to divisions of beats Example: 4 sixteenth notes in a quarter note have the same hierarchical order as 4 quarter notes in bar Beat hierarchy eliminates sewing machine effect of equally emphasized running passages Musical example #1: JS Bach, Sonata in b minor, BWV 1030 (c.1736), Andante 2.
    [Show full text]
  • Preface I-Vii.Pdf
    Preface, Sources and Critical Commentary Preface This edition of the ‘Hautboi Solo’ and the Sonata in B flat major, Part 2, No.10, by William Babell (1688-1723) has had a lengthy gestation. I came across the ‘Hautboi Solo’ while a student at the Royal Academy of Music (RAM). At that time I was researching music by Pepusch, specifically some of his anthems written for the Duke of Chandos at Cannons, along with the organ Voluntary in C, the motet Beatus vir and some solo cantatas. In parallel with that, I was also exploring early oboe repertoire, in part for my sister Elaine (1954-2015) who was about to study with Terence MacDonagh (1908-1986) at the Royal College of Music. Blinkered by my Pepusch enthusiasms, I rashly believed this might be an oboe sonata by Dr. P himself. As such, my first unpublished edition received a BBC broadcast on 28 February 1971 by the oboist Derek Bell (later of the Chieftains) with Havelock Nelson, piano. The Radio Times listing was ‘Pepusch, arr. Byers, Sonata for oboe and piano’. A public performance, also crediting Pepusch, was given in Belfast Central Library on 29 December 1970 by Ian Frost, oboe, with David Byers (DB), harpsichord, and Catherine Bunting, cello. In London I used more discretion and historical correctness for performances at Royal Holloway College (18 November 1970) and St Ninian’s Church, Golders Green (10 January 1971), crediting the composer as ‘Anon’. The performers were Sandra Mackay, oboe, DB, organ, and Christopher May, cello. Similar discretion continued for a Pepusch concert in the Duke’s Hall, RAM, on 14 July 1971 when the sonata by ‘Anon’ was again played by Sandra Mackay, with DB, harpsichord, and Michael Edwards, cello (later of ELO, the Electric Light Orchestra; he died in a tragic accident in 2010).
    [Show full text]
  • Historical Performance Practice of the Prélude
    HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE Ariana Jane Odermatt Australian National University A thesis submitted for the partial fulfilment of the requirements of the degree of Master of Philosophy, School of Music, The Australian National University. © Copyright by Ariana Jane Odermatt 2018 All Rights Reserved 1 Unless otherwise acknowledged in the text, this thesis represents the original research of the author SIGNED: ........................................... DATE: ............................................... 2 HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE ABSTRACT ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’ (François Couperin: L'art de toucher Le Clavecin, 1716)1 The enigmatic prélude non mesuré was a short-lived genre characterised by rhythmically free croches blanches (‘flagged white notes’, rather than white quavers)2 and sweeping lines and slurs that were generally notated without specific reference to rhythm or metre. Some of the lines appear to bind the tones into harmonic groups and to articulate cadential and rhythmic units, but the inherent freedom encoded in the notation presents a broad, complex interpretive scope to present-day performers. Given composers' scant written and notational indications as to how they intended the works to be performed, this research seeks to address ways of interpreting the genre in an informed historical sense, whilst surveying current performing practices within Louis Couperin’s Prélude non mesuré in D minor to inform the author’s own performance. Extant préludes non mesurés are contained within two manuscript sources (Parville and Bauyn), while commentary addressing performance interpretation of the notation is limited to three source documents specifically referencing the prélude non mesuré: Nicolas Lebègue’s preface to his Pièces de clavessin (1677), correspondence between Lebègue and an Englishman called Mr.
