DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season I loth Season IM81 lC)19e!> BENEDICTINE SA 80 PROOF IMPOHTtUI H(^ f MANCf JULIUS WILE SONS & CO LAKE SUCCESS Nr TO SEND A GIFT OF B&B LIOUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa^ Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Yice-Chairman George H. Kidder. Tice-Chaimian Wilham J. PoonTi. Yice-Chairman and Treasurer Mrs. George L. Sargent, Tice-Chaimian Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar William M. Crozier, Jr. Francis "W. Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hovt Stookev Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Thomas D. Perry. Jr. Allen G. Bany Edward M. Kennedy Irving "W; Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thomdike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk Administration of the Boston Symphony Orchestra, Inc. Daniel R. Gustm, Acting General Manager Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Robert Bell, Data Processing Manager Steven Ledbetter. Musicologist d: Helen P. Bridge, Director of Volunteers Program Annotator Vera Gold, Assistant Director of Marc Mandel, Publications Coordinator Promotion Richard Ortner, Administrator of Patricia Halligan, Personnel Administrator Tanglewood Music Center Nancy A. Kay, Director of Sales Nancy E. Phillips, Media and John M. Keenum, Director of Production Manager, Foundation Support Boston Symphony Orchestra Nancy Knutsen, Assistant Manager, Charies Rawson, Manager of Box Office Boston Pops Joyce M. Serwitz, Assistant Director Anita R. Kurl&nd, Administrator of of Development Youth Activities Susan E. Tomlin, Director ofAnnual Giving Programs copyright ®1986 Boston SjTaphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wand riska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc. Avram J. Goldberg Chairman Mrs. Carl Koch Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Vice-Chairman Secretary John Q. Adams Peter M. Flanigan Richard P. Morse Mrs. Weston W. Adams Gerhard M. Freche Mrs. Thomas S. Morse Martin Allen Dean Freed Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas J. Galligan Mrs. Hiroshi Nishino Bruce A. Beal Mrs. Thomas Gardiner Vincent M. O'Reilly Mrs. Richard Bennink Mrs. James G. Garivaltis Stephen Paine, Sr. Peter A. Brooke Mrs. Ray A. Goldberg John A. Perkins William M. Bulger Jordan L. Golding Daphne Brooks Prout Mary Louise Cabot Haskell R. Gordon Robert E. Remis Mrs. C. Thomas Clagett, Jr. Mrs. R. Douglas Hall HI Mrs. Peter van S. Rice James F. Cleary Joseph M. Henson David Rockefeller, Jr. John F. Cogan, Jr. Arnold Hiatt John Ex Rodgers Julian Cohen Mrs. Richard D. Hill Mrs. Jerome Rosenfeld William H. Congleton Glen H. Hiner Mrs. William C. Rousseau Walter J. Connolly, Jr. Mrs. Marilyn B. Hoffman Mrs. William H. Ryan Arthur P. Contas Ronald A. Homer Mrs. Raymond H. Schneider Mrs. A. Werk Cook H. Eugene Jones Gene Shalit Albert C. Cornelio Howard Kaufman Mark L. Selkowitz Phyllis Curtin Richard L. Kaye Malcolm L. Sherman A. v. d'Arbeloff Robert D. King W Davies Sohier, Jr. Mrs. Michael H. Davis Robert K. Kraft Ralph Z. Sorenson Mrs. Eugene B. Doggett John P. LaWare William F. Thompson Ms. Phyllis Dohanian Mrs. Hart D. Leavitt Mark Tishler, Jr. Harriett Eckstein Laurence Lesser Mrs. An Wang Mrs. Alexander Ellis R. Willis Leith, Jr. Roger D. Wellington Edward Eskandarian Frederick H. Lovejoy, Jr. Mrs. Thomas H.P Whitney Katherine Fanning Mrs. Charles P. Lyman Mrs. Donald B. Wilson John A. Fibiger Mrs. Harry L. Marks Brunetta Wolfman Kenneth G. Fisher C. Charles Marran Nicholas T. Zervas Overseers Emeriti Mrs. Frank G. Allen Mrs. Louis I. Kane Mrs. Stephen V.C. