DOCSLIB.ORG

Celebrating 50 Years of Extraordinary Chamber Music 50TH ANNIVERSARY Seth Knopp, Artistic Director SEASON June–August, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Celebrating 50 Years of Extraordinary Chamber Music 50TH ANNIVERSARY Seth Knopp, Artistic Director SEASON June–August, 2019 Yellow Barn PO Box 507 | Putney VT 05346 (802) 387-6637 | www.yellowbarn.org Celebrating 50 years of extraordinary chamber music 50TH ANNIVERSARY Seth Knopp, artistic director SEASON June–August, 2019 YELLOW BARN CONCERTS MASTERCLASSES July 5 – August 3 July 6 Gilbert Kalish Since 1969, Yellow Barn has gathered an inter- July 13 Donald Weilerstein national community of extraordinary musicians, July 20 Kim Kashkashian together spanning four generations of chamber July 24 Jörg Widmann music history. For five weeks, Yellow Barn creates an ideal environment for creative exploration and July 27 Laurence Lesser expression, resulting in a series of unforgettable At Yellow Barn masterclasses, audience members public performances. Each season’s repertoire is are invited to sit in the Big Barn with Yellow Barn unique, spanning a wide range of eras and genres, musicians and witness the interpretive process as offering infinite insights into chamber music—for Yellow Barn faculty and guests coach participants performers, composers, and audiences alike. on a wide range of repertoire. COMPOSERS IN RESIDENCE OPEN HOUSE Jörg Widmann: July 22 – 26 July 20 July 24: Masterclass Yellow Barn’s Open House affords audiences the Brett Dean: July 28 – August 3 chance to spend an afternoon attending open rehearsals, participating in discussions, and sharing July 30: Composer Portrait a meal with Yellow Barn musicians on campus. Since the 1970s, composers of all nationalities have enriched Yellow Barn’s summer season with YOUNG ARTISTS PROGRAM their music, the work they do with musicians, and June 17, 19, 27 & 28 through their interactions with audiences. This Preceding the main season is the Young Artists summer, Yellow Barn welcomes back renowned Program for outstanding composers and composers Jörg Widmann and Brett Dean. Each performers ages 13–20, with four concerts that residency will offer multiple performances of their include classical repertoire and world premiere music and opportunities to hear the composers performances of works created during the program. themselves perform. This year, Yellow Barn offers two special SPECIAL EVENT: BEOWULF opportunities for audiences: Jörg Widmann's June 16 masterclass, which will explore a range of repertoire, including his own work, and a Benjamin Bagby brings us the chilling, magical Composer Portrait dedicated to Dean’s work, with power wielded by the untitled Anglo-Saxon epic conversations with Artistic Director Seth Knopp, poem known as Beowulf. The story has its roots performers, and audience members. in the art of the scop (“creator”), the bardic story- teller of early medieval England who would retell PRE-CONCERT DISCUSSIONS Beowulf in song and speech, accompanying himself July 6, 13, 20 & 27 | August 3 on a six-string harp. Bagby’s inspiration comes principally from the language of the poem itself, On Saturdays, audience members are invited to the which has a force that no modern translation can Putney Public Library for an introduction to the approximate. Co-presented with Next Stage. evening’s concert given by Yellow Barn musicians. YOUNG ARTISTS PROGRAM FRIDAY, JULY 5 Opening Night 8:00 | THE BIG BARN MONDAY, JUNE 17 Christopher Theofanidis (b.1967) Speak Music (2019) Young Artists Program Concert 8:00 | THE BIG BARN A 50th birthday gift for Yellow Barn World Premiere Six world-premiere performances of works by Andrew Hamilton (b.1977) O’ROURKE (2013) Young Artists Program composers Franz Joseph Haydn (1732-1809) Piano Trio in E Major, hob.xv:28 (1797) WEDNESDAY, JUNE 19 Wolfgang Amadeus Mozart (1756-1791) Concerto Young Artists Program Concert 8:00 | THE BIG BARN No. 12 in A Major for Piano and String Quintet, k.414 (1782) Works by Bartók, Beethoven, Brahms, Fauré, Johann Sebastian Bach (1685-1750) Chaconne