    [Show full text]
  • Baroque Music, the Library of Essays on Music Performance Practice" Edited by Peter Walls and Mary Cyr David Schulenberg
    Performance Practice Review Volume 17 | Number 1 Article 3 "Baroque Music, The Library of Essays on Music Performance Practice" edited by Peter Walls and Mary Cyr David Schulenberg Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Music Practice Commons Schulenberg, David (2012) ""Baroque Music, The Library of Essays on Music Performance Practice" edited by Peter Walls and Mary Cyr," Performance Practice Review: Vol. 17: No. 1, Article 3. DOI: 10.5642/perfpr.201217.01.03 Available at: http://scholarship.claremont.edu/ppr/vol17/iss1/3 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Walls, Peter, ed. Baroque Music , The Library of Essays on Music Performance Practice , series editor Mary Cyr. Farnham, Surry, UK, and Burlington, VT, USA: Ashgate, 2011. ISBN 978-0-7546-2882-8. David Schulenberg Copyright 2012 © Claremont Graduate University In the sciences, there are foundational articles on which entire disciplines are founded. Physicists today rarely read the papers in which Einstein demonstrated the principles of the theory of relativity, but thousands of papers based on them have been published during the past hundred years, and the results are enshrined in textbooks. The original papers remain of interest as historical documents and as models of style and reasoning. Such cannot be said for most of the papers gathered together in this contribution by Peter Walls to a series called, not without pretension, “The Library of Essays on Music Performance Practice.” Titles in the series are limited to the style-periods of the Western European art-music tradition, implying that the only practices worth studying are those that were employed in the past for “classical” repertories of interest to present-day academics and recording companies.
    [Show full text]
  • Historical Performance: Quartets from Juilliard and the Royal Conservatoire of the Hague Photo by Claudio Papapietro
    Historical Performance: Quartets from Juilliard and the Royal Conservatoire of The Hague Photo by Claudio Papapietro Support the next generation of performing artists "I see for Juilliard a bold, creative, unstoppable, and joyful spirit that nurtures individuality. And I see for Juilliard an endless continuum of beauty, of artists who launch their voices into the universe." —Damian Woetzel, Juilliard President You are a vital part of Julliard’s future. Your donation supports financial aid for more than 90% of our students and the development of the next generation of performing artists. Make your tax-deductible gift by December 31 and be a part of the this exciting new chapter at Juilliard. Give now at giving.juilliard.edu/future or call (212) 599-7000, ext. 278. Thank you for your support. juilliard.edu The Juilliard School presents Historical Performance: Quartets from Juilliard and the Royal Conservatoire of The Hague Saturday, January 12, 2019, at 8pm Nieuwe Kerk, The Hague Saturday, January 19, 2019, at 7:30pm Rosemary and Meredith Willson Theater, The Juilliard School Royal Conservatoire Quartet Aleksandra Kwiatkowska, Violin Pietro Battistoni, Violin Clara Sawada, Viola Blanca Martín Muñoz, Cello Juilliard HP Quartet Rachell Ellen Wong, Violin Chloe Kim, Violin Naomi Dumas, Viola Madeleine Bouïssou, Cello JOSEPH HAYDN String Quartet in F Minor, Op. 20, No. 5 (1732-1809) Aleksandra Kwiatkowska, Pietro Battistoni, Violins Clara Sawada, Viola Blanca Martín Muñoz, Cello WOLFGANG AMADEUS String Quartet in C Major, K. 456, “Dissonance” MOZART Rachell Ellen Wong, Chloe Kim, Violins (1756-91) Naomi Dumas, Viola Madeleine Bouïssou, Cello Intermission Program continues Juilliard's full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.