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson Symphony Hall Operations Cheryl Silvia, Function Manager James E. Whitaker, House Manager Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-President Secretary Mr. Goetz Eaton Mrs. Seabury T. Short, Jr. Treasurer Nominating Chairman Vice-Presidents Mrs. Eugene B. Doggett, Development Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. BelaT. Kalman, Youth Activities Mrs. Eugene Leibowitz, Tanglewood and Adult Education Mrs. Robert L. Singleton, Tanglewood Mrs. Hart D. Leavitt, Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massey, PvMic Relations Chairmen of Regions Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.P Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W. Young fllf^p.^IT Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat. Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 26"'-5300. SUBSCRIBE NOW TO THE 1986-87 SEASON! BOSTON SYMFHONY Chombeif AT JORDAN ...THE HIGHEST INTERNATIONAL LEVEL OF 1J CHAMBER MUSIC PLAYING... —THE BOSTON GLOBE THREE SUNDAY AFTERNOONS AT 3PM GILBERT KALISH, pianist SUNDAY Beethoven Trio in C minor for violin, viola, and cello, NOVEMBER 23 Op. 9, No. 3 Poulenc Sextet for piano and winds 1986 Brahms Piano Quartet in C minor, Op. 60 SUNDAY with SANFORD SYLVAN, baritone FEBRUARYS Beethoven Trio in B-flat for clarinet, cello, and piano, Op. 11 1987 Poulenc 'Le Bal masque,' Cantata for voice and eight instruments Perle Serenade No. 3, for piano and ten instruments Mozart Quintet in E-flat for horn and strings, K.407 SUNDAY Hindemith 'Kleine Kammermusik,' for woodwind quintet. APRIL 5 Op. 24, No. 2 Ravel Trio for piano, violin, and cello 1987 Knussen 'Ophelia Dances,' for chamber ensemble Spohr Nonet in F for strings and winds. Op. 31 SUBSCRIBER FORM: Good seats are available for the 1986-87 Boston Symphony Chamber Players three- concert series. To become a subscriber indicate your choice of location (orchestra or balcony) and price, and return this form with payment to the Boston Symphony to: New Subscriber, Symphony Hall, Boston, MA 02115. SUBSCRIPTION PRICES: $35.00, $27.00, $20.00. For further information, call (617) 2*66-7575. n Enclosed is a check made payable to the LOCATION PRICE NO. OF TICKETS TOTALS Boston Symphony Orchestra. n Please charge to: DVISA Name. D MasterCard D American Express Address. City State. .Zip Code. Card #. Day Phone. Evening Phone. Exp. date. Orders will be filled by date of arrival. Tickets will be mailed approxi Signature. mately two weeks before the opening concert of your senes. (as it appears on card) — Barenboim to Join Ozawa for Pension Fund Concert Internationally acclaimed pianist Daniel BSO will both Barenboim perform not just one, but Brahms piano concertos with Seiji Ozawa and BSO Associate Concertmaster the Boston Symphony Orchestra on this year's In Boston Recital Debut Pension Fund concert, Tuesday, 9 December To Benefit Project STEP at 8 p.m. at Symphony Hall. Subscribers s Newly appointed BSO associate concert- should already have received priority ticket master Tamara Smimova-Sajfar makes her information in the mail. Proceeds from this Boston recital debut with pianist Tatiana non-subscription concert will benefit the Yampolsky for the benefit of Project STEP Boston Symphony Orchestra's