from Mozart, Ravel, and Takemitsu Violin Partita No. 2 in D Minor, bwv 1004 (c.1720) THURSDAY, JUNE 27 | FRIDAY, JUNE 28 Intermission Eric Nathan (b.1983) Some Favored Nook (2017) Young Artists Program Concerts 8:00 | THE BIG BARN Texts by Emily Dickinson (1830-1886) and Thomas Six additional new works by Young Artists Program Wentworth Higginson (1823-1911) composers, plus works by Bartók, Beethoven, Brahms, Goehr, Schubert, and Schumann SATURDAY, JULY 6 Masterclass 10:30 | THE BIG BARN SPECIAL EVENT Gilbert Kalish, piano Pre-Concert Discussion 7:00 | PUTNEY PUBLIC LIBRARY SUNDAY, JUNE 16 Yellow Barn Concert 8:00 | THE BIG BARN Beowulf 7:30 | NEXT STAGE Claude Debussy (1862-1918) Danses sacrée et profane Benjamin Bagby brings us the chilling, magical (Sacred and Profane Dances) (1904) power wielded by the untitled Anglo-Saxon epic Igor Stravinsky (1882-1971) The Rite of Spring (1913) for poem known as Beowulf. The story has its roots piano four-hands in the art of the scop (“creator”), the bardic story- Intermission teller of early medieval England who would retell Beowulf in song and speech, accompanying himself Elliott Carter (1908-2012) Saëta (Arrow) from Eight Pieces for Four Timpani (1950) on a six-string harp. Bagby’s inspiration comes Dmitri Shostakovich (1906-1975) Seven Romances on principally from the language of the poem itself, Poems of Alexander Blok (1967) which has a force that no modern translation Giacinto Scelsi (1905-1988) Chemin du coeur can approximate. Co-presented with Next Stage. (The Heart’s Path) (1929) YELLOW BARN WEEK ONE YELLOW BARN WEEK TWO YELLOW BARN WEEK THREE THURSDAY, JULY 11 THURSDAY, JULY 18 Yellow Barn Concert 8:00 | THE BIG BARN Yellow Barn Concert 8:00 | THE BIG BARN Anna Thorvaldsdottir (b.1977) Ró (Calm) (2013) Tōru Takemitsu (1930-1996) Orion (1984) Simon Bainbridge (b.1952) Four Primo Levi Settings Franz Schubert (1797-1828) Schwanengesang (1996) (Swan Song), d.957 (1828) Robert Schumann (1810-1856) Violin Sonata No. 3 in Intermission A Minor, woo27 (1853) George Enescu (1881-1955) Octet for Strings in C Major, Intermission Op.7 (1900) Stefan Wolpe (1902-1972) Arrangements of Six Yiddish Songs (1923, 1925) FRIDAY, JULY 19 Eugène Ysaÿe (1858-1931) Trio à cordes “Le chimay,” Yellow Barn Concert 8:00 | THE BIG BARN Op. posth. (1915) Kalevi Aho (b.1949) Quintet for Bassoon and String Quartet (1977) FRIDAY, JULY 12 Hans Werner Henze (1926-2012) Being Beauteous, Yellow Barn Concert 8:00 | THE BIG BARN cantata on the eponymous poem from “Les André Previn (1929-2019) Vocalise (1995) Illuminations” by Arthur Rimbaud (1963) Alexander Goehr (b.1932) Since Brass, Nor Stone… Intermission fantasy for string quartet and percussion (2008) Gabriel Fauré (1845-1924) Piano Quartet No. 2 Antonín Dvořák (1841-1904) Violin Sonata in F Major, in G Minor, Op. 45 (1886) Op.57 (b.106) (1880) Johann Sebastian Bach (1685-1750) ”Es ist vollbracht” Intermission from Sehet, wir gehn hinauf gen Jerusalem (“It is finished” from Behold, let us go up to Jerusalem) Salvatore Sciarrino (b.1947) Tre duetti con l’eco bwv 159 (1729) (Three Duets with an Echo) (2006) Wolfgang Amadeus Mozart (1756-1791) SATURDAY, JULY 20 Clarinet Quintet in A Major, k.581 (1789) Masterclass 10:30 | THE BIG BARN SATURDAY, JULY 13 Kim Kashkashian, viola Masterclass 10:30 | THE BIG BARN Lunch and Open House 12:30 | GREENWOOD SCHOOL Donald Weilerstein, violin Yellow Barn’s Open House affords audiences the opportunity to spend an afternoon attending open Pre-Concert Discussion 7:00 | PUTNEY PUBLIC LIBRARY rehearsals and sharing a meal with Yellow Barn musicians on campus at The Greenwood School. Yellow Barn Concert 8:00 | THE BIG BARN Sándor Veress (1907-1992) Memento (1983) Pre-Concert Discussion 7:00 | PUTNEY PUBLIC LIBRARY Earl Kim (1920-1998) Where Grief Slumbers (1982) Yellow Barn Concert 8:00 | THE BIG BARN Johannes Brahms (1833-1897) Piano Quartet No. 3 in C Minor, Op.60 (1875) Harrison Birtwistle (b.1934) Crescent Moon over the Irrational (2010) Intermission Arnold Schoenberg (1874-1951) Dreimal sieben Ludwig van Beethoven (1770-1827) Trio in