For Release: Tk, 2013

Total Page:16

File Type:pdf, Size:1020Kb

For Release: Tk, 2013 FOR IMMEDIATE RELEASE UPDATED January 31, 2014 DATE: December 17, 2013 New York Philharmonic contact: Katherine E. Johnson +1 (212) 875-5700; [email protected] ASIA / WINTER 2014 TOUR ALAN GILBERT AND THE NEW YORK PHILHARMONIC FEBRUARY 6–19, 2014 TOUR TO INCLUDE NEW YORK PHILHARMONIC’S RETURN TO TOKYO, JAPAN, and SEOUL, SOUTH KOREA Orchestra Also To Perform in Osaka, Nagoya, and Yokohama, Japan; New York Philharmonic’s First Concerts with Alan Gilbert in TAIPEI, TAIWAN Tour to Include: Alan Gilbert Narrating in Japanese BRITTEN’S THE YOUNG PERSON’S GUIDE TO THE ORCHESTRA in Tokyo The Mary and James G. Wallach Artist-in-Residence YEFIM BRONFMAN To Perform MAGNUS LINDBERG’s Piano Concerto No. 2, Commissioned by the New York Philharmonic Rapture by The Marie-Josée Kravis Composer-in-Residence CHRISTOPHER ROUSE LISA BATIASHVILI To Perform SHOSTAKOVICH’s Violin Concerto No. 1 MAKOTO OZONE and DA SOL Also To Perform as Soloists VERY YOUNG COMPOSERS PROGRAMS in SEOUL and TOKYO CREDIT SUISSE IS THE GLOBAL SPONSOR OF THE NEW YORK PHILHARMONIC NEW YORK — Music Director Alan Gilbert will lead the New York Philharmonic on the ASIA / WINTER 2014 tour, February 6–19, 2014. The two-week tour — the Philharmonic’s seventh international concert tour under Alan Gilbert’s leadership — will feature ten concerts in three countries, with performances in Seoul, South Korea; Nagoya, Osaka, Tokyo, and Yokohama, Japan; and Taipei, Taiwan. Guest soloists include pianist Yefim Bronfman, the Philharmonic’s Mary and James G. Wallach Artist-in-Residence, and violinist Lisa Batiashvili, (more) ASIA / WINTER 2014 / 2 both of whom perform with the Orchestra in Tokyo and Taipei, as well as pianists Da Sol, who appears in Seoul, and Makoto Ozone, in Seoul, Osaka, Tokyo, and Yokohama. The tour also features five performances of Marie-Josée Kravis Composer-in-Residence Christopher Rouse’s Rapture and two performances of former Composer-in-Residence Magnus Lindberg’s Piano Concerto No. 2, commissioned and premiered by the New York Philharmonic, with Mr. Bronfman as soloist. ASIA / WINTER 2014 will be the Orchestra’s second tour of Asia under Mr. Gilbert’s leadership, coming almost five years after his first tour with the Orchestra as Music Director in the fall of 2009. It will also mark the New York Philharmonic’s eleventh concert tour and third Asian tour under the aegis of Credit Suisse. In addition to the support of Credit Suisse, the New York Philharmonic’s Global Sponsor, the Philharmonic’s appearance February 12 at Tokyo’s Suntory Hall is sponsored by Mitsui & Co., Ltd. A complete schedule of ASIA / WINTER 2014 performances appears at the end of this press release. “One of the most vivid and gratifying memories of my first season with the New York Philharmonic was our visit to Asia, with concerts in Japan and South Korea, in October 2009,” said New York Philharmonic Music Director Alan Gilbert. “It is with great pleasure that I look forward to returning there, and to making my first visit to Taipei with this Orchestra. This tour will be enriched with the results of some of our most valuable musical partnerships — our current Composer-in-Residence Christopher Rouse and current Artist-in-Residence Yefim Bronfman, as well as former Composer-in-Residence Magnus Lindberg, and with Lisa Batiashvili, a marvelous, natural musician with whom the musicians and I enjoy collaborating. I think we’ll be presenting a real picture of today’s New York Philharmonic for the inspiring audiences in South Korea, Japan, and Taiwan.” “The New York Philharmonic’s activities on the ASIA / WINTER 2014 tour demonstrate what a valuable resource an orchestra can be,” said New York Philharmonic Executive Director Matthew VanBesien. “In addition to Alan Gilbert and the Orchestra’s performances of a truly diverse repertoire — spanning masterpieces by Bernstein, Shostakovich, and Tchaikovsky; contemporary pieces by Christopher Rouse and Magnus Lindberg; and the jazz-inflected Gershwin — we are showcasing several educational projects on this tour, including the results of Seoul’s and Tokyo’s embrace of our Very Young Composers program, as well as pieces composed by New York schoolchildren inspired by music by their counterparts in Fukushima.” “Asia has been an important destination on this Orchestra’s tours since Leonard Bernstein conducted the Orchestra in Japan in 1961,” said New York Philharmonic Chairman Gary W. Parr, “and that connection has grown and deepened over the last half century. These musicians have never performed better, thanks in great part to the chemistry they enjoy with Alan Gilbert. We are grateful to Credit Suisse, our Global Sponsor since 2007, as well as Mitsui & Co., Ltd., which is providing generous support for the Philharmonic’s appearances in Japan — together they are helping to make it possible for the New York Philharmonic to