LEONARD BERNSTEIN at 100 April 26–September 2, 2018
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Gustavo Dudamel 2020/21 Season (Long Biography)
GUSTAVO DUDAMEL 2020/21 SEASON (LONG BIOGRAPHY) Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. As the Music & Artistic Director of the Los Angeles Philharmonic, now in his twelfth season, Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America – period.” With the COVID-19 global pandemic shutting down the majority of live performances, Dudamel has committed even more time and energy to his mission of bringing music to young people across the globe, firm in his belief that the arts play an essential role in creating a more just, peaceful, and integrated society. While quarantining in Los Angeles, he hosted a new radio program from his living room entitled “At Home with Gustavo,” sharing personal stories and musical selections as a way to bring people together during a time of isolation. The program was broadcast locally as well as internationally in both English and Spanish, with guest co-hosts including, among others, composer John Williams, his wife, actress María Valverde. Dudamel also participated in Global Citizen’s Global Goal: Unite For Our Future TV fundraising special, giving a socially-distanced performance from the Hollywood Bowl with the LA Phil and YOLA (Youth Orchestra Los Angeles). -
Season 20 Season 2011-2012
Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 888,8, at 8:00 Friday, March 999,9, at 222:002:00:00:00 Saturday, March 101010,10 , at 8:00 James Gaffigan Conductor Stewart Goodyear Piano Bernstein Symphonic Suite from On the Waterfront Gershwin/orch. Grofé Rhapsody in Blue Intermission Tchaikovsky Excerpts from Swan Lake, Op. 20 I. Scene II. Waltz III. Dance of the Swans IV. Scene V. Hungarian Dance, Czardas VI. Spanish Dance VII. Neapolitan Dance VIII. Mazurka IX. Scene X. Dance of the Little Swans XI. Scene XII. Final Scene This program runs approximately 1 hour, 50 minutes. American conductor James Gaffigan, who is making his Philadelphia Orchestra debut with these performances, was recently appointed chief conductor of the Lucerne Symphony and principal guest conductor of the Netherlands Radio Philharmonic; he assumed both posts in the summer of 2011. This season he debuts with the Atlanta Symphony and the Los Angeles Philharmonic and makes return visits to the Minnesota Orchestra and the Baltimore, Dallas, Milwaukee, National, and Toronto symphonies. Recent and upcoming festival appearances include the Aspen, Blossom, Grant Park, and Grand Teton music festivals, and the Spoleto Festival USA. In Europe he makes debuts with the Czech, Dresden, and London philharmonics. In 2009 Mr. Gaffigan completed his three-year tenure as associate conductor with the San Francisco Symphony. Prior to that appointment he was assistant conductor of the Cleveland Orchestra. He has appeared with such North American orchestras as the Saint Paul Chamber Orchestra and the Chicago, Detroit, Houston, New World, Seattle, and Saint Louis symphonies. -
West Side Story
To Our Readers ow can something be as fresh, as bril Hliant, as explosively urgent as "West Side Story," and be 50 years old? How can this brand new idea for the American theatre have been around for half a century? Leonard Bernstein used to say that he wished he could write the Great American Opera. He was still designing such a project shortly before his death. But in retrospect, we can say that he fulfilled his wish. "West Side Story" is performed to enthusiastic audiences in opera houses around the world - recently in La Scala and, before this year is out, at the Theatre du Chatelet in Paris. Is there a Broadway revival in the works? The signs are highly auspicious. In this issue, we celebrate "West Side Story": its authors, its original performers, and its continuing vital presence in the world. Chita Rivera regrets that, due to scheduling conflicts, she was unable to contribute to this issue by print time. [ wEst SIDE ·sronv L "West Side Story" continues to break ground to this very day. Earlier this year, the show was performed by inmates at Sing Sing. A few months later, it was presented as part of a conflict resolution initiative for warring street gangs in Seattle. And if there's a heaven, Leonard Bernstein was up there dancing for joy last summer while Gustavo Dudamel led his sensational 200-piece Simon Bolfvar Youth Orchestra in the "Mambo" at the Proms in London. The audience went bonkers. Check it out: http://www.dailymotion.com/swf/ 6pXLfR60dUfQNjMYZ There are few theatrical experiences as reliably thrilling as a student production of "West Side Story". -
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1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition. -
LA Phil at Tynecastle Revised.Indd
