DOCSLIB.ORG

Musical Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Works NOYES BARTHOLOMEW 1075 Stasia Street, Teaneck, NJ 07666 201-833-8796; [email protected] Musical Works Symphonic/orchestral Stele (for large orchestra), 2 movements, 1976; Vreeland Award winner. Duration 14 minutes. Soundscapes, 2 movements, 1979; for the Eugene Youth Symphony. Duration 7 minutes. Symphonic band/wind ensemble (...with deep blue...) (for wind ensemble), 1980; premiered in Eugene by the U. of Oregon Symphonic Band at the 1980 College Band Directors Natl. Assn. Convention, May, 1980. Duration 25 minutes. Chamber/instrumental Variations (for 4 trombones), 1973; premiered in Lincoln, NE, 1974. Duration c. 9 min- utes. Ricercar (for trumpet and organ), 1974; premiered in Lincoln, NE, 1974. Duration c. 7 minutes. Ephemeris (for chamber orchestra), 1975; “graphic” score premiered by Lincoln Improvi- sation Ensemble, Lincoln, NE, 1975. Duration 7 minutes. Helix (for solo flute), 1975; premiered in New York, Nat’l Flute Assoc. convention. Open duration. Orbes Serierum (for piano and septet), 1975; Vreeland Award winner, premiered in Lin- coln, NE, 1976. Duration 9 minutes. Letters to Denny (for solo trumpet), 3 movements, 1979; premiered in New York City, 1981; performed by Prof. Dennis Schneider faculty recital (UN-L), 1983. Duration 5 minutes. like wind on the buffalo grass (in memoriam Crazy Horse) (for percussion ensemble, 12 play- ers), 3 movements, 1980; commissioned by U. of Oregon and Oregon Percussive Arts Society, premiered in San Jose, CA, at the 1980 Int’l Percussive Arts Convention; per- formed in Eugene, Portland, and Seattle, 1988, 1993, 2005, 2006, 2008, and 2012; digi- tally recorded by U. of Oregon Percussion Ensemble, 1989, re-recorded, 2006. Dura- tion 19 minutes. Gemmae (for clarinet, cello, and piano), 5 movements, 1982; Rapoport Prize winner, premiered by Bramerhill Chamber Players at Richmond, VA, 1982; performed at the Composers Conference, Johnstown, VT, 1982. Duration 18 minutes. 1 Polyps (for solo bass clarinet), 1982; premiered at New York City, 1982; recorded and broadcast on NPR by Ear Play, San Francisco, 1989. Duration 9 minutes. night by silentsailing night (for chamber orchestra), 1982; funded by New Jersey State Council on the Arts fellowship; premiered at the 1982 Composers Conference, John- stown, VT, Efraim Guigui, conductor. Duration 13 minutes. Movement (for solo violin), 1983; premiered at McMillan Theatre, New York City by Rolf Schulte, 1983, performed in Carnegie Recital Hall, 1992 (League of Composers-ISCM concert, national selection). Duration 7 minutes. Serenade with Arabesques (for trumpet solo and 14 players), 1984; premiered at the 1984 Composers Conference at Wellesley College, Ronald Anderson, trumpet, Efraim Guigui, conductor. Duration 17 minutes. Aubade in Spring (for flute, clarinet, violin, cello, and harpsichord), 2 movements, 1984; commissioned by the Roxbury Arts Festival and Meet the Composer, premiered by the Roxbury Chamber Players at Roxbury, NY, 1984; performed by the Bramerhill Chamber Players in Richmond, VA, 1985 and by Joyce Lindorff, harpsichord, and the League Chamber Players in New York City (Merkin Hall), 1987. Duration 11 minutes. Six Jazz Dances (for alto saxophone and piano), 1989. Duration 14 minutes. Six Preludes (for flute and guitar), 1989; for young players. Duration 8 minutes. Lament, for two children of Bên Lúc, 1968 (for solo cello), 1999; premiered by Joshua Gor- don in New York City (The Flea Theatre, League of Composers-ISCM concert, nat’l selection), 2002, and performed by Okkyung Lee on two New York concerts during the Stefan Wolpe Centennial events. Duration 6 minutes. Capriccio Sull’Uccello, (for saxophone quartet, satb), 5 movements, 2004; premiered by the Marshall Taylor Saxophone Quartet, Philadelphia (Temple University) and New York City (Symphony Space), March 2004. Duration: 11 minutes. String Quartet, 2006. Duration 16 minutes. Quintet in Two Parts (for flute, viola, marimba, vibraphone, and percussion), 1999, rev. 2008. Duration 11 minutes. Triple Quartet, (5 vn, 3 va, 3 vc, 1 bs), in progress. say what ... whatwhat, (for alto saxophone, marimba, vibraphone, and piano), 2008. Dura- tion 8 minutes. Vocal//choral Three Small Songs (for soprano and piano), 1974. Duration 5 minutes. Five Japanese Haiku (for soprano, flute, clarinet, violin, and cello), 1978; premiered by Eugene New Music Project at Eugene, OR, 1979; performed at McMillan Theatre