DOCSLIB.ORG

2011 Music Education in Hungary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2011 Music Education in Hungary 2011 Music Education in Hungary “It was the single most emotional, spiritual, and musical trip I have ever been on, and it was the best and most challenging class I’ve ever taken.” - Music Education student The Division of Music Education continues to offer The group arrived in the city of Kecskemét just in study abroad experiences in both Austria and time to enjoy an authentic Hungarian dinner (very Hungary. In Fall 2009, twelve students and two generous portions!). For two days, the students faculty members traveled to Hungary for eight days attended workshops at the Institute, led by some of to experience the country’s rich musical culture Hungary’s most highly regarded pedagogues. Part of and to study at the Kodály Pedagogical Institute (an their time was spent observing school music classes, extension of the Liszt Academy). allowing the UNT students to see Kodály’s teaching principles in action with very young children through The trip was divided between two cities – Budapest the most advanced high school students. and Kecskemét (the birthplace of Zoltan Kodály). The students' time in Budapest was spent touring The Division’s international initiative continues to the city and learning about the musical and political thrive! Future plans include a return trip to Austria influences that shaped Hungarian culture. The group and possibly new connections with programs in Italy. heard the Budapest Festival Orchestra perform in What do the students say? Go Global! the city’s Palace of the Arts, they heard the Danubia Orchestra Obuda perform a Chopin Memorial Concert in the historic Liszt Academy, and they attended a stunning performance of Bartók’s Bluebeard’s Castle at the State Opera. The students were also invited to attend a rehearsal of the Hungarian Radio Children’s Choir, under the direction of László Nemes, who also serves as the Director of the Kodály Institute. 12 Faculty and Student Collaborations 16 A New Concert Hall for the College of Music 24 Three Generations of College of Music Alumni 4 Dean’s Message 5 Faculty and Centers 6 New Faculty 7 Retirement 8 Faculty News 11 Faculty Profiles 14 Student News 18 Alumni News 22 In Memoriam 23 Development 26 Dean's Camerata 28 Gifts 31 College of Music Staff Dean’s Message College of Music Administration Warren Henry James C. Scott Associate Dean, Academic Affairs Dean Jon Christopher Nelson Things are never quiet for our College Associate Dean, Operations of Music, and this past year was no exception as we made important John C. Scott advances in the public dissemination Associate Dean, Admissions of the creative activity of alumni, faculty, staff, and students. Just a few Raymond Rowell weeks into the 2010-2011 academic Assistant Dean, Scholarship Services year, the Symphony performed in and External Affairs a special Superbowl Kickoff concert at Cowboys Stadium for Lynn Eustis an audience of over 30,000 and the One O’Clock Lab Band Director, Graduate Studies performed three concerts with the Houston Symphony on their pops concert series, again reaching thousands of people. We also succeeded in getting a major and very positive review for Jaymee Haefner our Denton Verdi Requiem performance which had a prestigious Director, Undergraduate Studies encore performance at Bass Hall in Fort Worth. We have also been particularly pleased with the development of live streaming Division Chairs our major concerts from Winspear Hall and now our newly renovated Voertman Hall. We have reached literally thousands of Joseph Klein listeners through this advanced technology. Composition Studies There was also much activity focused on the opening of the Richard Sparks Paul Voertman Concert Hall, known in its earlier life to most Conducting & Ensembles of our alumni simply as the Concert Hall. The opening week’s events included the first of three concerts funded by the National John Holt Endowment for the Arts for the presentation of “Three Centuries Instrumental Studies of American Chamber Music.” These NEA concerts bring together all periods of performance study, composition, and John Murphy jazz. The inaugural series also included the first program of the Jazz Studies Jake Heggie Residency supported by the new Institute for the Advancement of the Arts. This residency is already drawing national attention, and will become international