pension fund. (String Training and Educational Program) For further ticket information, please call on Sunday evening, 16 November at 7 p.m. Symphony Hall, (617) 266-1492. at Jordan Hall. The program includes the Brahms Violin Sonata in A, the Prokofiev BSO Members in Concert Sonata in F minor, Chausson's Poeme, and Ravel's Tzigane. Tickets are $50 (patrons), BSO principal harp Ann Hobson Pilot $20 (sponsors), $10 (general admission con- appears in recital at the Isabella Stewart tributors), and $5 (students), and are avail- Gardner Museum, 280 the Fenway, on Sun- able at the Jordan Hall box office, 536-2412. day, 16 November at 3 p.m. A $2 donation is requested; for further information, call 566-1401. fVew Friday-Evening Series Max Hobart leads the Civic Symphony The Boston Symphony Orchestra is pleased to Orchestra of Boston in Weber's Jubel Over- Dffer for the first time a series of three con- ture, the Villa-Lobos Fantasia for soprano 3erts on Friday evenings at 8 p.m., beginning saxophone and Debussy's Rapsodie for alto 12 December, when Seiji Ozawa conducts saxophone, both featuring soloist Ken Rad- Mahler's Resurrection Symphony with soloists nofsky, and Beethoven's Eroica Symphony on Edith Wiens and Maureen Forrester and the Sunday, 16 November at 3 p.m. at Jordan Fanglewood Festival Chorus. Klaus Tenn- Hall. Single tickets are $10 and $7, with a 5tedt conducts Beethoven's Pastoral Sym- discount for students and senior citizens. Dhony and Dvorak's New World Symphony on Subscriptions are still available for the 16 January, and the series concludes on 13 orchestra's current season; call 437-0231 for March with Simon Rattle conducting music of further information.
Load more

Recommended publications
  • Musical Landmarks in New York
    MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere.
    [Show full text]
  • Fri, Aug 20, 2021
    Fri, Aug 20, 2021 - 09 Listener Requests on The Classical Station 1 Start Description Performers Requested by Additional 09:01:10 Overture to Candide / Bernstein Bournemouth Symphony/Litton Carol in Fuquay-Varina 09:06:32 Grand Canyon Suite / Grofé London Philharmonic George in Raleigh Orchestra/Handley 09:40:50 Rider March in C, D. 866 No. 1 / Vienna Academy Cathy in Menominee Falls, Schubert Orchestra/Haselbock Wisc. 09:51:27 Romance for String Orchestra, Op. 11 / Northern Sinfonia/Griffiths Vincent in Greensboro, Finzi NC 10:01:30 Radetzky March / Strauss Sr. Johann Strauss Orchestra Timothy in Rocky Mount, Vienna/Francek NC 10:05:38 Nuvole bianche / Einaudi Ludovico Einaudi Rachel in Raleigh 10:13:03 Suite Bergamasque / Debussy Alexis Weissenberg Kenneth in Apex, NC also for Linda in Whitewater, Wisc. 10:29:23 Piano Quintet in E flat, Op. 44 / Robert Schumann Ensemble Vivian in Carrboro, NC Schumann 11:00:20 Suite for Flute and Strings / Respighi Fabbriciani/Abruzzo Adrienne in Raleigh Symphony/Paszkowski 11:21:15 Eclogue for Piano and Strings / Finzi Jones/English String Cyndi in Raleigh Orchestra/Boughton 11:32:28 The Girl with the Flaxen Hair from Samson Francois Greg in Ronkonkoma, NY in memory of his Preludes, Book I / Debussy beloved wife, Carol 11:35:53 Partita No. 2 in C minor, BWV 826 / Simone Dinnerstein Desiree in Coconut Creek, Bach Fla. 12:00:25 Concerto in B minor for 4 Violins and English Concert/Pinnock Rhowan in Garner, NC Cello, Op. 3 No. 10 / Vivaldi 12:10:50 Recuerdos de la Alhambra / Tarrega David Russell Lynn in Durham, NC 12:17:30 Finlandia, Op.
