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Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
MICHALA PETRI Recorder
MICHALA PETRI recorder For 50 years, Michala Petri has been one of the most universally recognized and beloved recorder players in the world. She has performed almost 5.000 concerts and has discography of more than 70 critically-acclaimed and award winning recordings. Michala Petri was born in Copenhagen, Denmark, on July 7, 1958 to musical parents. A child prodigy, she first picked up a recorder at the age of three and by the time she was ten, she made her concerto debut in Tivoli Concert Hall and began her formal studies at the at Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad. By the time she was seventeen, she was already making recordings with the Academy of St. Martin-in-the-Fields. Her repertoire spans the Baroque, Classical, and Romantic eras and extends into contemporary and improvised music and multi-media. This versatility, together with a flawless technique, an insatiable curiosity, and the ability to make an emotional connection with her audiences has contributed to her special appeal as an artist. Her list of collaborators reads like a ‘Who’s Who’ of late 20th century classical music, including such legendary artists as Sir Neville Marriner, Claudio Abbado, Sir James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukerman, Maurice Andre, Joshua Bell, Mahan Esfahani, Hille Perl and Keith Jarrett. From her youth, Petri was fascinated with the musical potential of her chosen instrument, however, at the time of her studies the recorder was considered mainly an instrument for early music. But gradually, contemporary composers began taking interest and through Petri’s prompting – and virtuosity - started composing works for her. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
The Spirit in the Liturgy by 2020, It Is Estimated That 41 Million of All U.S
NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL March 2011 Music The Spirit in the Liturgy By 2020, it is estimated that 41 million of all U.S. Catholics will be Hispanic. 41million Are you ready to serve the worship needs of the fastest-growing segment in the Church? Join over two-thirds of the U.S. Catholic churches who turn to OCP for missals and hymnals to engage, unite and inspire their assembly in worship. 1-800-LITURGY (548-8749) | OCP.ORG NPM-January 2011:Layout 1 11/18/10 1:29 PM Page 1 Peter’s Way Tours Inc. Specializing in Custom Performance Tours and Pilgrimages Travel with the leader, as choirs have done for more than 25 years! This could be Preview a Choir Tour! ROME, ASSISI, VATICAN CITY your choir in Rome! Roman Polyphony JANUARY 19 - 26, 2012 • $795 (plus tax) HOLY LAND - Songs of Scriptures JANUARY 26-FEBRUARY 4, 2012 • $1,095 (plus tax) IRELAND - Land of Saints and Scholars FEBRUARY 14 - 20, 2012 • $995/$550* (plus tax) Continuing Education Programs for Music Directors Enjoy these specially designed programs at substantially reduced rates. Refundable from New York when you return with your own choir! *Special Price by invitation to directors bringing their choir within two years. 500 North Broadway • Suite 221 • Jericho, NY 11753 New York Office: 1-800-225-7662 Special dinner with our American and Peter’s Way Tours Inc. ERuerqopueeasnt Pau berio Ccahnutorere:s A gnronueptste a@llopweitnegr sfowr aysales.com Visit us at: www.petersway.com or call Midwest Office: 1-800-443-6018 positions have a responsibility to learn as much as we can about the new translation before we begin leading others to sing and pray with these new words. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Programmheft (PDF 2.3
… und der Zukunft zugewandt … SA 9. NOV 2019 | KULTURPALAST Spartacus FR 29. NOV 2019 | 19.30 Uhr SA 30. NOV 2019 | 19.30 Uhr KULTURPALAST TSCHAIKOWSKI ›Manfred‹-Sinfonie h-Moll PROKOFJEW Violinkonzert Nr. 2 g-Moll CHATSCHATURJAN Auszüge aus dem Ballett ›Spartacus‹ DMITRIJ KITAJENKO | Dirigent SERGEJ KRYLOV | Violine DRESDNER PHILHARMONIE Tickets 39 | 34 | 29 | 23 | 18 € [email protected] dresdnerphilharmonie.de 9 € Schüler, Studenten © Klaus Rudolph PROGRAMM 17.00 Uhr, Konzertsaal Musik – Demokratie – Europa Harald Muenz (* 1965) [ funda'men de'nit ] per dieci voci, für zehn Stimmen, para diez voces, for ten voices, pour dix voix auf Textauszüge aus dem Grundgesetz der Bundesrepublik Deutschland (1949) und der Charta der Grundrechte der Europäischen Union (2000), eingerichtet vom Komponisten (2019) Stefan Beyer (* 1981) »Vi« für Vokalensemble und Elektronik (2019) Hakan Ulus (* 1991) »Auslöschung II« für zehn Stimmen (2019) Chatori Shimizu (* 1990) »Rightist Mushrooms« für zehn Stimmen (2019) Fojan Gharibnejad (* 1995) Zachary Seely (* 1988) »hēmi« für zehn Sänger (2019) Olaf Katzer | Leitung AUDITIVVOKAL DRESDEN Die fünf Werke entstanden im Auftrag von AUDITIVVOKAL DRESDEN und erklingen als Urauührungen. PROGRAMM 18.30 Uhr, Konzertsaal I have a dream Kurzeinführung: Zeitzeugen im Gespräch mit Jens Schubbe Friedrich Schenker (1942 – 2013) Sinfonie »In memoriam Martin Luther King« (1969/70) Sehr langsam – Schnell – Ruhige Halbe (in der Art eines Chorals) – Tempo I Schnell und rigoros – Langsam – Ruhig ießend – Tempo I Jonathan -
Oceanic Migrations
