Boston Symphony Orchestra Concert Programs, Summer, 1990

Total Page：16

File Type：pdf, Size：1020Kb

Boston Symphony Orchestra Concert Programs, Summer, 1990

1990 Festival of Contemporary Music Prelude Concert Monday, August 6, at 7:30 p.m. Chamber Music Hall, Tanglewood MARIMOLIN Sharan Leventhal, violin Nancy Zeltsman, marimba GUNTHER SCHULLER Phantasmata (1989) (b.1925;TMC Artistic (celebrating the composer's 65th Director, 1970-1984) birthday year) Maestoso Lively Molto adagio Grave SIMON BAINBRIDGE Marimolin Inventions, Book 1 (1990) (b.1952;TMC'73-'74) (in three movements) Margun/GunMar Music proudly presents one of the great catalogues ofAmerican living composers Josef Alexander Allen Anderson Theodore Antoniou Hubert Arnold Hayes Biggs Ran Blake Roger Bourland Martin Brody Richard Busch John Carisi Rob Carriker David Chaitkin Sheree Clement Marc-Antonio Consoli Matt Darriau Avram David Robert DiDomenica Lucia Dlugoszewski William Doppmann Dennis Eberhard Brian Fennelly Charles Fernandez Vivian Fine Ian Finkel Vic Firth Tom Flaherty Martin Flowerman Primous Fountain EI Donal Fox Andrew Frank Timothy Geller Jimmy Giuffre Daniel Godfrey Donald Harris Douglas Hill John Huggler Jere Hutcheson Chuck Israels Oliver Knusson David Koblitz Stefan Kozinski Steve Lacy David Lang Kenneth Laufer Thomas Oboe Lee Paul Alan Levi Gerald Levinson James Lewis Rodney Lister Edwin London Vincent Luti Steven Mackey Joseph Gabriel Maneri Henry Martin William Thomas McKinley John Stewart McLennan Joyce Mekeel John Melby Gerry Mulligan Harold Oliver Richard Peaslee George Perle Morgan Powell James Primosch Tibor Pusztai Verne Reynolds Amelia Rogers Rodney Rogers Carl Roskott George Russell William Russo Edwin Schuller George Schuller Gunther Schuller Elliott Schwartz Allen Shawn Gary Smart Daniel Spector Lewis Spratlan David Stock Patrick Stoyanovich Ignace Strasfogel Andrew Thomas Nicholas Thorne Oily Wilson Byron Yasui Ellen Taaffe Zwilich Sole Agent: Jerona Music Corporation P.O. Box 5010 • Hackensack, NJ 07606-4210 • 201-488-0550.

