Fall Island Vocal Arts Seminar May 22- 28, 2017

Total Page:16

File Type:pdf, Size:1020Kb

Fall Island Vocal Arts Seminar May 22- 28, 2017 Fall Island Vocal Arts Seminar May 22- 28, 2017 Crane School of Music SUNY Potsdam Fall Island Celebrates New Works with Old Friends Wednesday, May 24, 7:30 PM Sara M. Snell Music Theatre* Tickets are available for purchase from Community Performance Series or at the door. The order of the program will be announced during the concert. The War Prayer Steven Mark Kohn from American Folk Song Set (2000) Ten Thousand Miles The Farmer’s Curst Wife Steven Brennfleck, tenor Mario Antonio Marra, piano Windows (Five Songs of Love) (2014) Alan Louis Smith Heart Windows Kaleidoscope Lapis Lazuli I Sing You to Sleep - Lullaby When You Carry Me to the Stars Diana Newman, soprano Alan Louis Smith, piano 8 *Dialogue: Fall Island’s 2017 Commission* Composer Daniel J. Mertzlufft Performers Stephanie Blythe and Alan Louis Smith far memory Daniel J. Mertzlufft 1. convent Lucille Clifton 2. someone inside me remembers 3. again 4. trying to understand this life 5. sinnerman 6. karma 7. gloria mundi Stephanie Blythe, mezzo-soprano Alan Louis Smith, piano The artists will be pleased to greet audience members briefly in the lobby directly following the performance. 9 We are grateful to the following who make Fall Island Vocal Arts Seminar possible each year! State University of New York Potsdam Dr. Kristin Esterberg, President Dr. Bette Bergeron, Provost The Crane School of Music Dr. Michael Sitton, Dean Community Performance Series Jason Dominie, Interim Operations Director Deborah Massell & Jackson Francisco John & Christine Lancaster Michael Sitton & Mark Martin François Germain, Julie Miller, Kirk Severtson, Eugenia Tsarov Lorelei Murdie, Douglas McKinnie, Lane Miller PACES Catering, Lori Smith Residence Life, Josh McClear Great Northern Printing Program & Schedule Welcomes from the Artistic, Executive, and Music Directors 4 Participants 6 Tuesday, May 23 Masterclass 1 7 Wednesday, May 24 Masterclass 2 7 Fall Island Celebrates New Works with Old Friends* 8 7:30PM, Sara M. Snell Music Theater. Tickets: $18 Gen Admin/$15 SUNY ID Thursday, May 25 Masterclass 3* 10 10:30AM, Sara M. Snell Music Theater. Free and open to the public. Friday, May 26 Masterclass 4 11 10:30AM, Sara M. Snell Music Theater. Free and open to the public. Echoes of Patriot Voices: 12 Early American Songs in Times of War and Peace 7:30PM, Wakefield Recital Hall. Free and open to the public. Saturday, May 27 Masterclass 5 14 10:30AM, Sara M. Snell Music Theater. Free and open to the public. Sunday, May 28 Final Public Recital* 15 2:00PM, Sara M. Snell Music Theater. Free and open to the public. Giving to the Fall Island Vocal Arts Seminar 17 Biographies 18 Composer/Librettist Dates 29 * This event will be live streamed at http://www.potsdam.edu/academics/Crane/streaming/ From the Artistic Director Dear friends, It is such a joy to welcome you all to our sixth season of Fall Island Vocal Arts Seminar! There are so many reasons to be excited about this week. As those of you who have joined us for previous seasons already know, Fall Island is committed to performing the works of living American composers. We began three years ago with a wonderful lecture recital presented by our own Alan Louis Smith, and in the next two seasons, presented composers Ricky Ian Gordon and Tom Cipullo. This season we have the incredible honor of showcasing our very first commissioned song cycle, by Potsdam alumna and FIVAS new assistant director, Daniel Mertzlufft. far memory, composed on the poetry of American poet, Lucille Clifton, will be the featured work on our midweek concert, and Alan and I will be honored to be the first to perform it. This marvelous concert will also bring the return of three of our beloved Fall Island alumni: soprano, Diana Newman, tenor, Steven Brennfleck, and pianist, Mario Antonio Marra. I would also like to invite you to join me in welcoming Dr. Lorraine Yaros Sullivan as the new Executive Director of FIVAS. Lorraine has been a supporter of Fall Island from the very beginning, and when our beloved former director, Carleen Graham made the decision to become director of HGOco in Houston, TX, we both knew that Lorraine would be our first choice to take on the mantle of director. We are so grateful that she agreed to become an intrinsic part of the seminar. She has taken on this role with skill, dedication and passion, and has done a magnificent job. Thank