DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1986

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TanglewGDd Music Center contemporary Boston's New Music collage Ensemble ) ANNOUNCES 1986-1987 SEASON FEATURING AN ALL BRITISH PROGRAM AND A BIRTHDAY CELEBRATION NOVEMBER 24, 1986 Featuring works by John Anthony Lennon, Tod Brief, Mario Davidovsky and composers from the MacDowell Colony. Conductor to be announced. FEBRUARY 23, 1987 Conducted by Gunther Schuller, this program will celebrate the 70th birthdays of composers Milton Babbitt and George Perle. Also featuring "Not- turno" by Donald Martino. APRIL 13, 1987 An All British Program conducted by Oliver Knussen. Works to include "The Sentinel of the xv Rainbow" by Robert Saxton and The River of Hell" by Robin Holloway. For further information and a season brochure, call (617) 437-0231 or write: COLLAGE, 295 Huntington Avenue, Suite 208, Boston, Massachusetts 02 1 15 Subscriptions are Available 1986 FESTIVAL OF CONTEMPORARY MUSIC sponsored by the TANGLEWOOD MUSIC CENTER Artistic Director Leon Fleisher, Tanglew(©d Richard Ortner, Administrator Music Oliver Knussen, Composer-in-Residence Center Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Leon Fleisher Donald MacCourt Dennis Helmrich Peter Serkin Gilbert Kalish Joel Smirnoff Oliver Knussen Roger Voisin Louis Krasner Yehudi Wyner Joel Krosnick 1986 Visiting Composer/Teachers Elliott Carter Poul Ruders Leon Kirchner Robert Saxton George Perle ToruTakemitsu 1986 Festival of Contemporary Music Advisory Committee Jacob Druckman Hans Werner Henze John Harbison Leon Kirchner The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra Seiji Ozawa, Music Director Daniel R. Gustin, Acting General Manager The 1986 Festival of Contemporary Music is supported by a grant from the National Endowment for the Arts, and with funds from the generous and loyal Friends of Music at Tanglewood. References furnished request Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others H Baldwin Contemporary Music at Tanglewood Every year the Tanglewood Music Center birthdays: Milton Babbitt, on his 70th birth- sponsors an intensive week of contempo- day; Henri Dutilleux on his 70th; Hans rary music, a term taken to include some of Werner Henze on his 60th; Morton the established classics of our century, but Feldman on his 60th. far more the recent work of both young While individual compositions may be and established composers. As in the past, perceived to fall into a category represent- the Festival of Contemporary Music aims ed by one or another of the recent musical to represent different approaches to music, buzzwords— minimalism, serialism, the to be generally inclusive in its approach new romanticism —the program as a with no claim to be comprehensive. (In- whole has no tendentious aim, unless it be deed, given the number of composers ac- to suggest that pigeonholing composers by tively at work all over the world today, no means of a one-word description has less single week's concerts, however full, has validity today than ever before. Today's any hope of comprehensiveness.) musical creators are drawing on extremely The programs have been chosen by a varied sources that make an impact on committee of musicians under the leader- them, fusing them into a personal state- ship of Oliver Knussen; each program aims ment that differs from all of the sources that to include a number of works in styles that went into it. Since the end of World War II, offer interesting contrasts. The works by the word "eclecticism" has been bandied young European composers, for example, about pejoratively between representa- almost all show some kind of American tives of armed camps in the musical world. influence; at the same time, music by some Today it is becoming respectable again. senior American composers (George Perle, Drawing upon a wide range of sources did Gunther Schuller) maintains important not destroy the personal quality in the European influences. No numerical test has music of Handel, Mozart, or Stravinsky, to been applied to determine the relative pro- name three notably eclectic composers of portion of American versus non-American the past; there is no reason why it need do work (Knussen says "I loathe musical jin- so today. Knussen likes to talk of a "mean- goism"), but there is perhaps a balance, for ingful eclecticism," a totally personal ab- purposes of comparison, between young sorption of elements from many different American and young European composers. kinds of music into a single stream that As is customary, this year's Festival offers represents the power of one composer's a glimpse at current or recent work by com- musical imagination. FCM '86 celebrates posers who