2018/19 Season Catalog (Pdf)
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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Mark Seto New Director of Orchestra at Brown University
Brown University Department of Music Box 1924, Providence, RI 02912 Press Contact Drew Moser / 401-863-3236 Academic Program & Outreach Coordinator May 10, 2018 / For Immediate Release Mark Seto Hired as the New Director of the Brown University Orchestra Providence, RI—The Department of Music is proud to announce conductor, musicologist, and violinist Mark Seto as Director of the Brown University Orchestra effective July 1, 2018. In addition to bringing his vast experience as an educator and orchestra director to the classroom and stage, Seto will assist in the development of Brown’s new Performing Arts Center. Seto comes directly from Connecticut College where he was Associate Professor of Music and director of the Connecticut College Orchestra. He also holds the position of Artistic Director and Conductor of The Chelsea Symphony in New York City. Seto earned a BA in Music from Yale University and an MA, MPhil, and PhD in Historical Musicology from Columbia University. About Mark Seto Mark Seto leads a wide-ranging musical life as a conductor, musicologist, teacher, and violinist. In addition to his new appointment at Brown University, he continues as Artistic Director and Conductor of The Chelsea Symphony in New York City. At Connecticut College, Seto directed the faculty ensemble and the Connecticut College Orchestra, and taught music history, theory, conducting, and orchestration. During Seto’s tenure at Connecticut, he helped double student enrollment in the orchestra. Furthermore, the ensemble assumed a greater role in the College’s cultural and intellectual life. Seto aimed to connect the learning he and his ensembles undertook in rehearsal to themes that resonate with them as engaged global and local citizens. -
Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic. -
A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Spring/Summer 2016
News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else. -
Boston Symphony Orchestra Concert Programs, Season 59,1939
[Harvard University] i»»44*rw ^sgj. BOSTON %^S SYMPHONY ORCHESTRA FOUNDED IN 1881 DY HENRY L. HIGGINSON FIFTY-NINTH SEASON 1939-1940 [6] Thursday Evening, February 29 at 8 o'clock Boston Symphony Orchestra [Fifty-ninth Season, 1939-1940] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. lauga, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVIQ, J. PINFIELD, C. LEVEEN, P. KHII'S, A. KNUDSON, C. ZUNG, M. BEALE, M. CORODETZKY, L. MAYER, P. DIAMOND, S. del sordo, r. FIEDLER, B. BRYANT, M. STONESTREET, L. messina, s. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. DUBBS, H. Violas LEFRANC, J. FOUREL, G. bernard, a. GROVER, H. CAUHAPE, J. ARTIERES, L. van wynbergen, c. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. chardon, y. STOCKBRIDGE, C. FABRIZIO, E. ZIGHERA, A. TORTELIER, P. droeghmans, h. ZEISE, K. MARJOLLET, L. ZIMBLER, J. Basses MOLEUX, G. DUFRESNE, G. greenberg, h. GIRARD, H. barwicki, j. VONDRAK, A. JUHT, L. frankel, i. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschek, v. ALLARD, R. pappoutsakis, j devergie, j. valerio, m. PANENKA, E. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. mazzeo, R. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. MAGER, G. raichman, j. macdonald, w. LANNOYE, M. LAFOSSE, m. hansotte, l. SINGER, J. SHAPIRO, H. VOISIN, R. L. lilleback, w. GEBHARDT, W. KEANEY, P. -
Annual Report
ANNUAL REPORT Fiscal Year 2017: July 2016 – June 2017 Season 33 "I love to sing, I love connecting with my fellow members, and I love sharing our music with the community." — Jon Brockelman, Tenor 2 2 Welcome to CGMC Since 1985, Chicago Gay Men’s Chorus has been a leading voice of social justice, offering a safe and support- ive environment for LGBTQ+ performers to celebrate their talents and share our message of diversity and inclusivity through our shows. Fiscal year 2017 (from July 2016 – June 2017) included more than 40 public performances. In addition to our traditional programming, for the first time we also piloted a high school outreach program to share our message with the next generation. We plan to continue outreach programs like this in future years. The season kicked off in September 2016 with ourThe Great Gaymerican Songbook cabaret performance at Mayslake Peabody Estate in Oak Brook and the Uptown Underground on the north side of the city. Our holiday show Home for the Holidivas in December 2016 brought us to the Harris Theater, the North Shore Center for the Performing Arts in Skokie, and the Beverly Art Center. Lipsticks & Lyrics: The Dragtones, our live singing drag show in February 2017, featured several iconic girl groups, to the delight of our audience in four shows at Uptown Underground. Finally, our spring show *B-Town: From Barbershop to Boybands in May 2017 brought us back to rock the Harris Theater, North Shore Center for the Performing Arts, and the Beverly Arts Center. Outside of our regular mainstage shows, we performed at numerous community events across Chicagoland, including the Chicago AIDS Run/Walk opening ceremony, National Anthem for American Veterans for Equal Rights (AVER) memorial in Boystown and a Chicago Fire soccer game, Market Days, and Midsommarfest. -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
Download Vita
Ruben Gazarian With the start of the 2002/2003 concert season, Ruben Gazarian took up the position of artistic director of the Württemberg Chamber Orchestra Heilbronn. Through a unanimous vote by the orchestra as well as by the selection commission, he was chosen for this position. He broadened the orchestra’s standard repertoire through the expansion of the instrumentation, thus transforming it into a symphonic orchestra, and through the selection of many works from the Romantic Period, the Early Modern and Avant-garde. Since the beginning of 2015, Ruben Gazarian assumes the additional position of Artistic Director of the Georgisches Kammerorchester Ingolstadt. In the same manner, this appointment arose from the unanimous wish of the orchestra, its management and the cultural representatives of the city. As guest conductor, Ruben Gazarian has conducted on the podiums of the Stuttgart, Frankfurt and WDR Radio Symphony Orchestras, the Hamburg Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Frankfurt Opera Orchestra, Hessian State Orchestra, Nordwestdeutsche Philharmonie, Orchestre National de Lyon, Jerusalem Symphony Orchestra, Israel Symphony Orchestra Rishon LeZion (Tel Aviv Opera), Tonkünstler Orchestra, Belgrade Philharmonic Orchestra, Philharmonic Orchestra of state theatre Cottbus, Zurich Chamber Orchestra, and many others. The soloists with Ruben Gazarian has collaborated include Gautier and Renaud Capucon, Julia Fischer, Hilary Hahn, Katia & Marielle Labèque, Elisabeth Leonskaja, Sabine Meyer, Sharon Kam, Viktoria Mullova, Sergei Nakariakov, Gerhard Oppitz, Frank Peter Zimmermann, Beaux Arts Trio, Gewandhaus-Quartett as well as many others. Originally from Armenia, Ruben Gazarian received his first violin lesson from his father at the age of four. That was followed by a formal education at the music school “P.