you so much, Lorraine- you are a terrific partner in this effort, and I look forward to what the future brings us! The last week of May has become my favorite time of the year, something that I look forward to with great love and anticipation. Working with our wonderfully talented and enthusiastic singers and pianists on songs that define us artistically and culturally is incredibly important. Your participation this week is equally important- you are the reason that we strive to become better performers and better communicators. Thank you for you dedication to our mission! Heartfelt thanks to all those who make this week a reality every year. To Dean Michael Sitton and President Kristin Esterberg for the enduring support and generosity, to our wonderful interns that work so diligently to make the gears turn all week for our artists, and to everyone at Potsdam College and the Crane School of Music that provide for so many of our day-to-day needs. FIVAS has a great many friends, and we are grateful for every one of you! Season Six- wow!! Wishing you all a great week, Stephanie Blythe From the Executive Director Welcome! I’m so honored to join the Fall Island family in its sixth year. I’ve been a fan of Fall Island from the beginning because of the importance of its commitment to American art song. What has kept me coming back year after year has not just been my love of the music, though that would certainly be enough. In the course of one week we can study the origins of American art song in an insightful and 4 entertaining lecture recital with Dr. Gary Busch, engage in an in-depth exploration of established repertoire during masterclasses with the incomparable artists and master teachers Stephanie Blythe and Alan Louis Smith, and be the first to hear an exciting new commission by our own Daniel J. Mertzlufft, all while getting to know another group of outstanding young artists. How very fortunate we are to have all of this here in Potsdam! I owe a debt of gratitude to Carleen Graham, who has patiently answered my endless questions over the course of the past year. I’m also grateful to Stephanie and Alan for their acceptance, understanding, and encouragement. I have to give special thanks to Dan Mertzlufft and Katrina Sheats for all of their hard work and always turning into whatever I needed them to be, whether or not I knew what that was. Of course, Fall Island couldn’t happen without the guidance and support of Dean Michael Sitton and President Kristin Esterberg. And thanks to all of you, whose patronage keeps us going. Please enjoy all this week has to offer. I hope you find as much to love about it as I have over the years! Lorraine Yaros Sullivan From the Music Director Here we are at the sixth season of the Fall Island Vocal Arts Seminar! What was a dream, a vision, in the hearts and minds of Stephanie Blythe and Carleen Graham to create a sanctuary in which to study, celebrate, and dedicate ourselves to American art song has over six years flowered and borne fruit in the most wonderful ways. After last season we bade a loving farewell to our former General Director and dear friend, Carleen Graham, who has done so much for the Seminar since its inception. We welcome warmly our new General Director, Lorraine Yaros Sullivan, who has with immense hard work and generosity of spirit taken on the mantle of that position. Welcome, Lorraine! The artistry and creativity of the young artists who have given themselves over to the words and music of American poets and composers and who have committed their talents and souls to that art form are truly impressive and inspiring; and this year continues the journey with nine exceptional young artist-fellows. This year, also, we proudly celebrate some of our illustrious alumni in a special concert dedicated to their artistry as well as to a brand new commissioned song cycle, the first song cycle commissioned by FIVAS, by our outstanding young composer and FIVAS Assistant Director, Daniel Mertzlufft. We also are honored to have the continued expertise and boundless enthusiasm of Dr. Gary Busch, who will again lead a class in American song from its rich historic past. Our all-important donors have generously allowed dreams to turn into reality. Thank you! The administration of SUNY Potsdam and of the Crane School of Music have welcomed us and created an open hearted artistic home to our endeavors. A special word of gratitude goes to Dean Michael Sitton, who has been at the forefront among