were once at Tanglewood as that imaginative fusion. Fellows in Composition: Bainbridge, Drat- —Steven Led better tell, Knussen, Lloyd, Neikrug, Thorne, Musicologist and Program Annotator Torke. It also pays homage to senior mas- Boston Symphony Orchestra ters as they reach numerically significant Contemporary Music at Tanglewood To return to this very special place, where some sixteen years ago I first became aware of so many ideas and ideals— not to mention people—which profoundly influ- enced the direction of my own musical Tanglew(©d life, has been an immense pleasure and honour; I have yet to encounter another Music place where such a heady and intensive confrontation of the technical, practical, Center and spiritual aspects of music occurs. Cer- tainly the exposure of young, gifted perform- ers to such a concentration of new music as the Festival of Contemporary Music pre- sents each year remains to my knowledge quite unique and, if necessarily danger- fraught—the mind-boggling scheduling problems posed and somehow solved an- nually by James Whitaker— ultimately can provide an irreplaceable practical crash- course in how to deal with unfamiliar and often very taxing new scores. A few sum- mers here in the early 1970s, under the inspirational guidance of my teacher, Gunther Schuller, opened my eyes to those problems and potential solutions in ways that I shall never forget. The search for music that will provide rewarding and varied experience for the ALEAIII Fellows of the Tanglewood Music Center Theodore Antoniou. Music Director is, then, one major consideration in the 1986-87 Season Boston University: September 27 Kucyna International Composition Prize Concert (free) Longy School of Music: October 17 ALEA Commissions and a Surprise! Joan Heller, Soprano; Edwin Barker, Contrabass Boston University: December 1 "SOLOISTS", Judith Kellock, Soprano; The Paratore Brothers, Piano Duo Longy School of Music: March 28 "PERCUSSION & SOLOISTS" Tickets: $5 (S3 for students and senior citizens) All 3 concerts for only $10! Boston University: February 19 Composers' Workshop (free and open to the public) Boston University: May 1 & 2 An Evening ofContemporary Opera - John Goodman, The Garden of Flowers (world prem.) Hans Werner Heme, The Tedious Way to the Place of Natascha Ungeheuer Tickets: $8 ($4 students and senior citizens) — choice of programs for the present Festival; and cross-fertilisation (which is, by the happily, quite a few former composition way, my own view of how the wind is Fel lows of the TMC are represented by thei r blowing) or whether they remain merely work as well. Aside from these "local" con- interesting objects placed next to each cerns, and the request that the content of other willy-nilly is a question for each indi- recent years' Festivals not be duplicated, vidual listener to consider. the planner today is on his/her own: the The representation of trans-Atlantic in- pendulum-swings of stylistic fashion have fluence in both directions has been a con- accelerated so bewilderingly over the past scious programming factor; the bringing decade-and-a-half that a central "Main- together of seemingly incompatible con- stream" can no longer either provide back- temporaries; works by young composers ground or provoke meaningful reaction which seem to me to be bound for near- in this or any other contemporary music classic" status in new music; and so forth. festival. No survey, however notional, of music What I have tried to accomplish with now can ignore the huge strides that have these programmes (armed with suggestions been made in electronic and computer and help from my co-workers) is simply to music studios. Tapes thrown into "live" construct varied and illuminating contrasts concerts are, it seems to me, always at a of approach, colour, and "weight," draw- disadvantage, hence our separation of ing on recent work from several genera- them into "Preludes" which, I hope, will tions of composers on both sides of the relate also to the more general concerns of Atlantic and beyond—more than thirty this Festival. works in the Festival date from after 1975 It is a special pleasure to welcome Toru celebrating, if you like, the peaceful co- Takemitsu to Tanglewood in this context: existence of such diverse and lively musi- there is perhaps no other single creative cal types as can be found today working at figure alive who demonstrates so graphi- the highest levels of technical excellence. cally what an integration of culture, styles, Whether these juxtapositions will, as I and spiritual approaches can achieve when hope, begin to build up an image of the forged through a unique poetic sensibility.
Recommended publications
  • American Academy of Arts and Letters