E-Flat Gedichte aus Albert Girauds “Pierrot Lunaire,” Major, Op.38 (1805) Op.21 (Three Times Seven Poems from Albert Giraud’s “Pierrot Lunaire”) (1912) Intermission Il Mondo Della Luna, Libretto by Carlo Goldoni FRIDAY, JULY 26 Franz Joseph Haydn (1732-1809) Act II: Ecco qui Yellow Barn Concert 8:00 | THE BIG BARN buonafede nel mondo della luna (Here is good faith in the world of the moon) (1777) Stephen Coxe (b.1966) About That Time (2019) World premiere Baldassare Galuppi (1706-1785) Act II: A quelle luci amate (To those beloved lights) (1750) Robert Schumann (1810-1856) String Quartet No. 1 in A Minor, Op.41 (1842) George Crumb (b.1929) Makrokosmos II (1973) Jörg Widmann (b.1973) Fieberphantasie The Beatles/Stephen Coxe (b.1966) Across the (Fever Fantasy) (1999) Universe (2013, rev.2019) Intermission Jörg Widmann Passacaglia (2000, rev.2006) YELLOW BARN WEEK FOUR Carl Maria von Weber (1786-1826) Clarinet Quintet in B-Flat Major, Op.34 (1811-1815) TUESDAY, JULY 23 SATURDAY, JULY 27 Yellow Barn Concert 8:00 | THE BIG BARN Masterclass 10:30 | THE BIG BARN Jörg Widmann (b.1973) Idyll und Abgrund, Sechs Schubert-Reminiszenzen (Idyll and Abyss, Laurence Lesser, cello Six Schubert Reminiscences) (2009) Pre-Concert Discussion 7:00 | PUTNEY PUBLIC LIBRARY Jacob Druckman (1928-1996) Reflections on the Nature of Water (1986) Yellow Barn Concert 8:00 | THE BIG BARN Mieczysław Weinberg (1919-1996) “Three Palmtrees” Elliott Carter (1908-2012) Tempo e Tempi (1998-1999) after M. Lermontov for Soprano and String Wolfgang Amadeus Mozart (1756-1791) String Quartet Quartet, Op.120 (1977) No. 16 in E-Flat Major, k.428 (1783) Intermission Intermission Franz Schubert (1797-1828) Piano Quintet in A Major, Toshio Hosokawa (b.1955) Windscapes (1996) d.667 “The Trout” (1819) Béla Bartók (1881-1945) Sonata for Two Pianos and Percussion, sz.110 (bb 115) (1937) TUESDAY, JULY 24 MONDAY, JULY 29 Masterclass 8:00 | THE BIG BARN Jörg Widmann Yellow Barn Concert 8:00 | THE BIG BARN Brett Dean (b.1961) Recollections (2006) THURSDAY, JULY 25 Robert Schumann (1810-1856) Piano Quartet in E-Flat Yellow Barn Concert 8:00 | THE BIG BARN Major, Op.47 (1842) Jörg Widmann (b.1973) Quartett Zyklus Intermission (Quartet Cycle) (1997-2009) String Quartet No.
Load more

Recommended publications
  • 2019 Preview Notes • Week Two • Persons Auditorium
    2019 Preview Notes • Week Two • Persons Auditorium Saturday, July 20 at 8:00pm Flute Quartet in D Major, K. 285 (1777-78) Wolfgang Amadeus Mozart Born January 27, 1756 • Died December 5, 1791 Duration: approx. 15 minutes Last Marlboro performance: 2011 When Mozart was just a few years younger than the junior participants in this group, he travelled throughout Europe with his mother in search of employment. While in Mannheim on his way to Paris, he met a Dutch merchant named Willem van Britten Dejong who happened to be an amateur flute player. Dejong, who had made his fortune in India, was happy to commission three concertos and three quartets for his instrument. Mozart, who needed the funds, was happy to accept. However, he only completed the quartets and two concertos (one a transcription of a previously-composed oboe concerto) by the time he left Mannheim. What he did write, though, charmingly showcases the flute. In this quartet, that instrument takes the lead throughout a buoyant Allegro beginning, a delicate Adagio accompanied by sparkling plucking from the strings, and a boisterous but well-balanced Rondo conclusion. Participants: Giorgio Consolati, flute; Hiroko Yajima, violin; Jordan Bak, viola; Alexander Hersh, cello Octet (2004) Jörg Widmann Born June 19, 1973 • In residence 2008, 2019 Duration: approx. 30 minutes Marlboro Premiere Though Widmann’s Octet features frequent microtones, he admits that the piece is “almost throughout, a tonal piece,” which was “risky to write in 2004.” The instrumentation suggests a clear connection to Schubert’s genre-making octet, and the piece’s central third movement, which is titled Lied ohne Worte, is a plangent nod to the composer who wrote so many Lieder over the course of his short life.