those. And, of course, since art song is a communicative art form, human being to human being, the program could not have its fullest success without the audiences who attend and so warmly foster through their show of appreciation the aims of FIVAS. Year Number Six, here we go! Alan Louis Smith 5 Fall Island Vocal Arts Seminar Artistic Director: Stephanie Blythe Executive Director: Lorraine Yaros Sullivan Music Director: Alan Louis Smith Assistant Director: Daniel Mertzlufft Faculty Lecturer: Gary Busch Administrative Assistant: Katrina Sheats Fellowship Artists Kristina Bachrach, La Grange, IL Stephen Carroll, Scotch Plains, NJ Mieczyslaw FitzDaniel, Boston, MA Kateri Gormley, Chicago, IL Katie Hannigan, Rochester, NY ChoEun Lee, Korea Daniel Overly, Cleveland, OH Chelsea Whitaker, Boston, MA Yeji Yoon, New York, NY Guest Artists Diana Newman, soprano Steven Brennfleck, tenor Mario Antonio Marra, piano Repertoire Development for Teachers Program Guk-Hui Han, Staff Accompanist, Bob Cole Conservatoy of Music Sharon Johnson, Asst.
Recommended publications
  • Seize the Day! March 23 & 24, 2013 Jordan Hall at New England Conservatory
    Seize the Day! March 23 & 24, 2013 Jordan Hall at New England Conservatory Reuben M. Reynolds III, Music Director Craig Coogan, Executive Director Chad Weirick, Principal Accompanist and Assistant Music Director LeWana Clark, American Sign Language Interpreter Jared West, General Manager Brian C. Griffin, Operations Manager Daniel John Carroll, Communications Intern Leadership Sponsor OFFICIAL AIRLINE Corporate Sponsors with support from This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administered by the Mayor’s Office of Arts, Tourism and Special Events. At Ipswitch, community involvement is an integral part of our culture and values. At the heart of our commitment is the recognition that the vitality of our company is linked to the health of our communities. And we know that our communities cannot flourish unless we invest in their future. We make more than software. We make a difference. Visit www.ipswitch.com to learn more about our company, our products and our commitment to our communities. 2 From the Maestro One of the greatest things about singing in BGMC is the adventures we get to have together. One of those started several years ago when I stumbled across a recording of Only Heaven, a set of songs for soprano by Ricky Ian Gordon to text of Langston Hughes. Intrigued – we sang Ricky’s Love, My Sweet Rain a few years ago. I adore the poetry of Langston Hughes and I fell madly in love with the music. It sang to me of optimism, of people living their lives unfettered by the restrictions of society.
    [Show full text]
  • Common Ground
    1 Common Ground The Papal Encyclical, Science and the Protection of Planet Earth Hans Joachim Schellnhuber Potsdam Institute for Climate Impact Research, Germany; Santa Fe Institute for Complex Systems Research, USA Laudato si’, the Papal Encyclical[1], is compiled at a crucial moment in the history of humanity: today. We are faced with the great challenge of limiting global warming to below 2°C while fostering development for the poorest. But we are also experiencing a special window of opportunity because the knowledge about the Earth system has never been greater. Moreover, we have the technical and economic solutions at hand to overcome the challenges we are confronted with. The urgency to act on these pressing issues that is expressed in the Encyclical mirrors the scientific findings which have accumulated into an overwhelming body of evidence. The science is clear: global warming is driven by greenhouse-gas emissions which are the result of burning fossil fuels. If we fail to strongly reduce these emissions and to bend the warming curve, we, our neighbors and children will be exposed to intolerable risks. The scientific consensus as represented by the Intergovernmental Panel on Climate Change (IPCC) has been continuously reaffirmed by the most eminent scientific academies, including the Pontifical Academy of Sciences and the Pontifical Academy of Social Sciences which have congregated several times over the past years to address the topics of climate change and global sustainability ([2]–[5]). As any further delay to mitigation measures may jeopardize climate stability and thus our future, it is time to form alliances, find common ground and act together as humankind -- but also to take on individual responsibility and change what is in our power to change.
