YSO Prelude 2017-11 November
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From the Podium
R e p o rScott t Hanna, editor Summer 2010 review of proposals for research sessions. (The deadline From the Podium of submissions is November 1.) The conference will include discussions on CBDNA’s evolving relationship I have been thinking about the relationship be- with educational issues. tween our national organization and its members. Elisabeth Charles and Barbara Lambrecht are Albert Einstein’s The World As I See It, begins putting together the Small College Intercollegiate with a quote attributed to Friedrich Nietzsche: “Only band. I am pleased that our colleague Lowell Graham individuals can have a sense of responsibility.” The has agreed to conduct the SCIB. Jim Latten’s summer quote seemed to complement my favorite cartoon, which efforts have produced a flurry of interest and activity shows a CEO at the Christmas party punch bowl with his from CBDNA members (and potential members) who arm around the shoulder of an employee, saying, “Frank, work in small colleges and universities. you are such a valuable employee. I don’t know what this company would do without you…or somebody just As you know from my emails, I was to have like you.” Nietzsche’s sentiment disallows that CBDNA, gone to Florida A & M University in October to present as an organization, could have a sense of or mandate to William Foster with the CBDNA Lifetime Achievement responsibility. CBDNA commitments and actions in Award (he was the fifth person to receive this rare dis- the areas of education, inclusiveness, artistry, expansion tinction). Past-president Foster passed away before that of knowledge, and new initiatives reflect the ideals and could happen. -
Wichita Symphony Orchestra Gershwin's Magic Key Young
Wichita Symphony Orchestra Gershwin’s Magic Key Young People’s Concerts January 26-28, 2016 Family Concert January 30, 2016 George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928) as well as the opera Porgy and Bess (1935). He began his career as a song plugger in a music store on Tin Pan Alley (played songs for people to decide if they would buy the song sheet), but soon started composing Broadway theatre works with his brother Ira Gershwin. Ira wrote the lyrics/words while George wrote the music. He moved to Paris to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Porgy and Bess is now considered one of the most important American operas of the twentieth century. In his jazz compositions he captured music from immigrants so not to lose that rich music, the voice of the American soul. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor. Gershwin's compositions have been adapted for use in many films and for television, and several became jazz standards recorded in many variations. Many celebrated singers and musicians have covered his songs. The Roaring Twenties is a term for the 1920’s in the Western world. -
Program Notes by Dr
FROM THE NEW WORLD PROGRAM Antonín Dvořák (1841-1904) December 16, 1893, this composition Symphony No. 9 in E minor, Op. 95, was premiered by the New York “From the New World” Philharmonic Orchestra in Carnegie Hall, and concertgoers were ecstatic. The As a young composer in Bohemia (now composer reports proudly to his publisher part of the Czech Republic), Dvořák was Simrock, “The success of the symphony... undoubtedly influenced by the spirit of say that no composer has ever had such Nationalism that swept across Europe in a triumph. I was in a box, the hall was the second half of the 19th century. He filled with the best New York audience and often uses modal fluctuations and Slavic the people applauded so much that I had dance rhythms, which lend an ethnic flavor to thank them from the box like a king.” to his works, making them especially appealing to audiences at home and abroad. Many listeners immediately detected an “American” quality in Symphony No. 9. In 1892 Dvořák was named Director of the Like a number of American folk songs and newly-established National Conservatory spirituals, some of Dvořák’s melodies are of Music. Although reluctant to leave his pentatonic (only five notes) and modal homeland, the composer found his new (lowered leading tone), with open fifths, salary irresistible―$15,000 a year― creating a pastoral effect; however, exactly 25 times his income at Prague numerous folk songs of Central Europe Conservatory! The timing of Dvorak’s share similar characteristics. In fact, arrival in New York could not have been Dvořák denied ever quoting a folk song more propitious, since celebrations literally, stating, “It is the spirit of Negro and commemorating the fourth centenary of the Indian melodies which I was striving to discovery of America were underway. -
Visions&Voices: Porgy and Bess