    [Show full text]
  • Rubinstein Festival
    ES THE ISRAEL PHILHARMONIC ORCHESTRA RUBINSTEIN FESTIVAL TWO RECITALS: JERUSALEM ■ TEL AVIV TWO SPECIAL CONCERTS: TEL AVIV CONDUCTOR: ELIAHU iNBAL September 1968 ARTUR RUBINSTEIN ne Israel Philharmonic Orchestra again a galley slave,” Rubinstein answered : returned each year since then to triumph­ as the pleasure and profound honour to "Excuse me, Madame,a galley slave is ant successes. welcome the illustrious Pianist, ARTUR condemned to work he detests, but I am RUBINSTEIN, whose artistry has brought in love with mine; madly in love. It isn’t Rubinstein married the beautiful Aniela enjoyment and spiritual fulfillment to many work, it is passion and always pleasurable. Mlynarski, daughter of conductor Emil thousands of music lovers in our country, I give an average of a hundred concerts Mlynarski under whose baton he had to yet another RUBINSTEIN FESTIVAL. The a year. One particular year, I toted up one played in Warsaw when he was 14. Four great virtuoso, whose outstanding inter­ hundred and sixty-two on four continents. children were born to the Rubinsteins, pretation is so highly revered, has retained That, I am sure, is what keeps me young.” two boys and two girls. the spontaneity of youthfulness despite the Artur Rubinstein was born in Warsaw, the In 1954 Rubinstein acquired his home in passing of time. youngest of seven children. His remark­ Paris, near the house in which Debussy able musical gifts revealed themselves spent the last 13 years of his life, by the Artur Rubinstein could now be enjoying Bois de Boulogne. It is there that he now the ease and comforts of ‘‘The Elder very early and at the age of eight, after receiving serious encouragement from lives in between the tours that take him Statesman”, with curtailed commitments all round the world.
    [Show full text]
  • The Pianist's Freedom and the Work's Constrictions
    The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin.
    [Show full text]
  • Sat Oct 5 Program Notes
    PROGRAM NOTES: SAT / OCT 5 By Bill Crane, Director of Audience Engagement, Portland Piano International “When it comes to translating human emotions, the piano is the most perfect instrument I know.” – Marc-André Hamelin in his recent interview for BBC Music Magazine Whether as listener, student, teacher, composer, or performer, one has so many ways to approach the seemingly endlessly varied sonorities of the piano, ripe for expressing myriad emotions. As well, the piano allows a single performer to create such abundance of music – with such satisfying results, when in good hands – that composers for it have stretched its capacities tirelessly, always exploring possibilities. We live in a time well after all constraints of harmonic and formal practice that characterized music before the “modern” period were thrown off. Much of the music after the end of the 19th century, indeed, was quite reflective of the tumultuous times in which the Western world lived with boundless conflict and astounding change. This is particularly true, of course, of the Russian piano tradition, from which we will hear stellar examples in these recitals, but not there only. French music comes to mind, of course, with its own special harmonic innovations and suave, evocative ways. You are about to encounter bazillions of notes, more than seems humanly possible. More important, though, you are in for sublime artistry. This swirling world of music and musical ideas borne of many profound influences, some directly “artistic” and some esoteric (spiritual matters, political intrigue, lovers’ longing and laments), some clear to understand and others distinctly not so. I would bet that a majority of the pieces found in these two programs will be new to you, as they were to me.