    [Show full text]
  • Download CV (.Pdf)
    Titus von der Malsburg Curriculum Vitae Address: Institute of Linguistics Homepage: tmalsburg.github.io University of Stuttgart GitHub: github.com/tmalsburg Keplerstraße 17 OSF: osf.io/pfkez 70174 Stuttgart OCRID: orcid.org/0000-0001-5925-5145 Phone: +49-(0)711 / 685-84873 E-mail: [email protected] Academic employment 2021 – University of Stuttgart, Assistant Professor, tenure-track Institute of Linguistics 2017 – Massachusetts Institute of Technology, Research Affiliate Department Brain and Cognitive Sciences 2018 – 2021 University of Potsdam, Researcher and Lecturer Department of Linguistics 04 – 08/2019 – Parental leave – 2016 – 2018 University of Potsdam, Visiting Professor for Psycho- and Neurolinguistics Department of Linguistics 2014 – 2016 UC San Diego, Research Fellow Department of Psychology, Department of Linguistics Funded through two-year grant awarded to my by the Alexander von Human Foundation Supervisors: Keith Rayner, Roger Levy 2014 University of Oxford, Research Associate St John’s College, Department of Experimental Psychology Supervisor: Kate Nation 2012 – 2013 University of Potsdam, Postdoctoral Researcher DFG Research Group 868: Mind and Brain Dynamics Supervisors: Frank Rösler, Shravan Vasishth Education 2008 – 2012 Dr. phil. in Cognitive Science, grade: summa cum laude University of Potsdam Advisors: Shravan Vasishth, Reinhold Kliegl 2009 Summer School on Embodied Language Games and Construction Grammar, Cortona, Italy 2008 15th International Summer School in Cognitive Science, New Bulgarian
    [Show full text]
  • Bayesian Downscaling of Building Exposure Models with Remote Sensing and Ancillary Information
    EGU2020-18240, updated on 28 Sep 2021 https://doi.org/10.5194/egusphere-egu2020-18240 EGU General Assembly 2020 © Author(s) 2021. This work is distributed under the Creative Commons Attribution 4.0 License. Bayesian downscaling of building exposure models with remote sensing and ancillary information Raquel Zafrir1,2, Massimiliano Pittore1,3, Juan Camilo Gomez- Zapata1,4, Patrick Aravena5, and Christian Geiß5 1Helmholtzcentre Potsdam GFZ German Research Centre for Geosciences, Potsdam, Germany ([email protected], [email protected], [email protected]) 2Hochschule für Technik Stuttgart - HFT Stuttgart, Stuttgart, Germany ([email protected]) 3Eurac Research, Bolzano, Italy 4University of Potsdam, Potsdam, Germany 5German Aerospace Center (DLR), Weßling, Germany ([email protected], [email protected]) Residential building exposure models for risk and loss estimations related to natural hazards are usually defined in terms of specific schemas describing mutually exclusive, collectively exhaustive (MECE) classes of buildings. These models are derived from: (1) the analysis of census data or (2) by means of individual observations in the field. In the first case, expert elicitation has been conventionally used to classify the building inventory into particular schemas, usually aggregated over geographical administrative units whose size area and shape are country-specific. In the second case, especially for large urban areas, performing a visual inspection of every building in order to assign a class according to the specific schema used is a highly time- and resource intensive task, often simply unfeasible. Remote sensing data based on the analysis of satellite imagery has proved successful in integrating large-scale information on the built environment and as such can provide valuable vulnerability-related information, although often lacking the level of spatial and thematic resolution requested by multi-hazard applications.