in scope when Jesse Eschbach we premiere Heggie’s commissioned symphonic work, Ahab Keyboard Studies Symphony, with the UNT Symphony Orchestra, Grand Chorus, and soloist tenor Richard Croft in April 2012. Debbie Rohwer Music Education An element that was particularly prominent over this past year, and indicative of our sense of community was the plethora of Eileen M. Hayes collaborations between faculty and students. These collaborations Music History, Theory & Ethnomusicology took opera, chamber music, jazz, and early music performances to national and international venues on three continents. The highly Jeffrey Snider professional abilities of UNT students were widely recognized as Vocal Studies they played alongside artist faculty members. Whether through traveling to places nearby or across the world, Development attracting people to our superlative on-campus venues, or reaching Elida Tamez out to the world on the internet, our music is getting heard by new audiences. We hope that all of our readers will enjoy music Director of Development from UNT as we make it increasingly available. Pam King James C. Scott Director of Development College of Music COMPOSITION Woodwinds KEYBOARD STUDIES Adjunct Faculty Full-time Faculty Mary Karen Clardy Full-time Faculty Randy Kinnett David Bithell James Gillespie Joseph Banowetz William McGinney Joseph Klein Elizabeth McNutt Steven Harlos* Mark McKnight Andrew May Eric Nestler Berthe Odnoposoff Masataka Yoshioka Elizabeth McNutt Kathleen Reynolds Pamela Mia Paul Cindy McTee James Scott Gustavo Romero VOCAL STUDIES Jon Christopher Nelson John Scott Vladimir Viardo Full-time Faculty David Stout Terri Sundberg Adam Wodnicki Stephen Austin Charles Veazey* Rose Marie Chisholm Adjunct Faculty Piano Pedagogy/Group/Collaborative Richard Croft James Worlton Brass Bradley Beckman Linda Di Fiore Tony Baker R. Fred Kern* Lynn Eustis Visiting Faculty Brian Bowman* Elvia Puccinelli Jennifer Lane Joelle Wallach John Holt Stephen Morscheck J. Keith Johnson Organ/Harpsichord/Fortepiano Elvia Puccinelli Artist-in-Residence Vern Kagarice Jesse Eschbach* Jeffrey Snider Jake Heggie Donald Little Christoph Hammer William Scharnberg Adjunct Faculty CONDUCTING & ENSEMBLES Adjunct Faculty Pamela King Full-time Faculty Percussion Heejung Kang Heidi Klein Choral Gideon Foli Alorwoyie Mark Scott David Sundquist Alan McClung Christopher Deane Bret Serrin Jerry McCoy* Mark Ford* Visiting Faculty Richard Sparks Paul Rennick MUSIC EDUCATION Inci Bashar Edward Soph Full-time Faculty Early Music Donna Emmanuel CAREER DEVELOPMENT Christoph Hammer Adjunct Faculty Warren Henry Adjunct Faculty Paul Leenhouts* José Aponte Karrell Johnson Debbie Brooks Cynthia Roberts Karen Basrak Nathan Kruse Stockton Helbing William Scharnberg William Clay Alan McClung Blair Liikala Daryl Coad Darhyl Ramsey Opera Justin Cooper Debbie Rohwer CENTERS Stephen Dubberly Liesl-Ann de Villiers Donald Taylor Center for Chamber Music Studies Paula Homer* Michael Drake George Papich, director Deborah Fabian Adjunct Faculty Orchestra Jan Kagarice Susan O’Rear Center for Experimental Music Clay Couturiaux Paul LeBlanc Danny Prado and Intermedia (CEMI) David Itkin* Ann MacMillan Andrew May, director Henry Okstel MUSIC HISTORY, THEORY, Wind Studies Brian Perry ETHNOMUSICOLOGY Center for Schenkerian Studies Brian Bowman Terence Reynolds Full-time Faculty Timothy Jackson, Stephen Slottow, Eugene Migliaro Corporon* Robert Schietroma Music History co-directors Dennis W. Fisher Edward Smith Ana R. Alonso-Minutti Nicholas E. Williams Poovalur Sriji Benjamin Brand Texas Center for Music & Medicine Deanna Bush Kris Chesky, director Adjunct Faculty JAZZ STUDIES Bernardo Illari Bradley Bennight Full-time Faculty Laura Kennedy David Cloutier Tony Baker Margaret Notley* * Area Coordinator C. Keith Collins Rodney Booth Hendrik Schulze Henry Gibbons Richard DeRosa Adam Gordon Frederick Hamilton Theory Lee Lattimore Stefan Karlsson Gene Cho Kathryn Montoya Brad Leali Paul Dworak George Papich John Murphy Joán Groom* Allen Whear Jay Saunders Frank Heidlberger Lynn Seaton Timothy Jackson INSTRUMENTAL STUDIES Edward Soph Laila Kteily-O’Sullivan Full-time Faculty Michael Steinel Graham Phipps Strings Steve Wiest David Schwarz Emanuel Borok Stephen Slottow Jeffrey Bradetich Adjunct Faculty Thomas Sovík Julia Bushkova Rosana Eckert Susan Dubois* Jonathan Fisher Ethnomusicology Jaymee Haefner Dan Haerle Gideon Foli Alorwoyie Thomas Johnson Noel