San Francisco Contemporary Music Players on STAGE series Oceanic Migrations MICHAEL GORDON ROOMFUL OF TEETH SPLINTER REEDS September 14, 2019 Cowell Theater Fort Mason Cultural Center San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS San Francisco Contemporary Music Brown, Olly Wilson, Michael Gordon, Players is the West Coast’s most Du Yun, Myra Melford, and Julia Wolfe. long-standing and largest new music The Contemporary Players have ensemble, comprised of twenty-two been presented by leading cultural highly skilled musicians. For 49 years, festivals and concert series including the San Francisco Contemporary Music San Francisco Performances, Los Players have created innovative and Angeles Monday Evening Concerts, Cal artistically excellent music and are one Performances, the Stern Grove Festival, Tod Brody, flute Kate Campbell, piano of the most active ensembles in the the Festival of New American Music at Kyle Bruckmann, oboe David Tanenbaum, guitar United States dedicated to contemporary CSU Sacramento, the Ojai Festival, and Sarah Rathke, oboe Hrabba Atladottir, violin music. Holding an important role in the France’s prestigious MANCA Festival. regional and national cultural landscape, The Contemporary Music Players Jeff Anderle, clarinet Susan Freier, violin the Contemporary Music Players are a nourish the creation and dissemination Peter Josheff, clarinet Roy Malan, violin 2018 awardee of the esteemed Fromm of new works through world-class Foundation Ensemble Prize, and a performances, commissions, and Adam Luftman, -
Vi Saint Petersburg International New Music Festival Artistic Director: Mehdi Hosseini
VI SAINT PETERSBURG INTERNATIONAL NEW MUSIC FESTIVAL ARTISTIC DIRECTOR: MEHDI HOSSEINI 21 — 25 MAY, 2019 facebook.com/remusik.org vk.com/remusikorg youtube.com/user/remusikorg twitter.com/remusikorg instagram.com/remusik_org SPONSORS & PARTNERS GENERAL PARTNERS 2019 INTERSECTIO A POIN OF POIN A The Organizing Committee would like to express its thanks and appreciation for the support and assistance provided by the following people: Eltje Aderhold, Karina Abramyan, Anna Arutyunova, Vladimir Begletsov, Alexander Beglov, Sylvie Bermann, Natalia Braginskaya, Denis Bystrov, Olga Chukova, Evgeniya Diamantidi, Valery Fokin, Valery Gergiev, Regina Glazunova, Andri Hardmeier, Alain Helou, Svetlana Ibatullina, Maria Karmanovskaya, Natalia Kopich, Roger Kull, Serguei Loukine, Anastasia Makarenko, Alice Meves, Jan Mierzwa, Tatiana Orlova, Ekaterina Puzankova, Yves Rossier, Tobias Roth Fhal, Olga Shevchuk, Yulia Starovoitova, Konstantin Sukhenko, Anton Tanonov, Hans Timbremont, Lyudmila Titova, Alexei Vasiliev, Alexander Voronko, Eva Zulkovska. 1 Mariinsky Theatre Concert Hall 4 Masterskaya M. K. Anikushina FESTIVAL CALENDAR Dekabristov St., 37 Vyazemsky Ln., 8 mariinsky.ru vk.com/sculptorstudio 2 New Stage of the Alexandrinsky Theatre 5 “Lumiere Hall” creative space TUESDAY / 21.05 19:00 Mariinsky Theatre Concert Hall Fontanka River Embankment 49, Lit A Obvodnogo Kanala emb., 74А ensemble für neue musik zürich (Switzerland) alexandrinsky.ru lumierehall.ru 3 The N. A. Rimsky-Korsakov 6 The Concert Hall “Jaani Kirik” Saint Petersburg State Conservatory Dekabristov St., 54A Glinka St., 2, Lit A jaanikirik.ru WEDNESDAY / 22.05 13:30 The N. A. Rimsky-Korsakov conservatory.ru Saint Petersburg State Conservatory Composer meet-and-greet: Katharina Rosenberger (Switzerland) 16:00 Lumiere Hall Marcus Weiss, Saxophone (Switzerland) Ensemble for New Music Tallinn (Estonia) 20:00 New Stage of the Alexandrinsky Theatre Around the Corner (Spain, Switzerland) 4 Vyazemsky Ln. -
Friedrich Goldmann
© Astrid Karger Friedrich Goldmann Contemporary BIOGRAPHY Friedrich Goldmann Born in 1941 in Chemnitz, Friedrich Goldmann first studied at the Ferienkurse für Neue Musik in Darmstadt with Karlheinz Stockhausen in 1959. He went on to study composition in Dresden and Berlin until 1964. While still a student he became an assistant composer at Berliner Ensemble, where he met future collaborators Heiner Müller, Luigi Nono and Ruth Berghaus. Since the early 1970s Goldmann emerged as the leading exponent of a new music avant-garde in East Germany, and soon also became widely performed in West Germany and, subsequently, in Western Europe. His oeuvre includes numerous chamber works, four symphonies, four solo concertos, orchestral works and one opera. Around 1969 Goldmann developed a technique of composing with heterogenous layers, appropriating traditional forms (sonata, symphony etc.) and ‘breaking them open from within’ with new techniques. This allowed for highlighting the friction between divergent layers as a distinct aesthetic parameter, predating developments regarding the use of historical references and ‘multiple coding’. In the 1970s Goldmann developed a method of composition that holistically integrates the full range of formal possibilities of new music. He explored perceptual continuums and amalgamations, such as transitions between noise and tone, or chromatic and microtonal material. With parameter boundaries dissolving, he thus challenged the conventional concept of musical parameters as discrete entities. Goldmann received commissions from Berliner Philharmonie, Staatsoper Berlin, Semperoper Dresden and most radio symphony orchestras in Germany, with Konzerthaus Berlin, Wittener Tage Festival and Ensemble Modern being among his most frequent commissioners. Since 1980 he taught at Berlin’s Akademie der Künste and became professor of composition at Universität der Künste in Berlin in 1991. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.