    American Academy of Arts and Letters

    NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer.
  • University Profile

    University Profile

    PROPOSAL PIANO RECITAL, WORKSHOP and/or LECTURE CLARE HAMMOND, piano SAMPLE PROGRAMME 1 SAMPLE PROGRAMME 2 DEBUSSY COUPERIN Estampes (12’) Selection from Pièces de Clavecin, 6e ordre (8’) MENDELSSOHN WOOLRICH Andante and Rondo Capriccioso (6’) Pianobook IX (10’) BEETHOVEN RAVEL Sonata No. 8 in C minor, Op. 13 ‘Pathétique’ (22’) Le Tombeau de Couperin (25’) INTERVAL INTERVAL LYAPUNOV Three Études d’Exécution Transcendante (16’) RAVEL Sonatine (12’) CHOPIN Selection from Études, Op. 25 (18’) SIMAKU Hommage à Kurtag (6’) KAPUSTIN Three Studies in Different Intervals (9’) RACHMANINOV Variations on a Corelli Theme, Op. 42 (20’) Listen to audio demos of Lyapunov and Kapustin at: www.clarehammond.com/etude.html SAMPLE WORKSHOPS ACADEMIC LECTURE as an example of practice-based research Performance classes with instrumentalists (Includes demonstrations at the piano) and vocalists Creative responses to disability and the Individual coaching for pianists performer's prerogative in Benjamin Britten's Diversions, op. 21 Composition workshops on writing for the piano, with undergraduate and postgraduate The pianist Paul Wittgenstein lost his right arm during the students First World War and subsequently commissioned a large number of piano works, solo, chamber and concerto, for Chamber coaching for ensembles the left hand. In 1940 he asked Benjamin Britten to compose a left-hand piano concerto, Diversions, op. 21. Individual academic supervisions with Britten was initially enthusiastic but the genesis of the students working within Performance work was marred by disagreements between composer Studies, on nineteenth- and twentieth- and performer concerning scoring and structure. century pianism, on virtuosity, or on the Wittgenstein's score of Diversions is littered with relationship between performer and embellishments, modifications and recomposed passages composer.
  • Concert Programdownload Pdf(349

    Concert Programdownload Pdf(349

    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
  • A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino

    A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino

    Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi.
  • Yehudi Wynerbiography and W Orks

    Yehudi Wynerbiography and W Orks

    Biography and Works Wyner Yehudi G. Schirmer and Associated Music Publishers Awarded the 2006 Pulitzer Prize for his Piano 1991. From 1991-2005, he held the Walter W. Naumburg Concerto, “Chiavi in mano,” Yehudi Wyner (b.1929) is Chair of Composition at Brandeis University, where he Biography one of America's most distinguished musicians. His is now Professor Emeritus. compositions include over 80 works for orchestra, Wyner Yehudi chamber ensemble, solo voice and solo instruments, Born in Western Canada, Yehudi Wyner grew up in piano, chorus, and music for the theater, as well as New York City. He came into a musical family and was liturgical services for worship. He has received com- trained early as a pianist and composer. His father, missions from Carnegie Hall, The Boston Symphony, Lazar Weiner, was the preeminent composer of Yiddish The BBC Philharmonic, The Santa Fe Chamber Music Art Song as well as a notable creator of liturgical Festival, The Library of Congress, The Ford Foundation, music for the modern synagogue. After graduating The Koussevitzky Foundation, The National Endowment from the Juilliard School with a Diploma in piano, for the Arts, The Fromm Foundation, and Worldwide Yehudi Wyner went on to study at Yale and Harvard Concurrent Premieres among others. His Naxos Universities with composers Paul Hindemith, Richard recording “The Mirror” won a 2005 Grammy Award, Donovan, and Walter Piston. In 1953, he won the his Piano Concerto,“Chiavi in Mano” on Bridge Rome Prize in Composition enabling him to live for Records was nominated for a 2009 Grammy, and his the next three years at the American Academy in Horntrio (1997) was a Finalist for the Pulitzer Prize.
  • Expanding Horizons: the International Avant-Garde, 1962-75

    Expanding Horizons: the International Avant-Garde, 1962-75

    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
  • Oefeningen Voor Een Derde Oog