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! Porgy and Bess USC LIBRARIES RESOURCE GUIDE Tuesday, April 29, 2014, Ahmanson Theatre, Los Angeles ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Porgy and Bess. Introduction Porgy and Bess premiered in 1935 on Broadway in New York City. The work is a collaboration among George Gershwin, DuBose Heyward and Ira Gershwin based on Heyward’s novel and play, both named Porgy. Gershwin considered Porgy and Bess an “American folk opera,” musically integrating blues and jazz into the classical opera genre. However, the work was not really accepted as an opera until the Houston Grand Opera mounted the complete score in 1976. Nine years later, the Metropolitan Opera performed it. Porgy and Bess is now internationally recognized as a profound and unique work that it is quintessentially American in expression. The performance you will be attending is the most recent Broadway production, which opened in January 2012 and closed September 23, 2012. It was nominated for ten Tony Awards, winning Best Revival of a Musical and Best Performance by an Actress in a Leading Role in a Musical (Audra McDonald). Synopsis The following synopsis comes from the musical’s official website at porgyandbessthemusical.com/story: On a quiet evening in Charleston’s Catfish Row, Clara and her husband Jake sing a lullaby (“Summertime”) to their baby. -
Gender in Gershwin's Porgy and Bess
Mona Sangesland Paper for MUHST 419A Library Research Award GENDER IN GERSHWIN’S PORGY AND BESS From its inception, public reaction to the diversity of Bess’ character from Gershwin’s Porgy and Bess has been very mixed. Many African-Americans were insulted by her portrayal as a low-life character1, which they felt would engender a negative perception of their culture, while many others sympathized with her meager circumstances.2 Bess is, consequently, a very controversial character and because of this, she is able to bring to light many issues, particularly regarding gender. As she is a less than ideal heroine, Bess’ often conflicting actions subject her to be perceived as weak and adhering to gender stereotypes. However, I would like to argue that while she is dependent upon men and trapped in an androcentric world, she is also able to defy these gender roles, creating a character that is ultimately very human in her conflicts. Through his music (particularly rhythms, text setting, and contrasting music), Gershwin was able to portray a woman who embraced and yet defied her role as a 1930s woman. I will discuss Bess’ musical roles and compare them with the arias of the women of Catfish Row, as well as examine the transformations Bess’ music undergoes in order to portray her diverse character, proving that she is both trapped by gender roles, yet unable to adhere to them at the same time. Three different versions of this story exist; DuBose Heyward’s novel Porgy, a theater adaptation called Porgy: A Play in Four Acts, by Heyward’s wife, Dorothy, and Gershwin’s opera, Porgy and Bess. -
Guitarist Sharon Isbin to Star with Santa Rosa Symphony
Guitarist Sharon Isbin to star with Santa Rosa Symphony By DIANE PETERSON THE PRESS DEMOCRAT Published: Thursday, January 20, 2011 at 3:00 a.m. WWW.SHARONISBIN.COM/ J. HENRY FAIR Sharon Isbin serves as the American ambassador of the classical guitar, performing everywhere from the concert hall to the White House. It's a job that no one else really wanted. That's because most Americans are exposed to the guitar through rock and folk music and then fall in love with classical guitar by accident. “That's changing now, but that certainly has been part of the history of classical guitar in this country,” Isbin said in a phone interview from her home in New York City. “Europe has a much longer tradition of classical guitar, going back to Spain and Italy and the U.K., so that the roots have had time to blossom and flourish.” For the Santa Rosa Symphony's fourth concert set this weekend, Isbin will whisk the audience off to the gardens of Spain during a performance of Joaquin Rodrigo's passionate “Concierto de Aranjuez.” “The Rodrigo is one of the most popular works of any works for orchestra,” she said. “The second movement is so powerfully moving and emotionally raw, with great nuances and musical inspiration. It's something that really touches people in unusual ways.” Led by guest conductor and Mexico native Enrique Arturo Diemecke, the south-of-the- border program also includes Astor Piazzolla's seductive “Tangazo, Variations on Buenos Aires” and the Fourth Symphony of composer Carlos Chavez, considered to be the founder of modern Mexican music. -
New on Naxos | September 2013
