NY PHIL BIENNIAL: a Player's Guide
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Operations RG.03
Operations RG.03 This finding aid was produced using ArchivesSpace on January 24, 2019. Describing Archives: A Content Standard The papers of the American Academy in Rome 7 East 60 Street New York, New York 10022 [email protected] URL: http://www.aarome.org Operations RG.03 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Arrangement ................................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Collection Inventory ....................................................................................................................................... 4 - Page 2 - Operations RG.03 Summary Information Repository: The papers of the American Academy in Rome Title: Operations ID: RG.03 Date [inclusive]: 1895-2018 Physical Description: 209.45 Linear Feet Language of the English Material: ^ Return to Table of Contents Scope and Contents This Record Group is comprised of records that document the functions of the American Academy in Rome (AAR). Records in this group include administrative files that document the daily operations -
[email protected] FORMER MUSIC DIRECTOR
FOR IMMEDIATE RELEASE December 10, 2012 Contact: Katherine E. Johnson (212) 875-5718; [email protected] FORMER MUSIC DIRECTOR LORIN MAAZEL TO CONDUCT TWO WEEKS OF CONCERTS Pianist YEFIM BRONFMAN To Perform BRAHMS’s Piano Concerto No. 1 Program To Conclude with SIBELIUS’s Symphony No. 2 January 16–19, 2013 Violinist JENNIFER KOH To Make Philharmonic Subscription Debut in LUTOSŁAWSKI’s Chain 2: Dialogue for Violin and Orchestra TCHAIKOVSKY’s Romeo and Juliet, Overture-Fantasy SHOSTAKOVICH’s Symphony No. 5 January 24–26, 2013 Former Music Director Lorin Maazel returns to the New York Philharmonic to conduct two programs in two weeks. In the first week, Mr. Maazel will lead Brahms’s Piano Concerto No. 1 — with soloist Yefim Bronfman, continuing the Philharmonic’s survey this season of Brahms’s complete symphonies and concertos — and Sibelius’s Symphony No. 2 on Wednesday, January 16, 2013, at 7:30 p.m.; Thursday, January 17 at 7:30 p.m.; Friday, January 18 at 2:00 p.m.; and Saturday, January 19 at 8:00 p.m. The following week, Mr. Maazel will lead the Orchestra in Tchaikovsky’s Romeo and Juliet, Overture-Fantasy; Lutosławski’s Chain 2: Dialogue for Violin and Orchestra, with soloist Jennifer Koh in her Philharmonic subscription debut; and Shostakovich’s Symphony No. 5 on Thursday, January 24, 2013, at 7:30 p.m.; Friday, January 25 at 8:00 p.m.; and Saturday, January 26 at 8:00 p.m. The works on both programs reflect the composers’ reactions to nationalism. Sibelius’s Symphony No. 2 is considered to represent Finland’s push for independence, and Tchaikovsky composed Romeo and Juliet at the suggestion of Mily Balakirev, head of the “Mighty Five” Russian nationalist composers. -
N E W S L E T T
Harvard University Department of M usic MUSICnewsletter Vol. 17, No. 1 Winter 2016 The Last First Nights he crowd gathered in Sanders Theatre on the first of December to hear the world Harvard University premiere of Matthew Aucoin’s commis- Department of Music Tsioned work, “Its Own Accord.” Aucoin ’12, 3 Oxford Street piano, and Keir GoGwilt ’13, violin, took the Cambridge, MA 02138 stage. The audience hushed, as they had for the past 22 years, on this final day of class for Professor 617-495-2791 Thomas F. Kelly’s First Nights course. music.fas.harvard.edu The gorgeous interplay of violin and piano filled Sanders, and Kelly sat in the house, smiling. After the last chord on the piano, after the bows and the applause, Kelly took the stage. “I hate to break the spell. But consider this. INSIDE If you weren’t here, you didn’t hear it. For right now, we are the only people in the world who teaching fellows have supported First Nights. For 3 Faculty News have heard this piece.” many, it was their first teaching experience and for 4 Just Vibrations: Cheng Interview First Nights, one of Harvard’s most popular some, it was life-changing. and enduring courses, takes students through the “The most important thing you taught me experience of five premieres in the context of their is to be someone who manifests joy in what he own time and place: Monteverdi's opera L’Orfeo, does,” wrote Willam Bares (PhD 2010), in a note Handel’s Messiah, Beethoven’s Ninth Symphony, congratulating Kelly on his final class. -
Northwestern University Bienen School of Music Fanfare Fall 2018
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC FALL 2018 152461.indd 1 9/17/18 2:54 PM first chair A MESSAGE FROM THE DEAN In spring 2008 Northwestern’s School Fellowships, research prizes, publication awards, major com- of Music was named in honor of retiring missions, teaching honors, and significant grants. Alumni have University president Henry S. Bienen secured positions as performers, administrators, and educa- and his wife, Leigh. We continue to be tors in leading arts and educational institutions throughout profoundly grateful for the privilege of the world. representing the excellence of Henry This past spring, the school achieved a new milestone— Bienen’s leadership. our first-ever Asia tour. From March 23 through April 1, the During the intervening decade, Northwestern University Symphony Orchestra gave concerts in the Bienen School’s many impressive Beijing, Shanghai, and Hong Kong, thrilling Chinese audiences achievements have included the unveiling of a strategic plan, and Northwestern alumni and friends with its professional cal- the establishment of the Institute for New Music as a hub for iber. For the 87 student musicians, the tour was an immensely study and performance of 20th- and 21st-century music, and valuable experience—participants have described it as the inauguration of the Skyline Piano Artists Series and the “life-changing” and “unforgettable”—with incalculable long- Robert M. and Maya L. Tichio Vocal Master Class Series. We term benefits for their professional careers. Throughout the have celebrated the 20th season of our Winter Chamber Music tour, the students were excellent representatives of Festival and the 25th season of the Segovia Classical Guitar Northwestern. -