Copy Link

Recommended publications

City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
[Show full text]
Stanley Cowell Samuel Blaser Shunzo Ohno Barney
JUNE 2015—ISSUE 158 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM RAN BLAKE PRIMACY OF THE EAR STANLEY SAMUEL SHUNZO BARNEY COWELL BLASER OHNO WILEN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JUNE 2015—ISSUE 158 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Stanley Cowell by anders griffen Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Samuel Blaser 7 by ken waxman [email protected] Advertising: On The Cover : Ran Blake 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : Shunzo Ohno 10 by russ musto Calendar: [email protected] Lest We Forget : Barney Wilen 10 by clifford allen VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Summit 11 by ken dryden [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Miscellany 41 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Event Calendar Terrell Holmes, Robert Iannapollo, 42 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman There is a nobility to turning 80 and a certain mystery to the attendant noun: octogenarian.
[Show full text]
Ran Blake E Sara Serpa
Jazz 11 de maio 2012 Aurora Ran Blake e Sara Serpa Saturday A segunda cena que irá ser pro- É curioso o facto de poucos músicos jetada esta noite é retirada do filme tocarem Saturday, uma bonita balada Spiral Staircase (Silêncio nas Trevas), que a lendária Sarah Vaughan gravou realizado por Robert Siodmak em 1945. no início da sua carreira, para uma Combinando técnicas do expressio- pequena e obscura editora, antes de nismo alemão com o estilo contemporâ- ter sido contratada pela Columbia neo do cinema americano, poderá ver-se ou Mercury, em 1951. Esta canção é a cara de Dorothy McGuire (persona- parecida com Wednesday’s Child ou gem que não consegue falar), na perspe- Thursday’s Child, no sentido em que são tiva do serial killer que acredita que não todas canções melancólicas, com uns há espaço no mundo para a imperfeição. laivos de pensamentos positivos. A última cena projetada será do filme Le Boucher (O Carniceiro) (1970) de Claude When Autumn Sings (R. B. Lynch) Chabrol. Repare-se na beleza dos planos R. B. Lynch é um compositor pouco reco- e no trabalho maravilhoso do diretor nhecido. Esta é uma das quatro canções de fotografia Jean Rabier. A música foi que ele escreveu para Abbey Lincoln. composta por Pierre Jansen e a jovem Abbey gravou todas elas, incluindo Love atriz é Stephane Audran. Lament. Esta peça tem uma melodia extremamente inovadora, com umas Cansaço notas surpreendentes. Abbey Lincoln (Joaquim Campos, Luís Macedo) escreveu a letra para todas estas canções. Cansaço é um poema de Luís de Macedo (1901-1971) cantado por Amália Piano Ran Blake Voz Sara Serpa Dr.
[Show full text]
Creative Music Studio Norman Granz Glen Hall Khan Jamal David Lopato Bob Mintzer CD Reviews International Jazz News Jazz Stories Remembering Bert Wilson
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Creative Music Studio Norman Granz Glen Hall Khan Jamal David Lopato Bob Mintzer CD Reviews International jazz news jazz stories Remembering bert wilson Volume 39 Number 3 July Aug Sept 2013 romhog records presents random access a retrospective BARRY ROMBERG’S RANDOM ACCESS parts 1 & 2 “FULL CIRCLE” coming soon www.barryromberg.com www.itunes “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself. “Leslie Lewis & Gerard Hagen in New York” featuring their vocal/piano duo is the result those sessions. www.surfcovejazz.com Release date August 10, 2013. Surf Cove Jazz Productions ___ IC 1001 Doodlin’ - Archie Shepp ___ IC 1070 City Dreams - David Pritchard ___ IC 1002 European Rhythm Machine - ___ IC 1071 Tommy Flanagan/Harold Arlen Phil Woods ___ IC 1072 Roland Hanna - Alec Wilder Songs ___ IC 1004 Billie Remembered - S.
[Show full text]
Steve Lacy and Mal Waldron, July 28 2002, Brussels – Before the Steve Lacy and Joëlle Léandre Concert at the Belga Café (© Rita De Vuyst)
Steve Lacy and Mal Waldron, July 28 2002, Brussels – Before the Steve Lacy and Joëlle Léandre concert at the Belga Café (© Rita De Vuyst) Sheet music for Steve Lacy by Joëlle Léandre Sheet music for Steve Lacy by Mikhail Bezverkhny Lacy: unlimited but not boundless Fernand Tanghe Steve Lacy was born in New York on July 23 1934, in an America that swung between the obvious, hopeless misery of a crisis never seen before and the quiet hope for a New Deal. His real name sounds weightier: Steven Norman Lackritz. Lacy is of Russian origin – in this regard this situates him in the annals of jazz next to illustrious figures of the same kind. People like Stan Getz and Bill Evans, and of course Gershwin who was not a full-blooded jazz figure but still had an enormous influence on the repertoire of jazz soloists. As often, the Jewish-Russian roots have become unrecognizable in the Americanized name. Nothing makes us suspect that Getz is derived from Gayetski. In Lacy’s case, the more Anglo-Saxon name was not created in the family circle. It was Rex Stewart, one of the jazz greats who young Lacy performed his first concerts with, who changed Lackritz – which he found an unruly and unmelodious name – into Lacy. Lacy did indeed make his musical debut in the circle of classic jazzmen and even veterans, after having indirectly expressed a first phase in this love for jazz: not through sounds but through images (he took photographs of famous soloists and sold them at the entrance of concert halls).