Johnston Gene Cho Philip Lewis Chris McGuire Steven Friedson* Felix Olschofka Richard McLure Eileen M. Hayes Eugene Osadchy Akira Sato John Murphy Nikola Ružević Bruce Wermuth Thomas Sovík UNT College of Music ▪ 5 New Faculty Richard DeRosa (Jazz Arranging) Richard DeRosa has taught jazz arranging and composition classes at Manhattan School of Music, The Juilliard School, and at William Pat- erson University in New Jersey. He received the bachelor of music from New Jersey City University and the master of music in jazz and com- mercial composition from Manhattan School of Music. In 2009, Mr. DeRosa received a Grammy nomination for instrumental arrangement for the critically acclaimed recording projects, Dial & Oatts: Brassworks and When Winter Comes. His compositions
Load more

Recommended publications
  • Guest Artist Recital: Sara Caswell, Jazz Violin Sara Caswell
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-22-2003 Guest Artist Recital: Sara Caswell, jazz violin Sara Caswell Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Caswell, Sara, "Guest Artist Recital: Sara Caswell, jazz violin" (2003). All Concert & Recital Programs. 3044. https://digitalcommons.ithaca.edu/music_programs/3044 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Improvisation and You Series "Brown Bag Jazz Lunch Concert" Sara Caswell, jazz violin and IC Rhythm Section Steve Brown, guitar Adam Kurland, piano Brian Krauss, bass Tom Kline, drums Swingin' At The Haven Ellis Marsalis Isfahan Edward Kennedy "Duke" Ellington/Billy Strayhorn Useless Landscape Antonio Carlos Jobim/Joao Gilberto Voyage Kenny Barron It Could Happen To You Johnny Burke/Jimmy Van Heusen Kentucky Oysters David Baker Sometime Ago Sergio Mihanovich First Song Charlie Haden Wail Bud Powell or e Fury Sara Caswell Theodore Presser Foundation Rehearsal Hall Tuesday, April 22, 2003 12:00 M. Sara Caswell is an award-winning classical and jazz violinist who spent her formative years under the tutelage of two internationally renowned teachers: Josef Gingold en classical violin and David Baker on jazz improvisation. Her success in both arenas has led Baker to refer to Ms. Caswell as "a brilliant world-class violinist en the threshold of a major career as a classical solo artist" as well as "one of the very best of the present generation of emerging young jazz stars." A graduate o~ Indiana University, which she attended under full scholarship as a Well's Scholar, Sara received Bachelor of Music degrees with High Distinction and an Artist Diploma in both classical violin performance and jazz studies.
    [Show full text]
  • A Walt Whitman Sampler LEON BOTSTEIN, Conductor
    Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing.
    [Show full text]
  • The Cw Arrowverse and Myth-Making, Or the Commodification of Transmedia Franchising
    PRODUCTIONS / MARKETS / STRATEGIES THE CW ARROWVERSE AND MYTH-MAKING, OR THE COMMODIFICATION OF TRANSMEDIA FRANCHISING CHARLES JOSEPH Name Charles Joseph Arrowverse, a shared narrative space based on DC-inspired Academic centre University of Rennes 2 original series which provided the network with a fertile E-mail address [email protected] groundwork to build upon. The CW did not hesitate to capitalize on its not-so-newfound superhero brand to KEYWORDS induce a circulation of myth, relying on these larger-than- The CW; DC comics; Arrowverse; transmedia; convergence; life characters at the heart of American pop culture to superhero; myth. fortify its cultural and historical bedrock and earn its seat along the rest of the Big 4. This paper aims to decipher how The CW pioneered new technology-based tools ABSTRACT which ultimately changed the American media-industrial The CW’s influence over the American network television landscape of the early 2010s, putting these tools to the landscape has never ceased to grow since its creation test with the network’s superhero series. It will thus also in 2006. The network’s audience composition reflects address how the Arrowverse set of characters has triggered The CW’s strategies to improve its original content as cross-media and transmedia experimentations, how The well as diversifying it, moving away from its image as a CW stimulated rapport with its strong fan base, as well network for teenage girls. One of the key elements which as how the network has been able to capitalize on the has supported this shift was the development of the superhero genre’s evocative capacities.