    [Show full text]
  • Eighteenth-Century French Oboes
    EIGHTEENTH-CENTURY FRENCH OBOES: A COMPARATIVE STUDY Susannah Cleveland, B.M., M.S. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2001 APPROVED: Cecil Adkins, Major Professor and Chair Deanna Bush, Minor Professor Charles Veazey, Minor Professor Thomas Clark, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Cleveland, Susannah, Eighteenth-Century French Oboes: A Comparative Study. Master of Music (Musicology), May 2001, 52 pp., 8 figures, 29 titles. The oboe, which first came into being in the middle of the seventeenth century in France, underwent a number of changes throughout the following century. French instruments were influenced both by local practices and by the introduction of influences from other parts of Europe. The background of the makers of these instruments as well as the physical properties of the oboes help to illuminate the development of the instrument during this period. The examination of measurements, technical drawings, photographs, and biographical data clarify the development and dissemination of practices in oboe building throughout eighteenth-century France. This clarification provides new insight into a critical period of oboe development which has hitherto not been exclusively addressed. TABLE OF CONTENTS Page LIST OF FIGURES. iii Chapter 1. INTRODUCTION . 1 2. BACKGROUND OF THE EIGHTEENTH-CENTURY FRENCH OBOE MAKERS . 5 Early Period Oboe Builders to 1749 Transitional Period Oboe Builders, 1750-1779 Late Period Oboe Builders from 1780 3. ANALYSIS OF THE PHYSICAL PROPERTIES OF EIGHTEENTH-CENTURY OBOES . 28 Top Joints Middle joints Bells Tone Holes Keys Bores 4.
    [Show full text]
  • Morgan-Book 05:Layout 1.Qxd
    Contents Preface Teacher and Colleague Ulrike Volkhardt, Germany.................................................107 Pamela Thorby, Great Britain.............................................174 Gisela Rothe..............................................................................10 Ricardo Kanji, Brazil...............................................................74 Sigiswald Kuijken, Belgium.................................................108 Susanna Laurin, Sweden.......................................................175 Jean-François Beaudin, Canada.............................................77 Gerd Lünenbürger, Germany..............................................109 Karina Agerbo, Denmark ....................................................176 Frederick G. Morgan 1940–1999 Adriana Breukink, Netherlands............................................78 Lorenzo Cavasanti, Italy.......................................................110 Ruth Wilkinson, Australia ..................................................177 Walter van Hauwe, Netherlands...........................................14 Shigeharu Hirao-Yamaoka, Japan.........................................81 Dale Higbee, USA.................................................................111 Vicki Boeckman, USA/Denmark......................................179 Kees Boeke, Netherlands/Italy..............................................18 Peter van der Poel, Netherlands ...........................................82 Neville Fletcher, Australia....................................................112
    [Show full text]
  • Regional Oral History Office the Bancroft Library Laurette Goldberg
    Regional Oral History Office University of California The Bancroft Library Berkeley, California Laurette Goldberg EARLY MUSIC PERFORMANCE IN THE SAN FRANCISCO BAY AREA, 1960s-PRESENT With Introductions by June Brott - and Diana Cohen An Interview Conducted By Mary Mead in 1996 Copyright 0 1997 by the Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. All uses of this manuscript are covered by a legal agreement between The Regents of the University of California, Laurette Goldberg, and Mary Zon Mead dated January 31, 1996. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Recreating Early 19Th- Century Style in a 21St-Century Marketplace: an Orchestral Violinist’S Perspective
    Recreating early 19th- century style in a 21st-century marketplace: An orchestral violinist’s perspective. Is there a problem? The period-instrument movement has evolved into a well-established and commercially successful branch of the music industry. Uniquely in classical music, however, demand has outpaced expertise. For several decades now recording companies, promoters and audiences have been keen to extend the repertoire boundaries tackled by period ensembles, but players and conductors have neither developed nor embraced specialist knowledge of 19th-century performance practice equivalent to their expertise in earlier repertoire. Period-instrument orchestras have focused for some years on correcting early criticism and negative stereotypes of the Early Music movement by emulating ‘modern’ standards of accuracy. Whilst this focus has undoubtedly delivered benefits, the demands of ever- widening repertoire and increasingly limited rehearsal periods have resulted in a serious imbalance between historical accuracy and commercial acceptability. We’ll explore why there is a problem and what might be the way to tackle it as the session progresses but generally speaking both performers and scholars accept that there is a gulf between what is documented as 19th-century style and what is currently produced by period instrument ensembles. Scholars have been voicing their dissatisfaction with the historically informed performance of 19th-century music for a long time. Richard Taruskin may be best known for his discrediting of the authenticity
    [Show full text]