    [Show full text]
  • PRESENTS Table of Contents
    PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially
    [Show full text]
  • V. A. Yakubovich - Mathematician, “Father of the field”, and Herald of Intellectual Democracy in Science and Society
    Preprints, 1st IFAC Conference on Modelling, Identification and Control of Nonlinear Systems June 24-26, 2015. Saint Petersburg, Russia V. A. Yakubovich - mathematician, “father of the field”, and herald of intellectual democracy in science and society S. Abramovich, N.V. Kuznetsov, G.A. Leonov State University of New York at Potsdam, USA University of Jyvaskyl¨ a,¨ Finland Saint-Petersburg State University, Russia Abstract: The most important events of the remarkable life of V.A. Yakubovich the founder and chair (1970-2012)of the Department of Theoretical Cybernetics at the Faculty of Mathematics and Mechanics of Saint-Petersburg State University, the author/co-author of eight books and more than 300 journal articles and conference papers are considered through the lens of intellectual democracy movement in the modern Russia. Vladimir Andreevich Yakubovich (referred to below as V. A.), other accolades of V. A. is the following testimonial by the one of the founders of the modern control theory, passed away SIAM community regarding his relation to A. M. Lyapunov in at the age of 85 on August 17, 2012. He would have turned the history of the development of linear matrix inequalities in 90 in 2016. The authors of this paper are disciples of V. A. control: “It is fair to say that Yakubovich is the father of the and do remember him as an outstanding scholar and humanist, field, and Lyapunov the grandfather of the field” (Boyd et al., a person of extraordinary sagacity and exceptional goodwill, 1994, p.4). a truly courageous human being. Confined to the sorrowful milieu and precarious lifestyle of the totalitarian state, V.A.
    [Show full text]
  • Grand Finals Concert
    NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel)
    [Show full text]
  • 2003 12-10:30 Pm the Following Volunteers Are Largely Responsible for the Successful Operation of the Festival
    Michi an Festival Schoolcraft College July 20, 2003 12-10:30 pm The following volunteers are largely responsible for the successful operation of the festival. They are wearing navy blue T-shirts and will assist you in finding your way to your favorite performances, dining, the Jazz Walk and Steinway Jazz Cafe. Just ask! Enjoy! Richard Aja Jim Gumley Shroyer Family Rose Apple Carol & Fritz Patti Smith Molly Berkau Hansen Betty Smolinski Phyllis Berryman Jeanette Harris Dave, Carol & John Brady Pat Hill Travis Sneary Robin Bringard Kristin Hoy Lynne Standley- Ryan Mary Beth Busto Paul Hunt Ray & Shirley Jack Campau Karen Kendall Steinke Judi Cartright Barbara Lawlor Sam & Bonnie Ted & Liz Janie Clark Stock Linderman Jim & Sharon Mary Ann Edward Methot Cooper Sutherland Ken Murray Mary Ann Cripps Barbara Taylor Jim Newman Deborah Dani Jean & Karen Peter Davis Marcel Niemiec Tomalis Brenda & Fred Cindy Pierson Tom Tomczak Durling Kristin & Pat Linda & Steve Van Michele Elias Prouty Haverbeke M.J. Falls Arnie Robinson Fred Welsh Joyce Galindo Catherine Sailus Marlene Werts Anne Gallagher Joan Schott Marnee Westberg Chris Geinzer Dianne See Patricia Wheatley Nancy Gillis Mary Sen Bob, Betty & Ann Zimmerman Charles & Louise David Sharpe Greenwald Salute to Jack Pierson The Pied Piper of Jazz Just mention Jack Pierson's name to a group of jazz fans and someone will always tell you they were in one of his bands at Fordson High School, Henry Ford Community College or Schoolcraft College. These students follow him around as though he was the Pied Piper. They love playing for him, admire him and say they never fail to learn something .1_ new each time.