    [Show full text]
  • Martinu° Classics Cello Concertos Cello Concertino
    martinu° Classics cello concertos cello concertino raphael wallfisch cello czech philharmonic orchestra jirˇí beˇlohlávek CHAN 10547 X Bohuslav Martinů in Paris, 1925 Bohuslav Martinů (1890 – 1959) Concerto No. 1, H 196 (1930; revised 1939 and 1955)* 26:08 for Cello and Orchestra 1 I Allegro moderato 8:46 2 II Andante moderato 10:20 3 III Allegro – Andantino – Tempo I 7:00 Concerto No. 2, H 304 (1944 – 45)† 36:07 © P.B. Martinů/Lebrecht© P.B. Music & Arts Photo Library for Cello and Orchestra 4 I Moderato 13:05 5 II Andante poco moderato 14:10 6 III Allegro 8:44 7 Concertino, H 143 (1924)† 13:54 in C minor • in c-Moll • en ut mineur for Cello, Wind Instruments, Piano and Percussion Allegro TT 76:27 Raphael Wallfisch cello Czech Philharmonic Orchestra Bohumil Kotmel* • Josef Kroft† leaders Jiří Bělohlávek 3 Miloš Šafránek, in a letter that year: ‘My of great beauty and sense of peace. Either Martinů: head wasn’t in order when I re-scored it side lies a boldly angular opening movement, Cello Concertos/Concertino (originally) under too trying circumstances’ and a frenetically energetic finale with a (war clouds were gathering over Europe). He contrasting lyrical central Andantino. Concerto No. 1 for Cello and Orchestra had become reasonably well established in set about producing a third version of his Bohuslav Martinů was a prolific writer of Paris and grown far more confident about his Cello Concerto No. 1, removing both tuba and Concerto No. 2 for Cello and Orchestra concertos and concertante works. Among own creative abilities; he was also receiving piano from the orchestra but still keeping its In 1941 Martinů left Paris for New York, just these are four for solo cello, and four in which much moral support from many French otherwise larger format: ahead of the Nazi occupation.
    [Show full text]
  • La Recepción Temprana De Wagner En Estados Unidos: Wagner En La Kleindeutschland De Nueva York, 1854-1874
    Resonancias vol. 19, n°35, junio-noviembre 2014, pp. 11-24 La recepción temprana de Wagner en Estados Unidos: Wagner en la Kleindeutschland de Nueva York, 1854-1874 F. Javier Albo Georgia State University, Atlanta, USA. [email protected] Resumen Este trabajo se centra en la recepción de la música de Richard Wagner, limitado a un marco geográfico específico, el de la ciudad de Nueva York –en concreto el distrito alemán de la ciudad, conocido como Kleindeutschland– y temporal, el comprendido entre la primera ejecución documentada de una obra de Wagner en la ciudad, en 1854, y la definitiva entronización del compositor como legítimo representante de la tradición musical alemana a partir del estreno de Lohengrin en la Academy of Music, en 1874. Se destaca la labor de promoción a cargo de los emigrantes alemanes, en su papel de mediadores, en los años 50 y 60 del siglo XIX, una labor fundamental ya que gracias a ella germinó la semilla del culto a Wagner que eclosionaría durante la Gilded Age, la “Edad dorada” del desarrollo económico y artístico finisecular, que afectó a todo el país pero de manera especial a Nueva York. Asimismo, se incluye una aproximación a la recepción en la crítica periodística neoyorquina durante el periodo en cuestión. Palabras clave: Wagner; Recepción temprana en Nueva York; Músicos alemanes y emigración, 1850-1875; Crítica periodística. Abstract This study discusses the early reception of Richard Wagner’s music in New York, starting with the first documented performance of a work by Wagner in the city, in 1854, and the momentous production of Lohengrin at the Academy of Music, in 1874.