    [Show full text]
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]
  • Jazz Notes TM the Journal of the Jazz Journalists Associationsm
    Jazz Notes TM The Journal of the Jazz Journalists AssociationSM Vol. 18, No. 4 • Winter 2008 From the Editor 2 Arriving at jazz criticism by way of the city desk. President’s Report 3 Reporting on Jazz 8 By Ashante Infantry Somewhere Over 4 Nine Minutes riting about jazz h a s b e e n t he In The Other Room — that didn’t appeal to By Cyril Moshkow most challenging yet adaptable the Star’s jazz critic. W undertaking of my journalism Interest piqued, I began to help out on the After You’ve Gone 5 career. I’d worked primarily on the city beat — reviewing a festival appearance By John McDonough news side after joining the Toronto Star by Joshua Redman, interviewing Sonny staff in 1995. But I always contributed to Rollins for an advancer — and audited the entertainment pages, writing mostly Tom Terrell 7 a university course on jazz history and about hip-hop and R&B, out of personal criticism. Before long I was hooked by the interest in music that wasn’t being cov- beauty and tradition of the music and its Book Reviews 8 ered in the paper and for the opportunity personalities, controversies and complex- By David R. Adler, Stuart Broomer to write more creatively. ities. I eventually assumed the mantle in and Ken Dryden the wake of the retirement of the paper’s I had a passing familiarity with jazz longtime jazz critic. Though juggling pop News of Members 8 (Miles, Billie, the Marsalises) when and jazz criticism is sometimes hectic, I pitched a few years ago by a Verve pub- hope that those who read me for J.Lo and licist about a series of recordings — Jamie New Members 13 Cullum, RH Factor, Diana Krall’s The Girl continued on page 17 | » Dale Lind Retires 15 By arnold jay smith R.I.P., 2007 19 IN THIS ISSUE IN ON THE COVER: Ornette Coleman at the 2004 JVC Jazz Festival in Newport, Rhode Island.
    [Show full text]
  • RIVER ROAD MOSES CEMETERY: a Historic Preservation Evaluation
    Gibson Grove Cemetery, Montgomery County THE RIVER ROAD MOSES CEMETERY: A Historic Preservation Evaluation Report prepared for the River Road African American community descendants David S. Rotenstein, PhD Silver Spring, Maryland September 2018 [email protected] (404) 326-9244 Management Summary This report presents research on the River Road Moses Cemetery site in Bethesda, Maryland. It was prepared on behalf of the River Road African American descendant community. The following sections include a historic context divided into periods developed by the Maryland Historical Trust for the evaluation of historic properties. The historic context presents substantive archival and oral history research documenting the cemetery site, the community within which it is located, the fraternal organization that founded it, and its historical connections to Washington, D.C. The historic context is used as a baseline to evaluate the property against the Montgomery County criteria for designation in the Master Plan for Historic Preservation and the National Register of Historic Places. This report finds that the River Road Moses Cemetery appears to be eligible for designation in the Montgomery County Master Plan for Historic Preservation under four criteria: for its associations with the development of Montgomery County and the region; because it exemplifies multiple aspects of Montgomery County’s heritage; because it embodies distinctive characteristics typical of its historic property type; and, because it represents a distinguishable entity within a cultural landscape. The River Road Moses Cemetery furthermore appears to be eligible for listing in the National Register of Historic Places under three criteria. The site appears to be eligible for listing under Criterion A for its associations with African American and suburban history; Criterion C for its architectural and landscape qualities; and, Criterion D for its potential to yield significant new information in history.