    [Show full text]
  • 2020 Concert Programs
    The Beethoven Experience Part V: B.A.C.H.D.N.A Beethoven’s Love of Bach- Examined and Expressed Don't miss a note of our 48 concert virtual festival: VIEW FULL CONCERT SCHEDULE @HEIFETZMUSIC @HEIFETZMUSIC @HEIFETZINTERNATIONALMUSICINSTITUTE WWW.HEIFETZINSTITUTE.ORG T H E P R O G R A M String Quartet No. 3 in D major, Op. 18, No. 3 I. Allegro II. Andante con moto III. Allegro IV. Presto Recorded at Suntory Hall - Tokyo, Japan June 2013 String Quartet No. 9 in C major, Op. 59, No. 3 I. Andante con moto – Allegro vivace II. Andante con moto quasi allegretto III. Menuetto (Grazioso) IV. Allegro molto Recorded at Isabella Stewart Gardner Museum - Boston, MA April 2010 THE BORROMEO STRING QUARTET NICHOLAS KITCHEN, KRISTOPHER TONG, VIOLINS MAI MOTOBUCHI, VIOLA YEESUN KIM, CELLO P R O G R A M N O T E S by Benjamin K Roe B.A.C.H.D.N.A: Beethoven’s Love of Bach - Examined and Expressed “His name ought not to be Bach, but Ocean, because of his infinite and inexhaustible wealth of combinations and harmonies.” - Beethoven "The immortal god of harmony." Just as Nicholas Kitchen has so persuasively demonstrated Beethoven's careful and deliberate use of underlines in the expressive markings of his manuscripts, so too did he add underlines to his correspondences when he wanted to make a particularly emphatic point, as he did about Bach in an 1801 letter to his publishers, the storied Leipzig firm of Breitkopf & Härtel. As evidenced by the two quotes above, Beethoven’s admiration for Bach was well-known in his time; the “not Bach, but Ocean” is a play on the German word, as Bach translates as a “small brook,” such as might flow from a wellspring.
    [Show full text]
  • Sebastian Lang-Lessing Chief Conductor & Artistic Director
    2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October.
    [Show full text]
  • Preview Notes • Week Four • Persons Auditorium
    2019 Preview Notes • Week Four • Persons Auditorium Saturday, August 3 at 8:00pm Sieben frühe Lieder (1905-08) Dolce Cantavi (2015) Alban Berg Caroline Shaw Born February 9, 1885 Born August 1, 1982 Died December 24, 1935 Duration: approx. 3 minutes Duration: approx. 15 minutes Marlboro premiere Last Marlboro performance: 1997 Berg’s Sieben frühe Liede, literally “seven early songs,” As she has done in other works such as her piano were written while he was still a student of Arnold concerto for Jonathan Biss, which was inspired by Schoenberg. In fact, three of these songs were premiered Beethoven’s third piano concerto, Shaw looks into music in a concert by Schoenberg’s students in late 1907, history to compose music for the present. This piece in around the time that Berg met the woman whom he particular eschews fixed meter to recall the conventions would marry. In honor of the 10-year anniversary of this of early music and to highlight the natural rhythms of the meeting, he later revisited and corrected a final version of libretto. The text of this short but wonderfully involved the songs. The whole set was not published until 1928, song is taken from a poem by Francesca Turini Bufalini when Berg arranged an orchestrated version. Each song (1553-1641). Not only does the language harken back to features text by a different poet, so there is no through- an artistic period before our own, but the music flits narrative, however the songs all feature similar themes, through references of erstwhile luminaries such as revolving around night, longing, and infatuation.
    [Show full text]
  • Klsp2018iema Broschuere.Indd
    KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina.