AAR Magazine
AMERICAN ACADEMY IN ROME MAGAZINE SPRING 2017 Welcome to the Spring 2017 issue of AAR Magazine. This issue of AAR Magazine offers a summation of a very productive year. We feature the scholars and artists in our creative community at the culmination of their research and look at how the Fellows’ Project Fund has expanded their possibilities for collaborat- ing and presenting their work in intriguing ways. We update this year’s exploration of American Classics with reports on a February conference and previews of events still to come, including an exhibition fea- turing new work by artist Charles Ray. You will also find a close look at AAR’s involvement in archaeology and details of a new Italian Fellowship sponsored by Fondazione Sviluppo e Crescita CRT. And, of course, we introduce the Rome Prize win- ners and Italian Fellows for 2017–2018! Vi diamo il benvenuto al numero “Primavera 2017” dell’AAR Magazine. Questo numero dell’AAR Magazine riassume il lavoro prodotto in un anno eccezionale. Vi presentiamo gli studiosi e gli artisti della nostra comunità creativa al culmine della loro ricerca e siamo lieti di mostrare quanto il Fellows’ Project Fund abbia ampliato le loro possibilità di collaborare e presentare le proprie opere in modo affascinante. Aggiorniamo la pan- oramica fatta quest’anno sugli American Classics con il resoconto del convegno tenutosi a febbraio e con le anticipazioni sui prossimi eventi, tra i quali una mostra con una nuova opera dell’artista Charles Ray. Daremo uno sguardo da vicino all’impegno dell’AAR nel campo dell’archeologia e alla nuova Borsa di studio per Italiani finanziata da Fondazione Sviluppo e Crescita CRT. -
JENNIFER KOH Biography Recognized for Intense
JENNIFER KOH Biography Recognized for intense, commanding performances, delivered with dazzling virtuosity and technical assurance, violinist Jennifer Koh is a forward-thinking artist dedicated to exploring a broad and eclectic repertoire, while promoting equity and inclusivity in classical music. She has expanded the contemporary violin repertoire through a wide range of commissioning projects and has premiered more than 100 works written especially for her. Her quest for the new and unusual, sense of endless curiosity, and ability to lead and inspire a host of multidisciplinary collaborators, truly set her apart. Her critically acclaimed series include Alone Together, Bach and Beyond, The New American Concerto, Limitless, Bridge to Beethoven, and Shared Madness. Coming this season to Carnegie’s Zankel Hall, the Kennedy Center, and Cincinnati’s Music Hall, The New American Concerto is Ms. Koh’s ongoing, multi-season commissioning project that explores the form of the violin concerto and its potential for artistic engagement with contemporary societal concerns and issues through commissions from a diverse collective of composers. In February and March 2022, she premieres Missy Mazzoli’s Violin Concerto with the National Symphony Orchestra conducted by Gemma New at the Kennedy Center and with the Cincinnati Symphony Orchestra conducted by Louis Langrée at Music Hall. Ms. Mazzoli’s concerto is the sixth to have been commissioned as part of the project, and Ms. Koh premieres the work having earlier in the season performed solo and chamber music by Ms. Mazzoli in San Francisco alongside the composer herself. Also in March 2022, Mr. Koh gives the New York premiere of Lisa Bielawa’s violin concerto Sanctuary at Carnegie’s Zankel Hall with the American Composers Orchestra. -
A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century
A SCENE WITHOUT A NAME: INDIE CLASSICAL AND AMERICAN NEW MUSIC IN THE TWENTY-FIRST CENTURY William Robin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Mark Katz Andrea Bohlman Mark Evan Bonds Tim Carter Benjamin Piekut © 2016 William Robin ALL RIGHTS RESERVED ii ABSTRACT WILLIAM ROBIN: A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century (Under the direction of Mark Katz) This dissertation represents the first study of indie classical, a significant subset of new music in the twenty-first century United States. The definition of “indie classical” has been a point of controversy among musicians: I thus examine the phrase in its multiplicity, providing a framework to understand its many meanings and practices. Indie classical offers a lens through which to study the social: the web of relations through which new music is structured, comprised in a heterogeneous array of actors, from composers and performers to journalists and publicists to blog posts and music venues. This study reveals the mechanisms through which a musical movement establishes itself in American cultural life; demonstrates how intermediaries such as performers, administrators, critics, and publicists fundamentally shape artistic discourses; and offers a model for analyzing institutional identity and understanding the essential role of institutions in new music. Three chapters each consider indie classical through a different set of practices: as a young generation of musicians that constructed itself in shared institutional backgrounds and performative acts of grouping; as an identity for New Amsterdam Records that powerfully shaped the record label’s music and its dissemination; and as a collaboration between the ensemble yMusic and Duke University that sheds light on the twenty-first century status of the new-music ensemble and the composition PhD program. -