    [Show full text]
  • "The Decolonizing Pen": Cultural Diversity and the Transnational Imaginary in Rushdie's Fiction
    © 2008 AGI-Information Management Consultants May be used for personal purporses only or by libraries associated to dandelon.com network. Liselotte Glage and Riidiger Kunow (Eds.) "The Decolonizing Pen": Cultural Diversity and the Transnational Imaginary in Rushdie's Fiction Wissenschaftlicher Verlag Trier TABLE OF CONTENTS Liselotte Glage, Hanover, Ruediger Kunow, Potsdam, Germany Introduction: Rushdie and the New International Theme 7 Elleke Boehmer, Nottingham v Neo-Orientalism, Converging Cities, and the Postcolonial Criticism of Rushdie 15 Graham Huggan, Tobias Wachinger, Munich, Germany Can Newness Enter the World? The Satanic Verses and the Question of Multicultural Aesthetics 25 Bernd-Peter Lange, Magdeburg, Germany '"' Postcolonial Gothic: Salman Rushdie's The Moor's Last Sigh 39 Michael Gorra, Northampton, Mass. Rushdie's Fantasy 51 Peter Antes, Hanover, Germany K Salman Rushdie: Wanderer Between Two Worlds? 61 Nilufer E. Bharucha, Bombay v Real and Imagined Worlds: Salman Rushdie as a Writer of the Indian Diaspora 69 Ruediger Kunow, Potsdam, Germany \, "Detached ... from both worlds, not one": -^ Salman Rushdie's Midnight's Children and the Postcolonial Novel 87 Students' Forum Christine Amann, Saarbruecken, Germany Pluralism versus Purism: Cultural Hybridity in Salman Rushdie's The Moor's Last Sigh 107 Britta Alexandra von Roenn, Hanover, Germany The Discovery of Truth: "Overneath" and Underneath Realities 111 Ulrike Roettjer, Hanover, Germany \ Construction and Deconstruction of an Image: 'Mother India' in Salman Rushdie's The Moor's Last Sigh 115 Alexander Sablowski, Hanover, Germany There's No Place Like Home 119 Nirit Scholz, Hanover, Germany The Boundless Realm of Salman Rushdie's The Moor's Last Sigh 123 Tatjana Schultz, Hanover, Germany The Moor's Last Sigh: Narrative Form versus Content and the Question of Identity 127 Till Winkler, Hanover, Germany \ Beyond a Politics of Hybridity: The Moor's Last Sigh 131 Contributors 145.
    [Show full text]
  • Blue Note Iis Musicianship the FINEST in JAZZ RALPH J
    and willuighcu z can show. er-an anger By. blue note iis musicianship THE FINEST IN JAZZ RALPH J. GLEASON mire his troin- SINCE 1939 I his solos here (San Francisco Chronicle) ce chances and Band—Duke 1111ngtr sonni clârk resting solos in Miles Davis. is going to lie ■ conception u! rhythm section, >eems Io me tar I enor Sax—John Coltrane (James a teal alliance Clay) . Baritone Sax — Harry Carney (No choice) . Clarinet- Orleans No choice (No choice) . Piano— ESTREETS THE GRAS—Folk »ay । Ei loll (.arner (Red Garland) . Bass—Paul Chambers (Scott LaFaro) it cries (veritable A lone and Timet . Guitar ■ Alexander); Street ph); Liebestraum Montgomery ) Drums Mean Old Trite a-Bac-A-Way, Tht SONNY CLARK ' Blue Coot, Tht Cool Strvtttn* with Art Farmer, Jackie Me .Milt Jackson (Budch Montgomery) RELAXIN' WITH THE nd "The Indians" Lean, Paul Chamber», "Philly” Joe Jones. ("Hank”); Bour- . .Malt Singer—Louis Armstrong, MILES DAVIS QUINTET FRLP 7129 Cool Sfruffin'. Blue Minor, Sippin' al Belli ■ of The Krewe of Flank Sinatra (No choice) . Fe­ MORE OF THE FABULOUS "COOKIN' " SET YOU Go Marching It, Deep Night. LIKtC SO MUCH' RELAXIN' WITH THE MILES e (various street BLUE NOTE 1588 male Singer—Sarah Vaughan (Ernes­ DAVIS QUINTET is one of the most informally ac­ tine Andri son). curate definitions of jazz recorded in some time". Nat Hentoff: Noted Jou Critic As time goes on, it seems to me, BRASS BAND- MORNIN' LONG (reheartall, Troth that the stature ol Ellington grows REO GARLAND QUINTET r To Stay Hert, aryland My Mary­ inexorably while the promise that is inherent in others frequently dies .
    [Show full text]
  • Acoustic Sounds Catalog Update
    WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
    [Show full text]
  • Emily Dickinson in Song
    1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others.
    [Show full text]