    [Show full text]
  • Degaetano CONCERTO NO. 1 CHOPIN
    RobertDeGAETANO CONCERTO DeGaetano NO. 1 CHOPIN CONCERTO NO. 1 Because of my lack of experience as a composer I didn’t realize The Saga of Piano Concerto No. 1 how much was involved in such an undertaking or what the costs would be. BY ROBERT DeGAETANO I quickly started writing away. The music came very quickly. My first piano concerto began many years ago. I heard a theme I felt like I was a conduit and it poured right through me. that I knew was mine. At the time I had just begun composing seriously and I was instantly aware that this theme was for a A performance date and rehearsal was arranged with Stephen major work, either a concerto or symphony. It was grand in Osmond, conductor of the Jackson Symphony and we were off design and had a monumental quality. This was not a melody and running. I mean literally running! I believe I had less than three to be used in a shorter work. I remember jotting it down and months from the date of the commission to the actual premier. storing it with my manuscript paper. Fortunately I had a little cabin in the northern Catskills of NY where I was able to concentrate freely. In 1986 I gave a concert in “ The music came New York and premiered After completing the piano part and a general sketch of the my first piano Sonata very quickly. I felt orchestration, I set forth on the orchestration. I also had to deal dedicated to my maternal with getting the work copied legibly from the original score.
    [Show full text]
  • Richard O'neill
    Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
    THE FRIENDS OF THE COLLEGE Presents BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor Ninty-fourth Season Monday evening, November 18, 1974 Tuesday evening, November 19, 1974 SEIJI OZAWA, Conductor William Neal Reynolds Coliseum 8 P.M. PROGRAM Le tombeau de Couperin Maurice Ravel Prelude Forlane Menuet Rigaudon Ostensibly this music represents neoclassic expression in its purest distillate. And it was, indeed, conceived as a pianistic idealization of the clavecin aesthetic exemplified by Francois Couperin le Crand. But that was in the fateful summer of 1914, and even Ravel's sleepy St. Jean-de-Luz was traumatized by the news of Archduke Francis Ferdinand's assassination at Sarajevo. France mobilized overnight, and by August was at war. By then the sketches for Le tombeau de Couperin were in a desk drawer. When he returned to them three wretched years later the composer was a very different man, broken in health and shattered emotionally by the loss of his mother, who had died barely a week after his medical discharge. Thus it was that the six movements became as many 'tomb- stones' (each one inscribed separately) for friends and regimental comrads who had been killed on the Western Front. As a work for solo piano—Ravel's last, incidentally—Le tombeau was not a notable success. Strictly speaking it could not have been because it marked a stylistic retrogression after the harmonic leaps forward in the Valse nobles et sentimentales and Gas-pard de la nuit. But fortu- nately that was not the end of the matter.
    [Show full text]
  • Peter Liebersonbiography and W
    Biography and Works Peter Lieberson “Like all of Lieberson's music, it is acutely, actively heard and written along every line, without padding. The composer handles his orchestra with imag- ination and with new, fertile invention; the string writing and the episodes for small, unusual ensembles are especially striking.” G. Schirmer and — The New Yorker Associated Music Publishers Peter Lieberson’s works first came to national enced by his practice of Tibetan Buddhism and in attention in 1983, with the premiere of his Piano particular by the teachings of Chogyam Trungpa. Biography Concerto, composed for Peter Serkin and com- missioned by Seiji Ozawa and the Boston Lieberson’s recent concert works include: Songs Peter Lieberson Symphony Orchestra (BSO) for their centennial. of Love and Sorrow, settings of a second group Andrew Porter wrote in The New Yorker that it of Neruda love sonnets for baritone Gerald Finley was a "major addition to the modern concerto and the Boston Symphony Orchestra; Remembering repertory." It was a finalist for the Pulitzer Prize JFK: An American Elegy, for narrator and orches- and the subsequent recording of the work won tra with selected excerpts from Kennedy speeches, Opus Magazine’s Contemporary Music Award for commissioned by the National Symphony Orchestra 1985. to commemorate the 50th anniversary of John F. Kennedy’s inauguration; Remembering Schumann Following that work’s success, Lieberson was for Yo-Yo Ma (cello) and Emanuel Ax (piano); and again commissioned by Ozawa and the BSO, The Coming of Light, for baritone, oboe, and which resulted in Drala (1986), "a short sympho- string quartet.
    [Show full text]
  • New Zealand Works for Contrabassoon
    Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.
    [Show full text]