in New York City, 1981. Duration 6 minutes. Tao Te Blues (for alto voice, flugelhorn, and 4 digital pianos [on electronic tape]), 1988; commissioned by Thoughts in Motion with grants from Meet the Composer, the 2 Mary Flagler Cary Charitable Trust, and the New York State Council on the Arts, premiered at New York City and Washington, D.C. (7 performances), 1988. Duration 10 minutes. One Shall Rise (for baritone solo and male choir [t.t.b.b.], text by John Milton), 1993; premiered at Westport, NY, 1993. Duration 7 minutes. Six Dickenson Songs (for soprano and piano), 1998. Duration 15 minutes. Shakespeare Songs (rev., for tenor, oboe d’amore, and guitar), 2002. Duration 16 minutes. Waldensongs, a secular cantata in eleven movements (for mezzosoprano, tenor, S.A.T.B. chorus, and chamber orchestra; text by Henry David Thoreau), in progress. Antici- pated duration 50-60 minutes. Opera/musical plays Mass 1178 (for mezzosoprano, t.t.b.b. chorus, boys choir, flute, oboe, 3 clari-nets, trum- pet, 3 trombones, 2 percus-sion, 3 keyboards, and electronic tape realized at the Mid- dlebury College Electronic Studio), 4 movements with Prelude and Postlude, 1987; a staging of Euripides’s Bacchae with text and action recreated by Steven Schmidt; premiered in Witherbee Theatre, Westport, NY, !1987. Duration 75 minutes. McTeague, a ballad opera in 3 acts after Frank Norris’s novel (for soprano, mezzoso- prano, baritone, bass voices, chorus and orchestra), 1988; libretto by Steven Schmidt. Overture, 2 entr’actes, and 43 musical numbers; premiered in Witherbee Theatre, Westport, NY, 1988. Duration 110 minutes. The Oberlin Incident, a folk opera in one act (19 scenes) about abolitionists, Democrats, and slavery in 1858 (for soprano, tenor, baritone, bass, chorus and orchestra), 1990; libretto by Steven Schmidt. 31 musical numbers; premiered in Witherbee Theatre, Westport, NY, 1990. Duration 95 minutes. Family Therapy, a musical in two acts about a dysfunctional family (for 3 female leads, 3 male leads, company and pit orchestra), 1991; book and lyrics by Steven Schmidt. Overture, entr’acte, and 14 musical numbers; premiered in Witherbee Theatre, West- port, NY, 1991. Duration 130 minutes. Buster, a musical in two acts about Buster Keaton in 1928 (for 5 leads, company and pit band), 1992; book and lyrics by Steven Schmidt. Overture, entr’acte, and 22 musical numbers; premiered in Witherbee Theatre, Westport, NY, 1992. Duration c. 115 min- utes. Zero, opera in one act based on Jean Vigot’s film, “Zero pour conduite” (for four juvenile leads, five adult males, three adult females, and children’s chorus); libretto by Steven Schmidt. Premiered in Witherbee Theatre, Westport, NY, 1995. Duration 65 minutes. 3 Other: theatre and electronic music Ahimsa (for 6 chanters and electronic tape), 1974; premiered at Lincoln, NE, 1974. Dura- tion 14 minutes. Landscape/Orbs in Blue Relief (electronic tape), 1974; Vreeland Award winner, premiered in Sheldon Art Gallery, Lincoln, NE, 1974. Duration 8 1/2 minutes. Nautilus Movements (electronic tape), 1975; premiered at Lincoln, NE, 1975. Duration 10 minutes. Transformations, an entertainment of music and dance upon three Grimm’s tales (for nar- rator, flute, clarinet, 2 pianos [doubling on synthesizers], and 3 percussionists), 1979; text by Anne Sexton. Premiered by the Lane Community College Dance Department, Eugene, OR, 1979. Duration 32 minutes. The Crucible, incidental music for Arthur Miller’s play, 1980; production of Lane Com- munity College Department of Performing Arts, Eugene, OR, 1980 (1 week run). Du- ration 10 minutes of music plus short excerpts. Stereomoozeeksh (electronic tape realized at the Columbia-Princeton Electronic Music Center), 1981. Duration 6 minutes. Spiked and Winding (electronic tape realized at the Columbia-Princeton EMC), 1982; premiered at The Electronic Music Festival, Hartford, CT, 1982. Duration 5 minutes. The Lord of the Flies, overture, incidental music, and underscore for a play based on Wil- liam Golding’s novel (for boy soprano, baritone, t.t.b.b. chorus, small stage band, keyboard synthesizer, and 5 drummers), 1993; production scripted and directed by Steven Schmidt, premiered in Witherbee Theater, Westport, NY, 1993. Duration 45 minutes of music. Jazz works Approximately 55 arrangements and compositions for jazz orchestra (16-17 players), 84 arrangements and compositions for small jazz ensembles (5-12 players), numerous jazz-oriented, original tunes — over 104. 4.