Aberdeen Standard Investments Opening Event: LA Phil at Tynecastle Friday 2 August 7.00pm Tynecastle Park Gustavo Dudamel conductor The performance lasts Los Angeles Philharmonic approximately one hour thirty YOLA National minutes with no interval. Sponsored by Supported by #edintfest In collaboration with Tynecastle Park The Los Angeles Philharmonic residency has been made possible by the support of Dunard Fund USA Aberdeen Standard Investments Opening Event: LA Phil at Tynecastle Gustavo Dudamel conductor Los Angeles Philharmonic YOLA National Korngold March of the Merry Men from The Adventures of Robin Hood John Williams Shark Cage Fugue/Out to Sea from Jaws Herrmann Suite from Vertigo John Williams Hedwig’s Theme from Harry Potter and the Philospher’s Stone John Williams Fawkes the Phoenix from Harry Potter and the Chamber of Secrets Steiner Suite from Casablanca John Williams Olympic Fanfare and Theme Waxman Sunset Boulevard Suite John Williams Theme from Jurassic Park John Williams Adventures on Earth from E.T. The Extra-Terrestrial Mancini Theme from The Pink Panther John Williams Throne Room and Finale from Star Wars Encores John Williams The Imperial March from Star Wars: The Empire Strikes Back John Williams Superman March from Superman Gustavo Dudamel conductor Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. He studied the violin before turning to conducting in 1993, studying with Rodolfo Saglimbeni and José Antonio Abreu. He started his career as an assistant conductor of the Amadeus Chamber Orchestra, of which he became Music Director in 1996. In 1999 he became Music Director of the Simón Bolívar Youth Orchestra. He came to international attention when he won the inaugural Bamberger Symphoniker Gustav Mahler Competition in 2004. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
T H E P Ro G
Sunday, April 29, 2018 at 3:00 pm m a Symphonic Masters r g o Los Angeles Philharmonic r Gustavo Dudamel, Conductor P John Holiday , Countertenor Julianna Di Giacomo , Soprano e Jennifer Johnson Cano , Mezzo-Soprano h Michael König , Tenor T Davóne Tines , Bass-Baritone Concert Chorale of New York James Bagwell , Choral Director BERNSTEIN Chichester Psalms (1965) Part I: Psalm 108:2—Psalm 100 Part II: Psalm 23—Psalm 2:1-4 Part III: Psalm 131—Psalm 133:1 Intermission BEETHOVEN Symphony No. 9 in D minor (1822–24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile— Presto—Allegro ma non troppo—Allegro assai (Choral finale) Please make certain all your electronic devices are switched off. This afternoon’s performance is dedicated to the memory of Paul Milstein, philanthropist and builder. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, May 2 at 7:30 pm in Alice Tully Hall Gerald Finley, bass-baritone Julius Drake, piano Songs by BEETHOVEN, SCHUBERT, TCHAIKOVSKY, and RACHMANINOFF Selection of favorite folk songs Friday, May 4 at 8:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor MAHLER: Symphony No. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Audio Selections
AUDIO SELECTIONS Audio Files that accompany this book may be found on the UC Press website, either on Spotify, YouTube, or the Soundcloud playlist, as indicated below. Chapter 3: Experiencing Musical Concepts: Focus on Latin America Sound Link 3.1. Guitarrón. Soundcloud Sound Link 3.2. Vihuela. Soundcloud Sound Link 3.3. Charango. “Alegría,” by Quechua musicians. Instruments and Music of Indians of Bolivia (Smithsonian Folkways, FW 01412, 1962, 2004). Spotify Sound Link 3.4. Berimbau. Various artists. The Music of Capoeira: Mestre Acordeon (Smithsonian Folkways, FW04332, 1985, 2004). Spotify Sound Link 3.5. Conch shell trumpets. Q’eros authorities. Mountain Music of Peru, vol. 1 (Smithsonian Folkways, SFW40020, 1991). Youtube Sound Link 3.6. Siku/Panpipes (“Quenita”) Aymara musicians. Instruments and Music of Indians of Bolivia (Smithsonian Folkways, FW 01412, 1962, 2004). Spotify Sound Link 3.7. Agogô. Soundcloud Sound Link 3.8. Cowbell. Soundcloud Sound Link 3.9. Pandeiro. Soundcloud Sound Link 3.10. Caxixi. Soundcloud Sound Link 3.11. Güiro. Soundcloud Sound Link 3.12. Maracas. Soundcloud Sound Link 3.13. Bongos. Soundcloud Sound Link 3.14a. Conga. Soundcloud Sound Link 3.14b. Conga in guagancó. Soundcloud Sound Link 3.15. Timbales. Soundcloud Sound Link 3.16. Claves, 3-2. Soundcloud Sound Link 3.17. Major scale, played on the piano. Soundcloud Sound Link 3.18. Minor scale, played on the piano. Soundcloud Sound Link 3.19. Chromatic scale, played on the piano. Soundcloud Sound Link 3.20a. Andalusian-Phrygian scale, played on the guitar. Soundcloud Sound Link 3.20b. Another Andalusian-Phrygian scale, played on the guitar. -
October 2019