    Oefeningen Voor Een Derde Oog

    Oefeningen voor een derde oog Dick Hillenius bron Dick Hillenius, Oefeningen voor een derde oog. De Arbeiderspers, Amsterdam 1965 Zie voor verantwoording: http://www.dbnl.org/tekst/hill005oefe01_01/colofon.htm © 2007 dbnl / erven Dick Hillenius 7 ± Chronologisch Dick Hillenius, Oefeningen voor een derde oog 9 [I] RESTJES WEESHUIS Ordesa 20 juli 1963. Toen wij de eerste keer met Tycho op reis wilden - hij was toen 10 maanden - kwamen er alle mogelijke betuttelaars in de weer. L. kwam zelfs met haar psychiater aandragen, vol afgrijzen over het te kwetsen zieleheil en dat het kind er nog jaren later moeilijkheden van zou ondervinden. Op die tientallen die zich vol bezorgdheid keren tegen het meenemen van kinderen op reis, is er nooit één die problemen ziet in het achterlaten bij verzorgers of in een tehuis. Ik weet niet, misschien is dat bij elk kind weer anders, maar wat mij zelf betreft ondervind ik nu, na bijna dertig jaar, de herinnering aan het 4 weken verzorgd achtergelaten zijn in een Hervormd Weeshuis, als een niet verdwenen aantasting. Een week voordat mijn jongste broer werd geboren, op mijn zevende verjaardag, werden mijn andere broer en ik door een tante die werksterdiensten verrichtte in de familie naar het Hervormde Weeshuis gebracht in de Volkerakstraat. Ik herinner me van de eerste dag een man met lange witte baard, de directeur, manden met potten jam, kinderen joelend op de binnenplaats. De kinderen droegen een uniform in de stijl van de tekeningen van Jetses, in de boekjes van Ot en Sien, mode van ±40 jaar tevoren. De meisjes droegen lang haar tot op de schouders (kort was toen mode), de jongens waren kaal met een kuifje van voren.
  • Concerts from the Library of Congress 2012-2013

    Concerts from the Library of Congress 2012-2013

    Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J.
  • An Arthur Berger

    An Arthur Berger

    AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962.
  • Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis

    Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis

    CHERNOV, KONSTANTZA, D.M.A. Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) Directed by Dr. James Douglass. 111 pp. The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, consists of the following: I. Chamber Recital, Sunday, April 27, 2008, UNCG: Trio for Piano, Clarinet and Violoncello in Bb Major, op. 11 (Ludwig van Beethoven) Sonatine for Flute and Piano (Henri Dutilleux) Sonata for Violin and Piano in A Major (César Franck) II. Chamber Recital, Monday, November 17, 2008, UNCG: Sonata for Violin and Piano in g minor (Claude Debussy) El Poema de una Sanluqueña, op. 28 (Joaquin Turina) Sonata for Violin and Piano in A Major, op. 13 (Gabriel Fauré) III. Chamber Recital, Tuesday, April 27, 2010, UNCG: Sonata for Two Pianos in D Major, K. 448 (Wolfgang Amadeus Mozart) The Planets, op. 32: Uranus, The Magician (Gustav Holst) The Planets, op. 32: Neptune, The Mystic (Gustav Holst) Fantasie-tableaux (Suite #1), op. 5 (Sergei Rachmaninoff) IV. Lecture-Recital, Thursday, October 28, 2010, UNCG: Fantasy for Flute and Piano (Leo Kraft) Second Fantasy for Flute and Piano (Leo Kraft) Third Fantasy for Flute and Piano (Leo Kraft) V. Document: Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) 111 pp. This document is a performer's analysis of Leo Kraft's Fantasy for Flute and Piano (1963), Second Fantasy for Flute and Piano (1997), and Third Fantasy for Flute and Piano (2007).
  • View PDF Online

    View PDF Online

    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
  • Miriam Gideon's Cantata, the Habitable Earth

    Miriam Gideon's Cantata, the Habitable Earth

    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 Miriam Gideon's cantata, The aH bitable Earth: a conductor's analysis Stella Panayotova Bonilla Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bonilla, Stella Panayotova, "Miriam Gideon's cantata, The aH bitable Earth: a conductor's analysis" (2003). LSU Major Papers. 20. https://digitalcommons.lsu.edu/gradschool_majorpapers/20 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. MIRIAM GIDEON’S CANTATA, THE HABITABLE EARTH: A CONDUCTOR’S ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Stella Panayotova Bonilla B.M., State Academy of Music, Sofia, Bulgaria, 1991 M.M., Louisiana State University, 1994 August 2003 ©Copyright 2003 Stella Panayotova Bonilla All rights reserved ii DEDICATION To you mom, and to the memory of my beloved father. iii ACKNOWLEDGMENTS Thanks to Dr. Kenneth Fulton for his guidance through the years, his faith in me and his invaluable help in accomplishing this project. Thanks to Dr. Robert Peck for his inspirational insight. Thanks to Dr. Cornelia Yarbrough and Dr.