Load more

Recommended publications
  • Singing in English in the 21St Century: a Study Comparing
    SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training.
    [Show full text]
  • Analysis of My Kurtág Cycle
    Claus-Steffen Mahnkopf Analysis of my Kurtág Cycle I. Introduction In accordance with the three temporal modes, one can divide artists into three types. The first lives in remembrance of what has been and what has passed, usually mourning what has been lost; the second lives in expectation of a pos- sible, “better” future, seeking to anticipate or help prepare for it through his work; the third lives in the here and now and cannot really understand the other two. I must admit that I do not belong to any one type alone; I am in two, per- haps even three minds as an artist. In contrast to the title of a late work—La lontananza nostalgica utopica futura—by Luigi Nono, however, whom I greatly revere, I abandoned the endeavor to reach a “synthesis” of these three atti- tudes in my work some time ago. Up until Angel Novus, the music theater work I composed at the Dantesque midpoint in my life, i.e., in my mid-30s, I had felt it necessary to do justice to all facets of my artistic existence—albeit in highly individualized ways—in every composition. I was interested in a consistent style referred to—hastily, and partly provoked by my own statements—as “complex- ist,” though I had always viewed my complexist style as one element of what, following on from Beethoven, whom I consider the greatest composer of all, could be termed multi-perspectivity: the ability to compose a Fifth Symphony and a Sixth Symphony in tandem. After Angelus Novus, I reached a fork in my path.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 123, 2003
    20032004 SEASON ' 1 . BOSTON SYM PHONY ORCHESTRA *, m** JAMES LEVINE MUSIC DIRECTOR DESIGNATE BERNARD HAITINK PRINCIPAL GUEST C UCTOR SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails. With floor plansfrom 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,500,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAR a/ Lf/sAer Jrill BROOKLINE Landry&Arcari ORIENTAL RUGS & CARPETING Your Source for Knowledge, Inspiration & Value Since 1938 Salem 333 Stuart St. www.landryandarcari.com Route 1A 617-399-6500 Open 7 Days 800-649-5909 3*S mBSHHh^ James Levine, Music Director Designate ^>,^ Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 123rd Season, 2003-2004 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Ed Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman George D. Behrakis ex-officio George Krupp Hannah H. Schneider Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg Jan Brett Nancy J. Fitzpatrick Nathan R.
    [Show full text]
  • Frank Norris's "Mcteague" and Popular Culture
    UNLV Retrospective Theses & Dissertations 1-1-1996 Frank Norris's "McTeague" and popular culture Ruby M Fowler University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Fowler, Ruby M, "Frank Norris's "McTeague" and popular culture" (1996). UNLV Retrospective Theses & Dissertations. 3158. http://dx.doi.org/10.25669/ye6a-teps This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • David Dichiera
    DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story.