NEW ON The World’s Leading ClassicalNAXO Music LabelS SEPTEMBER 2013 © Grant Leighton This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | SEPTEMBER 2013 8.572996 Playing Time: 64:13 7 47313 29967 6 Johannes BRAHMS (1833–1897) Ein deutsches Requiem (A German Requiem), Op. 45 Anna Lucia Richter, soprano • Stephan Genz, baritone MDR Leipzig Radio Choir and Symphony Orchestra Marin Alsop Brahms’s A German Requiem, almost certainly triggered by the death of his mother in 1865, is one of his greatest and most popular works, quite unlike any previous Requiem. With texts taken from Luther’s translation of the Bible and an emphasis on comforting the living for their loss and on hope of the Resurrection, the work is deeply rooted in the tradition of Bach and Schütz, but is vastly different in character from the Latin Requiem of Catholic tradition with its evocation of the Day of Judgement and prayers for mercy on the souls of the dead. The success of Marin Alsop as Music Director of the Baltimore Symphony Orchestra was recognized when, in 2009, her tenure was extended to 2015. In 2012 she took up the post of Chief Conductor of the São Paulo Symphony Orchestra, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. Marin Alsop © Grant Leighton Companion Titles 8.557428 8.557429 8.557430 8.570233 © Christiane Höhne © Peter Rigaud MDR Leipzig Radio Choir MDR Leipzig Radio Symphony Orchestra © Jessylee Anna Lucia Richter Stephan Genz 2 NEW ON NAXOS | SEPTEMBER 2013 © Victor Mangona © Victor Leonard Slatkin Sergey RACHMANINOV (1873–1943) Symphony No. -
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P. Bolstad, conductor Symphony Band – Stephen P. Bolstad, conductor Concert Band – Scott D. Rikkers, conductor Wind Symphony, Stephen P. Bolstad, conductor October 7, 2007 Wiener Philharmoniker Fanfare (1924) – Richard Strauss Serenade in E flat major, Op. 7 (1881) – Richard Strauss Dance of the Jesters (1868) – Tchaikovsky/Cramer Prelude in E flat minor, Op. 34, No. 14 (1933) – Shostakovich/Reynolds Redline Tango (2004) – John Mackey Fantasia in G Major (ca. 1705) – Bach/Goldman & Leist Bells for Stokowski (2003) – Michael Daugherty Symphonic Band & Concert Band Stephen P. Bolstad & Scott Rikkers, conductors October 11, 2007 Concert Band Alleluia! Laudamus Te (1973) – Alfred Reed Be Thou My Vision (1998) – David Gillingham Rakes of Mallow (1947) – Leroy Anderson Symphonic Band Esprit De Corps (1985) – Robert Jager A Movement for Rosa (1992) – Mark Camphouse Illyrian Dances (1986) – Guy Woolfenden Russian Sailor’s Dance (1927) – Gliere/ Leidzen Wind Symphony, Stephen P. Bolstad, conductor JMU Chorale, Patrick M. Walders, conductor & JMU Symphony Orchestra Strings, Robert D. McCashin, conductor October 26, 2007 Portraits in Bluestone (2007) – Brian Balmages World Premiere Wind Symphony, Stephen P. Bolstad, conductor November 11, 2007 (Veteran’s Day) The Star Spangled Banner – Arr. by Luigi Zaninelli Profanation from “Jeremiah, Symphony No. 1” (1942) – Bernstein/Bencriscutto The Leaves Are Falling (1964) – Warren Benson Lincolnshire Posy (1937) – Percy Grainger J’ai été au bal (1999) – Donald Grantham Battle Hymn of the Republic – Arr. by Luigi Zaninelli All-Bands Concert, Stephen P. Bolstad, Scott Rikkers, conductors December 9, 2007 Concert Band Marche Des Parachutistes Belges (1945) – Leemans/Wiley Blessed Are They from “German Requiem” (1865) – Brahms/Buehlman Escape from “Plato’s Cave!” (1993) – Stephen Melillo Symphonic Band Second Suite in F for Military Band (1911) – Gustav Holst La Fiesta Mexicana (1949) – H. -
Beyond the Machine 21.0
Beyond the Machine 21.0 The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 21.0: Emerging Artists and Art Forms New works by composers, VR artists, and performers working with new performance technologies Thursday, May 20, 2021, 7:30pm ET Saturday, May 22, 2021, 2 and 7pm ET Approximate running time: 90 minutes Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 About Emerging Artists and Art Forms The global pandemic has compelled many performing artists to explore new ways of creating using digital technology. However, for students studying at the Center for Innovation in the Arts, working online and in virtual environments is a normal extension of daily classroom activities. This year, the Center for Innovation in the Arts will present three programs featuring new works by Juilliard students and alumni developed in collaboration with artists working in virtual reality, new media, film, and interactive technology. The public program, Emerging Artists and Artforms, is a platform for students who share an interest in experimental art and interdisciplinary collaboration. All the works on this program feature live performances with interactive visual media and sound. -
The John F. Kennedy Center for the Performing Arts Unveils Special