[Show full text]
Jeanne Lee Article Diana Torti Translated in English
Jeanne Lee, art on the move The expressive urgency of the first sound by Diana Torti “No words/only a feeling, no questions/only a light, no sequence/only a being, no journey/only a dance”. These are the opening lines of “Conspiracy”, album published by Jeanne Lee for the Earthforms Records in 1974. These lyrics, that were written by David Hazelton, poet of the Jazz Poetry and first husband of the Afro-American singer, well convey through words what music represents throughout sounds, images and colours. Despite the forty-seven years just passed from the publishing (which unfortunately has not yet been followed by a well-deserved reprint), the suggestions of the songs proposed by the Lee evoke emotions and sound stimuli that still amaze and enchant, giving musical proposals now more than ever: precious material to revisit and deepen. In 1974 Jeanne Lee was thirty-five (she was born in New York on January 29 th , 1939). From the earliest experiences, Lee shows a strongly innovative direction over the traditional image of the jazz singer. Starting from her first album, where the traditional way of singing the jazz standards and the jazz pronunciation are completely reconsidered, her vocal research will continue intensifying the relationship between lyrics and improvisation, in a continuous exploration of the possibilities of decomposing and reconstructing words or fragments of them, of their repeating, of vocalizations not necessarily related to spoken language. “The Newest Sound Around” (RCA Victor, 1961), represents the debut for both her and Ran Blake, her colleague of studies at Bard College in New York (they met each other on September 1956).
[Show full text]
George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International Jazz News Jazz Stories
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International jazz news jazz stories Volume 39 Number 4 Oct Nov Dec 2013 More than 50 concerts in venues all around Seattle Keith Jarrett, Gary Peacock, & Jack DeJohnette • Brad Mehldau Charles Lloyd Group w/ Bill Frisell • Dave Douglas Quintet • The Bad Plus Philip Glass • Ken Vandermark • Paal Nilssen-Love • Nicole Mitchell Bill Frisell’s Big Sur Quintet • Wayne Horvitz • Mat Maneri SFJAZZ Collective • John Medeski • Paul Kikuchi • McTuff Cuong Vu • B’shnorkestra • Beth Fleenor Workshop Ensemble Peter Brötzmann • Industrial Revelation and many more... October 1 - November 17, 2013 Buy tickets now at www.earshot.org 206-547-6763 Charles Lloyd photo by Dorothy Darr “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself.
[Show full text]
Hidden in Plain View---The Legacy of Eric Dolphy
JEROME HARRIS New World Records 80472 Hidden in Plain View HIDDEN IN PLAIN VIEW---THE LEGACY OF ERIC DOLPHY "I want to say more on my horn than I ever could in ordinary speech." Eric Dolphy1 Look up Eric Dolphy in any contemporary encyclopedic jazz history and you are likely to find an entry something like this: Eric Allen Dolphy was born in Los Angeles on June 20, 1928 and died in Berlin thirty-six years and nine days later on June 29, 1964. A formidable soloist on alto saxophone, flute, and bass clarinet, he began playing clarinet at age six and was playing professionally in dance bands by junior high school. He studied music at Los Angeles City College and, while in the service, at the U.S. Naval School of Music. Upon leaving the military, he returned to L.A. and became a fixture in the West Coast jazz scene, ultimately joining Chico Hamilton's quintet in 1958. 1959 found him in New York, a member of the Charles Mingus band, a freelance player, and the leader of recording dates under his own name. Despite his burgeoning fame, he found little employment in the United States--although he did co- lead a quintet with Booker Little--and left for Europe in the fall of 1961, where he played as a bandleader and as a member of John Coltrane's band. He also played in John Lewis' Orchestra U.S.A. and in Gunther Schuller's Third Stream melding of art-music and jazz sensibilities. Dolphy spent most of the last year of his life working as a freelance musician, primarily for Mingus, Lewis, and Coltrane.