    [Show full text]
  • Belwin Orchestra New Releases
    Belwin Orchestra New Releases 2 2 0 0 0 0 7 8 Contents Letter from the Editor Series Guidelines .........................................................2 Meet the Composers .................................................3 Dear String Teacher, NEW MUSIC FOR ORCHESTRA Welcome to the Belwin release of new orchestra music Very Beginning String Orchestra ........................4 for 2007–2008. This fantastic collection represents Orchestra Expressions™ Book One ..................4 the best in educational string and full orchestra music. Beginning String Orchestra ............................4–5 Thank you for taking time to listen to the enclosed CD Pop Beginning String Orchestra .........................5 and looking through this year’s brochure which includes Orchestra Expressions™ Book Two ...................5 64 wonderful pieces at all grade levels. Intermediate String Orchestra ............................6 Pop Intermediate String Orchestra ...................6 No matter what your needs, you will find outstanding pieces to Intermediate String/Full Orchestra ..............6–7 fit the musical and technical level of your students. All pieces are Pop Intermediate String/Full Orchestra ....7–8 grouped for your convenience by series and include arrangements Concert String Orchestra ......................................8 of classics, original music, and cool pop tunes. As you can see on Concert Full Orchestra...........................................8 page 2, there is a series designed just for you and your students. Pop Concert Full Orchestra
    [Show full text]
  • Conference Schedule with Abstracts, Program Notes, Bios and Emails
    2009 CMS South Central Regional Conference University of Oklahoma School of Music Hosts: Dr. Paula Conlon and Dr. Marvin Lamb Conference Schedule with Abstracts, Program Notes, Bios and Emails 1 2009 CMS South Central Chapter Conference Table of Contents Schedule ……………………………………………………...……………………. 3 Abstracts …………………………………………………………………………… 13 Program Notes ……………………………………………………………………... 30 Bios ………………………………………………………………………………… 39 Email List ………………………………………………………………………….. 58 ACKNOWLEDGMENTS Conference co-chairs Paula Conlon and Marvin Lamb would like to thank the Executive and Regional offices of The College of Music Society and the University of Oklahoma School of Music for co-sponsoring this conference, and thank CMS South Central Chapter President Nico Schüler, CMS South Central Chapter Officers, Assistant Coordinator Christina Giacona, Erin Fehr, Russell Pettitt, John Ernst and Patrick Conlon for their help in organizing, making up the program and helping out at the conference. 2 2009 CMS South Central Regional Conference Schedule NOTE: All events in Catlett Music Center (CMC), 500 W. Boyd Conference Registration: March 13-14, 7:30am – 8:00pm, Gothic Hall [Foyer of Catlett] March 15, 7:30am – 1:00pm, Gothic Hall The Listening & Reading Room: March 13-14, 8:00am – 8:00pm, CMC 139 [Below organ] Friday, March 13, 2009 8:00 AM – 9:00 AM Paper Session I, CMC 242 Chair: Dorothea Gail, University of Oklahoma “Beyond ‘Failed’ Forms: Defining Normative Procedures in Shostakovich’s Use of Sonata Form” Sarah Reichardt, University of Oklahoma “Voice
    [Show full text]
  • The Latest Publications from the World Leader in Vocal Music
    50683 VocPromo 2005 9/8/05 3:36 PM Page 1 50683 VocPromo 2005 9/8/05 3:36 PM Page 2 7777 West Bluemound Road Tel: 414-774-3630 P.O.Box 13819 Milwaukee, Wisconsin 53213 Fax: 414-774-3259 Dear Fellow Musician, The Hal Leonard tradition of being the world leader in vocal music continues with another year of exciting publications! Throughout this brochure you will find intriguing new releases, as well as highlights from our catalog of extensive publications for singers. Just a few noteworthy highlights in 2005 (in no particular order): The First Book of Solos—Part III (G. Schirmer) (see page 7) Joan Boytim extends the landmark series to a further volume for even more song choices. The Singer’s Musical Theatre Anthology—Accompaniment CDs (see page 21) A phenomenal resource of hundreds of accompaniment tracks, matching every volume of this series. The Singer’s Musical Theatre Anthology Volume 4 (see page 20) More great songs, classics to contemporary, for each voice type. Lyric Soprano Arias: A Master Class with Evelyn Lear (G. Schirmer) (see page 13) A unique master class with the great soprano translated into a book/CD package. Standard Vocal Literature (The Vocal Library) (see page 4) This ambitious and comprehensive series, released in January 2005, has already become a huge hit with teachers! 15 Easy Spiritual Arrangements (see page 6) Not only useful for studio and church, these artistic arrangements for first and second year voice students set a new standard for “educational” publications. Aaron Copland: Old American Songs Complete (Boosey & Hawkes) (see page 9) All 10 songs in one value-priced volume, in new transpositions from the original medium keys: up for High Voice, down for Low Voice.
    [Show full text]
  • REGION AUDITIONS SUNDAY, MARCH 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
    NATIONAL COUNCIL 2020–21 SEASON C E N T ≤ L REGION AUDITIONS SUNDAY, MARCH 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council For up to date auditions results, alumni Audition Program Endowment Fund at the Metropolitan Opera.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002, Subscription, Volume 01
    2001-2002 SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,400,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAH a/ O^isAer Jfill BROOKLINE SOTHEBY'S properties INC. International Realty EAL ESTATE Specializing in the sale and purchase of larger diamonds, important jewelry, and fine watches. Davie&Company Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 1-800-DAVIDCO FAX 617-969-3434 www.davidandcompany.com Improve your morningf drive. The lessons paid off. So did our decision to move here. Because now we're spending less time in the car, and more time enjoying the things we love. From the Rees Jones and Nicklaus championship golf courses to the Village Green, miles of trails take us anywhere we want to go. Some people call it the perfect community. We call it home. The Pinehills Introducing The Pinehills. A new community that brings your vision of better living to life. Neighborhoods with townhomes, single family and custom homes by The Green Companies, Whitman Homes and Kistler & Knapp.