share our music-making with audiences in Asia.” “Credit Suisse is proud to support the New York Philharmonic and its ASIA / WINTER 2014 tour as the Orchestra’s sole Global Sponsor for seven years,” said Pamela Thomas-Graham, (more) ASIA / WINTER 2014 / 3 Head of Talent, Branding and Communications at Credit Suisse and a member of the bank’s Executive Board. “After such an enthusiastic response to the Asian Horizons tour in 2009, we are once again delighted that this year’s tour will visit a region so important to Credit Suisse. We are looking forward to the many opportunities available for our clients and employees to experience all that the New York Philharmonic’s musicians and Music Director Alan Gilbert have to offer.” The ASIA / WINTER 2014 tour begins with two performances in Seoul, South Korea, at the Seoul Arts Center on February 6 and 7, marking the New York Philharmonic’s eleventh trip to that country and the Orchestra’s first performance there since 2009, when Alan Gilbert led Asian Horizons, his inaugural tour as Music Director. Following the performances in Seoul, the Orchestra heads to Japan, which it has visited 14 times previously, for concerts at the Aichi Prefectural Art Theater in Nagoya on February 9, The Symphony Hall in Osaka on February 10, three concerts at Suntory Hall in Tokyo February 11–13, and Minato Mirai Hall in Yokohama on February 15. The concerts in Tokyo also mark the Philharmonic’s first in that city since Mr. Gilbert’s debut tour as Music Director in 2009. ASIA / WINTER 2014 concludes with the Orchestra’s first visit to Taipei, Taiwan, with Music Director Alan Gilbert, and the seventh in its history, where it performs at the National Chiang Kai-Shek Cultural Center on February 18 and 19. Tour Programs The repertoire for ASIA / WINTER 2014 will blend works by American composers, the Philharmonic’s current and former Composers-in-Residence, Britten in honor of his centennial year, and canonical masters. ASIA / WINTER 2014 opens in Seoul with Beethoven’s Fidelio Overture — which the Orchestra also performs in Tokyo along with Beethoven’s Symphony No. 1 — and his Piano Concerto No. 3, featuring Da Sol. The program concludes with Tchaikovsky’s Symphony No. 5, which the Orchestra again plays in Nagoya, Osaka, Tokyo, Yokohama, and Taipei. In Tokyo and Taipei, violinist Lisa Batiashvili plays Shostakovich’s Violin Concerto No. 1 and Yefim Bronfman, The Mary and James G. Wallach Artist-in-Residence, performs Magnus Lindberg’s Piano Concerto No. 2; the New York Philharmonic commissioned the work, premiered it with Mr. Bronfman in May 2012 in the Orchestra’s home at Lincoln Center’s Avery Fisher Hall, and performed it on the CALIFORNIA 2012 tour. Ms. Batiashvili and Mr. Bronfman will have performed these works with the Philharmonic in New York in January 2014. ASIA / WINTER 2014 showcases a number of American works, including Marie-Josée Kravis Composer-in-Residence Christopher Rouse’s Rapture in Seoul, Nagoya, Tokyo, Yokohama, and Taipei, following performances in New York in January 2014; Gershwin’s An American in Paris in Seoul, Tokyo, and Taipei; Symphonic Dances from West Side Story by Philharmonic Laureate Conductor Leonard Bernstein in Seoul, Nagoya, Tokyo, and Taipei; and Gershwin’s Rhapsody in Blue, featuring pianist Makoto Ozone, in Seoul, Osaka, Tokyo, and Yokohama. The New York Philharmonic will perform a special concert for families in Tokyo at Suntory Hall, opening with Benjamin Britten’s The Young Person’s Guide to the Orchestra, led by Assistant Conductor Joshua Weilerstein, hosted by Makoto Ozone, and narrated in Japanese by (more) ASIA / WINTER 2014 / 4 Music Director Alan Gilbert, whose mother, New York Philharmonic violinist Yoko Takebe, is from Japan. The Young Person’s Guide to the Orchestra was written in 1946 for the educational documentary Instruments of the Orchestra. The Britten performance continues the Philharmonic’s celebration of the English composer’s centennial season, which begins in New York in November with concerts featuring Britten’s Spring Symphony and Serenade for Tenor, Horn, and Strings. Educational Activities on ASIA / WINTER 2014 Tour As part of the ASIA / WINTER 2014 tour, the New York Philharmonic will showcase the works of students participating in its Very Young Composers program in both Seoul and Tokyo. Very Young Composers allows students with or without musical backgrounds to create, notate, and hear their own music performed by Philharmonic musicians. The initiative, which began in New York City, is being rolled out in cities throughout the world, often in conjunction with Philharmonic tours. Selected works by participants in the Very Young Composers of Kumdarak — students ages 10–12 who are participating in the new network of Kumdarak Saturday Cultural Schools across South Korea — will be performed by an ensemble including New York Philharmonic musicians in a free concert February 5 at 7:00 p.m.