    [Show full text]
  • Album, and Travel Will Resume Soon
    An Encouraging Equinox (3/20/21) After a long, gloomy year, John & Jessica are in high spirits at last. John is now a Grammy Award-winner, he’s previewing his new album, and travel will resume soon. John earned his Grammy as co-producer of James Taylor’s “American Standard” album. His own new album, “Better Days Ahead,” featuring songs written by Pat Metheny, will be released April 16. And his travel plans include long drives with Jess, which will always include a trip to the car wash. Soon a crocus will rear its beautiful head, the ice on the lake will be melted, and the car will be packed and ready to go, all because spring begins at the moment of the vernal equinox, Saturday morning at 5:37 EDT, and, of course, the COVID vaccine. James Taylor - My Blue Heaven (American Standard) Wynton Marsalis - How Are Things in Gloca Morra (Standard Time, Vol. 3: The Resolution of Romance) Johnny Frigo & Bucky & John Pizzarelli - Do Nothing Till You Hear from Me (Live from Studio A) Karrin Allyson - Mind on My Man (Wild for You) Jessica Molaskey - Everything Is Moving Too Fast (It's a Good Day) Frank Sinatra - It's Nice to Go Trav'ling (Come Fly With Me) George Lee Andrews, Margery Cohen - Travel (Starting Here Starting Now OC Sail Away: Why Do the Wrong People Travel - Noel Coward (Noel Coward Sings "Sail Away" and Other Coward Rarities) Queen Latifah - Poetry Man (Trav'lin' Light) Les Paul & Mary Ford - The World Is Waiting for the Sunrise (Best of the Capital Masters) Bill Evans - Spring Is Here (Bill Evans' Finest Hour) Chick Corea/Christian
    [Show full text]
  • Amalie Joachim's 1892 American Tour
    Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.
    [Show full text]
  • Introduction Welcome Jumper, to One of the Myriad Earth's in the DC
    Introduction Welcome jumper, to one of the myriad Earth’s in the DC multiverse. Gotham - Batman Metropolis - Superman Fawcett - Captain Marvel Coast - Green Lantern Race Human - Free The predominant species of sapient being present on Earth. Besides Homo Sapiens, this option lets you choose to be a “caveman”, much like the Prehistoric Batman or Kru'll the Eternal. Gorilla - 100 CP Whether you’re from Gorilla City or just a regular enhanced gorilla like Monsieur Mallah, you are talking intelligent gorilla, stronger and tougher than the average human. Contrary to this option’s name you can choose to be a chimp, increasing your dexterity instead of your strength. Robot - Variable Cost A mechanical being, whether you were built a robot or originally a man matters not. As a robot you will no longer need to breath, sleep, eat or perform the other biological needs of organic life. Besides that you’ll be slightly more durable and stronger than the average human. For an ??? CP upgrade you become stronger and get integrated weaponry and rocket boosters. GI ROBOT, Robot Man, Proto Boolet proof, tank thrower, bend cannons - Tornado Robot with wind powers. Also, you can die again and again - Metal Men The work of one Doctor William Milton Magnus, combining advanced robotics with cutting edge nanokineticmetallurgy. Your body now consists of a single element of metal, and is capable of extreme changes in shape and mass. You could shrink to a size small enough to act as dental implants or grow large enough to bowl over building sized monsters like Chemo.
    [Show full text]
  • News and Events
    Volume 15 Number 1 topical Weill Spring 1997 A supplement to the Kurt Weill Newsletter news &news events The Royal National Theatre Ushers in Lady in the Dark &news events Opening Catherine Ashmore (right). Catherine Ashmore Scenes (left), Damm Photos: Van Then and Now . Gertrude Lawrence as Liza in 1941 Maria Friedman as Liza in 1997 (with Richard Hale). (with Hugh Ross). The production by Francesca Zambello is stylish, The show is original and appealing and, as heroines go, so is Maria Friedman. Her Liza Elliott stalks into her restrained, cerebral. Weill’s music is plangent and shrink’s eyrie radiating nervy, brittle assurance, then sinuous, a remarkable synthesis of Weimar jazz and spins rapturously off into the first of the dream- pre-Sondheim querulousness. Maria Friedman, sure- sequences that interrupt the more realistic proceed- ly confirmed now as our supreme musical actress, ings. Our own Tina Brown would have to be promot- negotiates her backward spiral with exuberant grace ed from the chair of the New Yorker to the throne of and wit, swirling in mists and ballgowns, defiantly zip- England to match a fantasy like that. ping on the Schiaparelli frock when she takes off with — Benedict Nightingale, “Freudian drama that does not a movie star hunk (the Victor Mature role is occupied shrink from emotion,” The Times (12 March 1997) by a suitably anaemic grinner, Steven Edward Moore) and even stepping daintily across a tightrope, in Adrianne Lobel has designed a conceptual setting of sail-like Stoppardian vein, to prove she is a “proponent of triangles which introduces a number of staging constraints.