OCTOBER 2019 RHAPSODY IN BLUE OCTOBER 11 – 13, 2019 MASTERWORKS #1: With its uniquely “American” sound, jazz, a mixture of ingredients from diverse ethnicities and cultures, embodies the innovation, passion and creative freedom that has come to represent American values throughout its history. Like the United to music they might not have otherwise States, its birthplace, experienced. While the works of composers jazz was created by such as Stravinsky and Ravel reflect clear blending different jazz influences, it was the trio of American cultures to create composers, Leonard Bernstein, George something altogether Gershwin, and Aaron Copland, who emerged new and distinctly as the bridge between classical and popular “American.” music. It is widely accepted that jazz first developed Leonard Bernstein readily in New Orleans, a city known for its broad confirmed the impact jazz diversity, with people of many different made on his life and his ethnicities, cultures, and classes all living music. As a youngster, in the same area. The musical traditions Bernstein played jazz piano embodied within these different identities at parties and directed led to the development of multiple genres a rhythm band at Camp of music (including ragtime, marches, and Onota in Massachusetts blues) which, in turn, gave birth to jazz. The during the summer. He sounds of African-American and European once said that “jazz is Leonard Bernstein music blended together to give jazz its unique the ultimate common denominator of the identity, and, as a result, jazz is distinctly American musical style.” His undergraduate identified as “American” music. thesis at Harvard University argued that jazz is the universal basis of American composition. -
Ernest Fleischmann Papers LSC.2293
http://oac.cdlib.org/findaid/ark:/13030/c8348rv5 No online items Finding Aid for the Ernest Fleischmann Papers LSC.2293 Finding aid prepared by Courtney Dean, Kuhelika Ghosh, and Sabrina Ponce, 2018. UCLA Library Special Collections Online finding aid last updated 8 June 2018. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Ernest LSC.2293 1 Fleischmann Papers LSC.2293 Language of Material: English Contributing Institution: UCLA Library Special Collections Title: Ernest Fleischmann papers Creator: Fleischmann, Ernest Identifier/Call Number: LSC.2293 Physical Description: 41 Linear Feet(96 boxes, 2 half boxes, 3 flat boxes, 1 carton) Date (inclusive): 1935-2010 Date (bulk): 1990-2010 Abstract: Ernest Fleischmann (1924-2010) was a German-born conductor and impresario who ran the Los Angeles Philharmonic from 1969-1998 and helped to elevate it to a world-class symphonic orchestra. He was recognized as an accomplished talent scout, recruiting conductors Esa-Pekka Salonen and Gustavo Dudamel to Los Angeles, and was a driving force behind the building of the Walt Disney Concert Hall and the revitalization of the Hollywood Bowl. Fleishmann also served as a consultant to numerous artistic organizations through his agency, Fleischmann Arts. The collection contains materials spanning from his early career in South Africa and with the London Symphony Orchestra, to his tenure with the Los Angeles Philharmonic and later consulting work. Included are administrative files, consulting files, writings, published articles and speeches, correspondence with musicians and composers, awards, and photographs. -
Appalachian Spring Concert
CELEBRATING THE AMERICAN LANDSCAPE: Allentown Symphony Orchestra joins with pianist Simon Mulligan and local dancers for Gershwin, Copland program Steve Siegel Special to The Morning Call It’s quite possible that no music evokes the American landscape as strongly as that of George Gershwin and Aaron Copland. Each paints with a broad brush — Copland’s widely spaced chords and vigorous rhythms conspire to create a sound as vividly American as Gershwin’s streetwise use of syncopation and jazz riffs. The Allentown Symphony Orchestra pays tribute to both home-grown composers Feb. 9 and 10 at Miller Symphony Hall. Pianist Simon Mulligan is soloist in Gershwin’s “I Got Rhythm Variations” and “Rhapsody in Blue” in a program that also features Gershwin’s colorful “American in Paris” and Copland’s beloved “Appalachian Spring Suite,” featuring dancers from the Ballet Guild of the Lehigh Valley. Allentown-area audiences might be excused for thinking that Simon Mulligan is a jazz pianist. He’s established a popular following in that genre through his frequent appearances with his trio in the Jazz Upstairs series in Symphony Hall’s Rodale Room, backed by local musicians — bassist Gene Perla and drummer Dave Willard. But Mulligan is a lot more than that. Classical fans might recall his first concert in Allentown was in fact a classical one — Mozart’s Piano Concerto No. 21, with the Allentown Symphony Orchestra on Valentine’s Day weekend in 2012. The Ballet Guild of the Lehigh Valley will perform artistic director Karen Knerr's new choreography to Aaron Copland's 'Appalachian Spring' on stage with the Allentown Symphony Orchestra.