Recommended publications
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE to BROOKLYN Judith E
    L(30 '11 II. BROOKLYN ACADEMY OF MUSIC BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Harry W. Albright, Jr., Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L. Fisher, Leonard Garment, Elisabeth Gotbaum, Judah Gribetz, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti; Hon. Henry Geldzahler, Member ex-officio. A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE TO BROOKLYN Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development IN HONOR OF THE 100th ANNIVERSARY Micheal House Vice President for Marketing and Promotion ADMINISTRATIVE OFFICE STAFF OF THE Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk BROOKLYN BRIDGE FINANCE Perry Singer Accountant Tuesday, November 30, 1982 Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L.
    [Show full text]
  • Jeffrey Kahane
    JEFFREY KAHANE Equally at home at the piano or on the podium, Jeffrey Kahane is recognized around the world for his mastery of a diverse repertoire ranging from Bach and Mozart to the music of our time. Kahane has appeared as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, and the Chicago and San Francisco Symphonies, and is also a popular artist at all of the major US summer festivals, including Aspen, Blossom, Caramoor, Mostly Mozart, and Ravinia. In August 2016 he was appointed Music Director of the Sarasota Music Festival, which offers master classes and chamber music coaching by a distinguished international faculty, and features chamber music performances and orchestral concerts performed by highly advanced students and young professionals, as well as faculty members. Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco, Los Angeles, and Atlanta. A highly respected chamber musician, Kahane collaborates with many of today’s most important chamber ensembles and was the Artistic Director of the Green Music Center Chamberfest during the summers of 2015 and 2016. Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major US orchestras including the New York and Los Angeles Philharmonics; Philadelphia and Cleveland Orchestras; Saint Paul Chamber Orchestra; and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis, and New World Symphonies. In May 2017 Kahane completed his 20th and final season as Music Director of the Los Angeles Chamber Orchestra.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]
  • Richard Wagner
    RICHARD WAGNER OVERTURES & PRELUDES FRANKFURT RADIO SYMPHONY ANDRÉS OROZCO-ESTRADA RICHARD WAGNER 1 DER FLIEGENDE HOLLÄNDER 1813–1883 WWV 63: Overture / Ouvertüre 10:13 OVERTURES & PRELUDES 2 LOHENGRIN OUVERTÜREN & VORSPIELE WWV 75: Prelude to Act I / Vorspiel zum 1. Akt 9:03 3 & 4 TRISTAN UND ISOLDE FRANKFURT RADIO SYMPHONY WWV 90: Prelude / Vorspiel 11:57 hr-Sinfonieorchester Liebestod 7:55 ANDRÉS OROZCO-ESTRADA 5 PARSIFAL Music Director / Chefdirigent WWV 111: Prelude / Vorspiel 14:52 6 TANNHÄUSER WWV 70: Overture / Ouvertüre 15:02 7 RIENZI, DER LETZTE DER TRIBUNEN WWV 49: Overture / Ouvertüre 12:03 Total time / Gesamtspielzeit 81:35 Live Recording: August 22nd, 2014 (3&4); June 26th, 2015 (5&6); June 25th, 2017 (1&2) · Recording Location: Basilika, Kloster Eberbach, Germany · Recording producers: Christoph Claßen (3&4) & Philipp Knop (1-2 & 5-6) Recording engineers: Thomas Eschler (3-6), Andreas Heynold (1&2) · Executive Producer: Michael Traub · Photo Andrés Orozco-Estrada: © hr/Martin Sigmund · Photo Frankfurt Radio Symphony: © hr/Ben Knabe · Artwork: [ec:ko] communications Co-production with Hessischer Rundfunk · P & C 2019 Sony Music Entertainment Germany GmbH of the nineteenth century. This was the first time that Wagner – who, as always, wrote his RICHARD WAGNER own libretto – found the motifs and themes that he was to make quintessentially his own: OVERTURES & PRELUDES the longing for death, a woman’s willingness to sacrifice her own life out of compassion, the hero as restless outsider, death resulting from love and the idea of redemption. In his essay “On the Overture”, which he first published in French in January 1841, the then The Overture dates from November 1841 and was the last part of the score to be written twenty-seven-year-old Wagner summed up his ideas on what an operatic overture should – in this regard Wagner adopted contemporary practice rather than the approach that he ideally be like.