    [Show full text]
  • Download Booklet
    PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at
    [Show full text]
  • Current Review
    Current Review Wolfgang Amadeus Mozart: Complete String Trios aud 97.773 EAN: 4022143977731 4022143977731 American Record Guide (2021.01.01) Mozart’s Divertimento K 563 is widely regarded as the finest string trio ever written. It is in 6 movements rather than the usual 4, and the title is Divertimento, but don’t let those aspects of the work turn you off to it; it is not a mere diversion. It has some of Mozart’s loveliest writing for strings. It is also one of his longest chamber works, clocking in at threequarters of an hour. I assure you that Mozart didn’t pad the material to fill time, either. Every note counts. Jacques Thibaud String Trio was founded in 1994 at the Arts University in Berlin. Their current membership is violinist Burkhard Mais, violist Hannah Strijbos, and cellist Bogdan Jianu. They play well together and perform this work with more taste and sense of proportion than some other groups I’ve heard. I can recommend this performance, but they are up against stiff competition. Isaac Stern, Pinchas Zukerman, and Leonard Rose made a very fine recording in 1975. Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma made a wonderful recording in 1985. That is my favorite. It is exquisitely polished yet very soulful. The musicians really sing and produce ravishing sounds (unusual for the perpetual enfant-terrible Kremer). The classic recording is by Jascha Heifetz, William Primrose, and Emanuel Feuermann from 1941. It shows its age, yet it is the most brilliant ever made. Some may not like it because of the exhibitionism of the players, all of whom were the greatest virtuosos of their age, but I like hearing such assured playing where all technical obstacles are surmounted with effortless aplomb and panache.
    [Show full text]
  • Roots & Origins
    Sunday 16 December 2018 7–9.15pm Tuesday 18 December 2018 7.30–9.45pm Barbican Hall LSO SEASON CONCERT ROOTS & ORIGINS Brahms Violin Concerto Interval ROMANIAN Debussy Images Enescu Romanian Rhapsody No 1 Sir Simon Rattle conductor Leonidas Kavakos violin These performances of Enescu’s Romanian Rhapsody No 1 are generously RHAPSODY supported by the Romanian Cultural Institute 16 December generously supported by LSO Friends Welcome Latest News On Our Blog We are grateful to the Romanian Cultural BRITISH COMPOSER AWARDS MARIN ALSOP ON LEONARD Institute for their generous support of these BERNSTEIN’S CANDIDE concerts. Sunday’s concert is also supported Congratulations to LSO Soundhub Associate by LSO Friends, and we are delighted to have Liam Taylor-West and LSO Panufnik Composer Marin Alsop conducted Bernstein’s Candide, so many Friends with us in the audience. Cassie Kinoshi for their success in the 2018 with the LSO earlier this month. Having We extend our thanks for their loyal and British Composer Awards. Prizes were worked closely with the composer across important support of the LSO, and their awarded to Liam for his Community Project her career, Marin drew on her unique insight presence at all our concerts. The Umbrella and to Cassie for Afronaut, into Bernstein’s music, words and sense of a jazz composition for large ensemble. theatre to tell us about the production. I wish you a very happy Christmas, and hope you can join us again in the New Year. The • lso.co.uk/more/blog elcome to this evening’s LSO LSO’s 2018/19 concert season at the Barbican FELIX MILDENBERGER JOINS THE LSO concert at the Barbican.
    [Show full text]
  • Berkeley Symphony Biography
    Berkeley Symphony Biography Berkeley Symphony is unique among American orchestras: founded in 1969 in the intellectual and artistic nexus of Berkeley, California; led by the restlessly innovative Music Director Joana Carneiro and Executive Director René Mandel, an actively performing violinist; committed to premiering and commissioning new music, including a disproportionate amount of music written by women; and sustained by the supportive musical environment of Berkeley, the East Bay, and the San Francisco Bay Area. From the outset, the people behind Berkeley Symphony’s culture and programming were attuned to the culturally diverse people and the heady creative climate of their home city. Thomas Rarick, a protégé of the great English maestro Sir Adrian Boult, founded the orchestra in 1969 as the Berkeley Promenade Orchestra. Reflecting the spirit of the times, musicians performed in street dress and at unusual locations such as the University Art Museum. When Kent Nagano became the music director of the orchestra in 1978, he charted a new course by offering innovative programming that included a number of rarely performed 20th-century works and numerous premieres. The renamed Berkeley Symphony Orchestra gained an international reputation for its adventurous programming, and became known for premiering the music of international composers and showcasing young local talents. During the 30 years he served as music director, Nagano established an international reputation as a gifted interpreter of both the operatic and symphonic repertoire. Nagano stepped down from his post at Berkeley Symphony in 2008, after his 30th anniversary season. In January 2009, Portuguese conductor Joana Carneiro became the orchestra’s third Music Director in its 40-year history.
    [Show full text]
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]