    [Show full text]
  • “LET AMERICA BE AMERICA AGAIN” a Sung Tribute to Langston Hughes & Friends
    Sunday, April 18, 2021 | 8 PM “LET AMERICA BE AMERICA AGAIN” A Sung Tribute to Langston Hughes & Friends Catherine Malfitano, Artistic and Video Conception and Direction Chun-Wei Kang, Music Direction and Pianist Simon Yu, Director of Photography and Video Editor Tazewell Thompson, Recitation of “Let America Be America Again” by Langston Hughes Director of Opera Studies Catherine Malfitano Welcome and Introduction Part One: Prologue RICKY IAN GORDON/ “To Be Somebody” LANGSTON HUGHES “Harlem Night Song” Kevin Lee, tenor “Demand” Elizabeth Anderson, soprano “Border Line” Nikkole Dittler, soprano “In Time of Silver Rain” Lexi Brown, soprano ROBERT OWENS/ “Genius Child” LANGSTON HUGHES Benjamin Sokol, bass-baritone FLORENCE PRICE/ “Bewilderment” LANGSTON HUGHES Abigail Dutler, soprano ROBERT OWENS/ “Faithful One” LANGSTON HUGHES Simon Staples, baritone RICKY IAN GORDON/ “Strange Hurt” LANGSTON HUGHES Alexandra Cirile, mezzo soprano H. LESLIE ADAMS/ “The Heart of a Woman” GEORGIA DOUGLAS Ricardo Javier Rodriguez, tenor JOHNSON JOHN MUSTO/ “Could Be” LANGSTON HUGHES Mathieu Levan, tenor RICKY IAN GORDON/ “Late Last Night” LANGSTON HUGHES Sarah Marguerite Lassiter, soprano RICKY IAN GORDON/ “Troubled Woman” LANGSTON HUGHES Seolbin Oh, soprano RICKY IAN GORDON/ “Daybreak in Alabama” LANGSTON HUGHES Rose Iannuzzi, soprano H. LESLIE ADAMS/ “Prayer” LANGSTON HUGHES Anna Maria Vacca, mezzo soprano Entr’acte/Five Minute Pause MAURICE RAVEL Berceuse sur le nom de Gabriel Fauré Joseph Malfitano, violin Paul Kueter, piano Part Two: The Movie JOHN MUSTO/ “Island” LANGSTON HUGHES Hina Zhang, mezzo soprano MARGARET BONDS/ “The Negro Speaks of Rivers” LANGSTON HUGHES Adja Thomas, mezzo soprano FLORENCE B. PRICE/ “We Have Tomorrow” LANGSTON HUGHES Ariel Wei, mezzo soprano RICKY IAN GORDON/ “Dream” LANGSTON HUGHES Georgina Wu, mezzo soprano FLORENCE B.
    [Show full text]
  • Indus Musicians in Mesopotamia
    1 Indus Musicians in Mesopotamia 2 Bull Lyre of Indus Valley and 90 words that Harappans 3 May Have Spoken 4 5 Shail Vyas 6 Homi Bhabha Fellow, Mumbai 7 8 [email protected] 9 10 11 12 13 Abstract 14 15 Human is a musical creature. It is seen ubiquitously through times and spaces 16 that a certain percentage of human population is always musically inclined 17 irrespective of their profession. Music is also an integral part of many social 18 activities humans generally observe like religious practices, marriages, deaths 19 and what more. Due to the possible presence of Harappan population in 20 Mesopotamia, it may be surmised that a number of Harappan musicians and 21 some of their musical instruments could also have reached there. In this 22 investigation, crucial help could also come from the fact that many a times, 23 names of musical instruments travel with them. 24 25 26 On account of a very likely possibility of such an occurrence, a study of 27 archaeological and Sumerian textual records in Mesopotamia was strongly 28 suggestive of a significant presence of Harappan musicians and musical 29 instruments in Mesopotamia. In fact, study of Sumerian text has shown that 30 about 30 musical terminologies out of a total of nearly 60, in the categories such 31 as names of instruments, singers, names of songs and even musical notations, 32 etc. in Sumerian (PSD) are found to be phonetically and semantically very similar 33 to ancient Indian terms with some “Sumerianization”. The study also 34 demonstrated certain patterns in the way words were sumerianized.
    [Show full text]