    [Show full text]
  • We Offer Thanks to the Artists Who've Played the Nighttown Stage
    www.nighttowncleveland.com Brendan Ring, Proprietor Jim Wadsworth, JWP Productions, Music Director We offer thanks to the artists who’ve played the Nighttown stage. Aaron Diehl Alex Ligertwood Amina Figarova Anne E. DeChant Aaron Goldberg Alex Skolnick Anat Cohen Annie Raines Aaron Kleinstub Alexis Cole Andrea Beaton Annie Sellick Aaron Weinstein Ali Ryerson Andrea Capozzoli Anthony Molinaro Abalone Dots Alisdair Fraser Andreas Kapsalis Antoine Dunn Abe LaMarca Ahmad Jamal ! Basia ! Benny Golson ! Bob James ! Brooker T. Jones Archie McElrath Brian Auger ! Count Basie Orchestra ! Dick Cavett ! Dick Gregory Adam Makowicz Arnold Lee Esperanza Spaulding ! Hugh Masekela ! Jane Monheit ! J.D. Souther Adam Niewood Jean Luc Ponty ! Jimmy Smith ! Joe Sample ! Joao Donato Arnold McCuller Manhattan TransFer ! Maynard Ferguson ! McCoy Tyner Adrian Legg Mort Sahl ! Peter Yarrow ! Stanley Clarke ! Stevie Wonder Arto Jarvela/Kaivama Toots Thielemans Adrienne Hindmarsh Arturo O’Farrill YellowJackets ! Tommy Tune ! Wynton Marsalis ! Afro Rican Ensemble Allan Harris The Manhattan TransFerAndy Brown Astral Project Ahmad Jamal Allan Vache Andy Frasco Audrey Ryan Airto Moreira Almeda Trio Andy Hunter Avashai Cohen Alash Ensemble Alon Yavnai Andy Narell Avery Sharpe Albare Altan Ann Hampton Callaway Bad Plus Alex Bevan Alvin Frazier Ann Rabson Baldwin Wallace Musical Theater Department Alex Bugnon Amanda Martinez Anne Cochran Balkan Strings Banu Gibson Bob James Buzz Cronquist Christian Howes Barb Jungr Bob Reynolds BW Beatles Christian Scott Barbara Barrett Bobby Broom CaliFornia Guitar Trio Christine Lavin Barbara Knight Bobby Caldwell Carl Cafagna Chuchito Valdes Barbara Rosene Bobby Few Carmen Castaldi Chucho Valdes Baron Browne Bobby Floyd Carol Sudhalter Chuck Loeb Basia Bobby Sanabria Carol Welsman Chuck Redd Battlefield Band Circa 1939 Benny Golson Claudia Acuna Benny Green Claudia Hommel Benny Sharoni Clay Ross Beppe Gambetta Cleveland Hts.
    [Show full text]
  • The Presideut's Column
    KURT WEILL NEWSLETTER PUBLISHED BY THE KURT WEILL FOUNDATION FOR MUSIC HENRY MARX, EDITOR FALL 1983 lishers and vendors throughout the world. performances, recordings, productions, he Presideut's My own research and performing ac­ workshops, fellowships, and scholar­ Column: tivities had to be suspended while I ships. Already the Foundation staff of doggedly learned about international Mrs. Symonette and Mr. Farneth, with the A PROFILE OF copyright laws, terminations, extensions, aid of a half-time secretary, are answering T the differences between small, grand inquiries and assisting scholars, perform­ THE FOUNDATION and print rights, performing rights so­ ers, conductors, and producers with vari­ It's hard for me to believe that Lenya has cieties, and the curious internal mecha­ ous projects. Now that the Foundation's been gone nearly two years. When she nisms of the "publishing" industry existence is secure and its role defined, asked me to succeed her as President of wherein few "publishers" actually print we are entering an exciting new phase of the Foundation, I had no inkling that music anymore. My naivete was neces­ activities. This is the first issue of a sem,­ these two years would be the most hec­ sarily short-lived as I reviewed contracts annual newsletter; 1984 will witness the tic. frustrating, rewarding and exhilarating and accounts that apparently had never publication of Volume I of a Weill Year­ of my life. Although it had been chartered been verified, much less audited. I would book; long-term plans are being formu­ nearly twenty years ago and had been hope that soon it will no longer be impos­ lated for publication, performance, or active sporadically during those two de­ sible to purchase or rent certain scores in recording of such "lost'' works as Der cades, the Foundation had been little this country because the U.S.
    [Show full text]