[Show full text]
Downbeat.Com June 2014 U.K. £3.50
JUNE 2014 U.K. £3.50 DOWNBEAT.COM JUNE 2014 VOLUME 81 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom
[Show full text]
Brown James P 2019 Masters.Pdf (3.164Mo)
THE MOSLEY STREET SUITE A THIRD STREAM CHAMBER WORK FOR SIX PLAYERS JAMES PETER BROWN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE, 2019 © JAMES PETER BROWN, 2019 Abstract In 1957 Gunther Schuller coined the term Third Stream as a description of a developing trend wherein elements of jazz and 20th century art music were being combined, creating a new body of compositions, performances and recordings by a diverse community of musicians. This thesis presents an original composition entitled The Mosley Street Suite, demonstrating some of the trends of third stream music and consisting four movements entitled: "Song Within The Story”, “Paper Air Plane”, “Chalet Music” and “Mbira Kids.” A brief overview of third stream music from its inception in 1957 to the present day is included, as well as a discussion of some of the musical techniques and styles that embody third stream, citing examples from a variety of composers, arrangers and performers. A final section of this thesis contains a detailed description of the methodology and score of The Mosley Street Suite. !ii ACKNOWLEDGEMENTS I would like to thank Professors Al Henderson and Dr. Mark Chambers for their guidance and assistance. I would also like to thank my parents for supporting my musical journey from the very beginning and my children for inspiring my creative spirit. Finally, a special thanks to my partner Lisa for her encouragement,
[Show full text]
Master's Recital in Jazz Pedagogy: a Performance-Demonstration of Rhythm Section Instruments, Compositions and Arrangements by Nicholas Leo
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2018 Master's recital in jazz pedagogy: A performance-demonstration of rhythm section instruments, compositions and arrangements by Nicholas Leo Nicholas Leo University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2018 Nicholas Leo Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Composition Commons, and the Music Performance Commons Recommended Citation Leo, Nicholas, "Master's recital in jazz pedagogy: A performance-demonstration of rhythm section instruments, compositions and arrangements by Nicholas Leo" (2018). Dissertations and Theses @ UNI. 574. https://scholarworks.uni.edu/etd/574 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. MASTER’S RECITAL IN JAZZ PEDAGOGY: A PERFORMANCE-DEMONSTRATION OF RHYTHM SECTION INSTRUMENTS, COMPOSITIONS AND ARRANGEMENTS BY NICHOLAS LEO An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements of the Degree Master of Music in Jazz Pedagogy Nicholas Leo University of Northern Iowa May 2018 ii APPROVAL PAGE This Recital Abstract by: Nicholas Leo Entitled: Master’s Recital in Jazz Pedagogy: A Performance-Demonstration of Rhythm Section instruments, Compositions and Arrangements by Nicholas Leo Has been approved as meeting the thesis requirement for the Degree of Master of Music Jazz Pedagogy ___________ _____________________________________________________ Date Christopher Merz, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr.
[Show full text]
Jeanne Lee’S Voice1
Critical Studies in Improvisation / Études critiques en improvisation, Vol 2, No 1 (2006) Jeanne Lee’s Voice1 Eric Porter, University of California, Santa Cruz On 52nd Street I realized Jean [sic] Lee is clothed and fed by her voice. That’s the same street my aunts and uncles were born and black on, so 52nd and 10th means something to me – like a people who come out with what they can carry: love, sweat, blood and song. Though everything we know is wonderful and rich, we, as a people, hide, to keep it safe. Jean Lee don’t. [. .] Aretha addresses God, Billie Holiday seduced him. Tina Turner made the devil think twice/but Jean Lee is mingling among us. [. .] She is not afraid of all this body that moves so sweet I dare you/ and isn’t this more than you ever imagined; her body is song. [. .] We got a woman among us who isn’t afraid of the sound of her own voice. She might lay up nights, wondering how are we staying alive ‘cause we didn’t hear what she just heard/or sing it. Well. Did I hear the congregation say Amen. She sings. Jean Lee/ She sings Ntozake Shange’s review of a 1981 performance at Soundscape in New York (quoted above) sets the stage for understanding Jeanne Lee’s extraordinary voice. Noting the function of song in a society defined by its slave past, placing Lee among a tradition of black women vocalists, referencing the way she fused the aesthetics of dance and vocal art in performance, and suggesting that she was invested in a politics of the everyday are all relevant tactics for making sense of Lee and her music.
[Show full text]