Guest Artist Recital: Jennifer Koh, Violin and Shai Wosner, Piano Jennifer Koh
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-9-2010 Guest Artist Recital: Jennifer Koh, violin and Shai Wosner, piano Jennifer Koh Shai Wosner Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Koh, Jennifer and Wosner, Shai, "Guest Artist Recital: Jennifer Koh, violin and Shai Wosner, piano" (2010). All Concert & Recital Programs. 4456. https://digitalcommons.ithaca.edu/music_programs/4456 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Jennifer Koh, violin Shai Wasner, piano As a virtuoso whose natural flair is matched with a probing intel- Shai Wasner continues to attract international recognition for his excep- lect, Jennifer Koh is committed to exploring connections between tional artistry, mu s ical integrity, and creative insight. With imaginative the piece s she plays, searching for similarities of voice between and programming that communicates his intellectual curiosity, Was ner perform s among composers, as well as within the works of a single compos- a wide-ranging repertoire from Mozart and Beethoven to Ligeti and com- er. She has most recently been recognized by a Grammy nomination posers of his own generation. Hailed by the Financial Times as "an artist to for her recording String Poetic, on the Cedille label, which include s follow keenly," Wos ner"s vi.rtuo s ity and perceptiveness have increas ingly world premieres by Jennifer Higdon and Lou Harrison as well as made him a favorite among audiences and critics alike. -
Grand Pianola Music R
Thursday, August 2, 2018, at 7:30 pm m a Grand Pianola Music r g International Contemporary o Ensemble r Christian Reif, Conductor M|M P M|M Courtney Bryan, Piano e Cory Smythe, Piano h Jacob Greenberg, Piano Peter Evans, Trumpet T Joshua Rubin, Clarinet Ryan Muncy, Saxophone Quince Ensemble M|M Amanda DeBoer Bartlett, Soprano Liz Pearse, Soprano Kayleigh Butcher, Mezzo-Soprano COURTNEY BRYAN Songs of Laughing, Smiling, and Crying (2012) BRYAN GEORGE LEWIS Voyager (1987/2018) EVANS, RUBIN, MUNCY, SMYTHE, YAMAHA DISKLAVIER PIANO PERFORMED BY “VOYAGER” (Lewis interactive music system) Intermission M|M Mostly Mozart Festival debut (Program continued) Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Gerald W. Lynch Theater at John Jay College Mostly Mozart Festival American Express is the lead sponsor of the Mostly Mozart Festival Endowment support is provided by Blavatnik Family Foundation Fund for Dance The Mostly Mozart Festival is also made possible by The Andrew W. Mellon Foundation, The Ford Foundation, and Rita E. and Gustave M. Hauser. Additional support is provided by The Shubert Foundation, LuEsther T. Mertz Charitable Trust, The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc, Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Nippon Steel & Sumitomo Metal U.S.A., Inc, Great Performers Circle, Chairman’s Council, Friends of Mostly Mozart , and Friends of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center “Summer at Lincoln Center” is supported by Bubly Artist Catering provided by Zabar’s and Zabars.com UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Friday, August 3 at 10:00 pm in the Stanley H. -
JENNIFER KOH, Violinist
JENNIFER KOH Violin Biography Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. With an impassioned musical curiosity, she is forging an artistic path of her own devising, choosing works that both inspire and challenge. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum. She is also committed to exploring connections in the works she performs, searching for similarities of voice among diverse composers and associations within the works of a single composer. For her forward-thinking approach to classical music, presenting a broad and eclectic range of repertoire and fostering multidisciplinary collaborations with artists of all types and styles, Ms. Koh has been named Musical America’s 2016 Instrumentalist of the Year. During the 2015-16 season, Ms. Koh partners with pianist Shai Wosner for Bridge to Beethoven, a recital series that explores the impact Beethoven has had on a culturally diverse group of composers and musicians. The four-recital series pairs Beethoven's Complete Violin Sonatas with contemporary works including three commissions for the series by Vijay Iyer, Andrew Norman, and Anthony Cheung, which serve as companion pieces to select sonatas, as well as Jörg Widmann’s Sommersonate. All four Bridge to Beethoven recitals will be presented at the 92nd Street Y in New York and at the Herbst Hall in San Francisco by SF Performances where Ms. Koh serves as Artist-in-Residence this season. Select recitals will also be presented in Boston, Chicago, Los Angeles, Santa Barbara, and other cities nationwide. -
A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
Pulitzer Prize Winners and Finalists
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70