To download photos, click here. To view a video about the 50th Anniversary, click here. PRESS RELEASE FOR RELEASE: Tuesday, April 6, 2021 The John F. Kennedy Center for the Performing Arts Unveils Special Programming and New Initiatives to Champion Cultural Leadership and Celebrate 50-Year Milestone, including a Fall Reopening HIGHLIGHTS INCLUDE A Celebratory September Reactivation of the Kennedy Center Campus The Kennedy Center Next 50, Naming Today’s Culture-Makers Two New Destination Exhibits & Outdoor JFK Statue Composer-in-Residence Carlos Simon Education Artist-in-Residence Jacqueline Woodson For the Culture Residency: The Roots Robert Glasper Artist Residency A New Look at the Center’s 1971 Opening Masterpiece, Bernstein’s MASS Exciting New Plays, Commissions, and Partnerships WNO’s Written in Stone Commissions (WASHINGTON)—The John F. Kennedy Center for the Performing Arts, the nation’s performing arts center as designated by Congress, today announced plans for its much- anticipated 50th Anniversary season, slated to begin in September 2021 with a grand reopening of its stages and campus and culminate in September 2022 with a fresh interpretation of the seminal work that opened the Center in 1971, Leonard Bernstein’s MASS. In addition to a celebratory reactivation of the Kennedy Center’s campus in mid-September, including an opening concert curated and hosted by Michael Tilson Thomas, the Center will unveil two immersive, interactive exhibits, and a new life-sized statue of John F. Kennedy on the grounds of the REACH. The anniversary -
Gershwin's Magic
GERSHWIN’S MAGIC KEY SCHEDULE A: TECHNICAL REQUIREMENTS 1. PRODUCTION NOTES Gershwin’s Magic Key is a theatrical presentation designed to introduce children to the life and music of George Gershwin. Twenty-three excerpts of Gershwin’s best-loved worKs are presented in concert as two professional actors perform a fully- staged play about the great composer’s life in combination with a featured pianist and a full, on-stage symphony orchestra. This educationally-entertaining theatrical concert production features lighting, projections, sound, scenic properties and period costumes. 2. MUSIC EXCERPT CUES 1. Overture from Catfish Row: Symphonic Suite in 13. "Rialto Ripples"(Gershwin - TyziK) Five Parts: I 14. Humoresque op. 101 no. 7 (DvoraK - TrinKaus) 2. Segment from Rhapsody in Blue 15. Second Rhapsody (New York Rhapsody) 3. "Swanee" (Gershwin - Wodehouse) 16. "Promenade" (Gershwin - BerKowitz) 4. Clarinet solo from Rhapsody in Blue 17. An American in Paris 5. Fugue subject from Catfish Row: Symphonic 18. "Summertime" & "Bess, You Is My Woman Now" Suite in Five Parts: I from Catfish Row: Symphonic Suite in Five Parts: 6. "I Got Plenty O’Nuttin" from Catfish Row: I & II Symphonic Suite in Five Parts: II 19. "Oh Lord, I’m On My Way" from Catfish Row: 7. "StriKe Up The Band" (Gershwin - MacPherson) Symphonic Suite in Five Parts: V 8. WoodblocK hit/orchestra cheer 20. Concerto in F: III 9. "TaKe Me Out to the Ball Game" (Norworth and 21. Medley from "Oh, Kay!" (Gershwin-Warner) Tilzer) 22. "Second Prelude" (Blue Lullaby) 10. "I’ll Build a Stairway to Paradise" 23. Cuban Overture 11. -
ISSUE 4 FALL 2000 CONTENTS DEFINING the WIND Defining the Wind Band Sound
A JOURNAL FOR THE CONTEMPORARY WIND BAND ISSUE 4 FALL 2000 CONTENTS DEFINING THE WIND Defining the Wind Band Sound ... page I BAND SOUND: by Donald Hunsberger Patrick Gi lmore and his contributions to the THE GILMORE ERA (1859-1892) development of the American wind band BY DONALD HUNSBERGER INSIGHTS Three Japanese Dances .. page 12 In Wine/Works Issue 2, we discussed the development and influence of the English militm)l by Bernard Rogers band journal in shaping English ensembles during the second half of the 19th centu1y. A new full score and set of pruts in an edition These English band practices were brought to America by music and instrument distributors by Timothy Topolewski and furth er highlighted by the visit of Daniel Godfrey and the Band of the Grenadier Guards CONVERSATIONS to Boston in 1872. The one person who, above others, may be credited for creating fonvard A Talk with Frederick Fennell .. page 18 movement in American band instrumentation is Patrick Gilmore, whose contributions were Conductor Fennell talks about hi s eru·ly previously listed as occurring through instrumentation expansion, balancing the number of impressions of the first performance of pe1jormers, and especially through his awakening both the A1nerican public and the musical the Three Japanese Dances in 1934 world to the vast untapped potential of the full woodwind-brass-percussion ensemble [WindWorks Issue 3]. A Talk with Mrs. Beman/ Rogers ... page 20 Elizabeth Rogers discusses Bernru·d Rogers' Th e period between the Civil War and John Philip Sousa ssuccess with his own professional approach to writing the Three Japanese Dances band in the 1890s has been somewhat of a historical "black hole" due to a lack of available resources; it is hoped that important events and developments may be fo llowed through WIND LIBRARY analysis of instrumentation/personnel changes and especially through actual scores of the Catfish Row by George Gershwin ..