    [Show full text]
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
    [Show full text]
  • Graduate Recital: Chun-Ming Chen, Conductor Chun-Ming Chen
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-6-2011 Graduate Recital: Chun-Ming Chen, conductor Chun-Ming Chen Ithaca College Symphony Orchestra Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Chen, Chun-Ming and Ithaca College Symphony Orchestra, "Graduate Recital: Chun-Ming Chen, conductor" (2011). All Concert & Recital Programs. 18. http://digitalcommons.ithaca.edu/music_programs/18 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. Ithaca College Symphony Orchestra Graduate Recital Chun-Ming Chen, conductor Ford Hall Sunday, February 6, 2011 8:15 p.m. Program Tragic Overture, Op. 81 (1880) Johannes Brahms (1833-1897) Piano Concerto in A minor, Op. 16 (1869) Edvard Grieg I - Allegro molto moderato (1843-1907) Rapture (2000) Christopher Rouse (1949) Biographies Chun-Ming Chen, conductor Born in Taiwan, Chun-Ming Chen (Jimmy) is currently studying orchestral conducting at Ithaca College with Dr. Jeffery Meyer. While in Ithaca, he has conducted the Ithaca College Symphony and Chamber Orchestras, Cornell Symphony Orchestra, and is the co-director of the Ithaca College Sinfonietta. Mr. Chen received his Master of Music degree from Boston Conservatory in 2008, where he served as assistant to Bruce Hangen. In September 2007, he was appointed as Director of the Massachusetts Institute of Technology Chinese Choral Society. While in Boston, Mr. Chen also conducted the Boston Conservatory Symphony Orchestra, Boston Conservatory Wind Ensemble, Massachusetts Institute of Technology Chinese Choral Society, Greater Boston Chinese Cultural Association Choral Society, and Chorus Boston.
    [Show full text]
  • RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE
    TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 (Thunder and Tempest, Descent) Eine Alpensinfonie (An Alpine Symphony) (1915) 20 Sonnenuntergang (Sunset) 2. 31 21 Ausklang (Quiet Settles) 7. 17 1 Nacht (Night) 3. 36 22 Nacht (Night) 2. 19 2 Sonnenaufgang (Sunrise) 1. 43 3 Der Anstieg (The Ascent) 2. 20 Total playing time: 55. 32 4 Eintritt in den Wald (Entry into the Forest) 5. 35 5 Wanderung neben dem Bache (Wandering by the Brook) 0. 48 6 Am Wasserfall (At the Waterfall) 0. 14 7 Erscheinung (Apparition) 0. 46 8 Auf blumigen Wiesen (On Flowering Meadows) 1. 01 ← ← 9 Auf der Alm (On the Alpine Pasture) 2. 37 10 Durch Dickicht und Gestrüpp auf Irrwegen 1. 33 (Through Thickets and Undergrowth on the Wrong Path) 11 Auf dem Gletscher (On the Glacier) 1. 19 12 Gefahrvolle Augenblicke (Dangerous Moments) 1. 31 13 Auf dem Gipfel (On the Summit) 5. 46 14 Vision (Vision) 3. 55 15 Nebel steigen auf (Mists Rise) 0. 20 16 Die Sonne verdüstert sich allmählich 0. 52 (The Sun Gradually Becomes Obscured) 17 Elegie (Elegy) 2. 03 Frankfurt Radio Symphony 18 Stille vor dem Sturm (Calm Before the Storm) 3. 17 Conducted by Andrés Orozco-Estrada Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 Musical philosopher in ecstatic La mer, or Britten’s mysterious was highly interesting, individual and subjected to a detailed programmatic
    [Show full text]
  • PROGRAM NOTES Guided Tour
    13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
    2001-2002 SEASON BOSTON SYMPHONY ORCHESTRA Saluting Seiji Ozawa in his farewell season SEIJI OZAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAR. at ^Jrisner Jiill BROOKLINE CORT1 SOTHEBY'S PROPERTIES INC. International Realty E A L ESTATE Somethingfor any occasion.. &* m y-^ ;fe mwm&m <*-iMF--%^ h : S-i'ffi- I C'?t m^^a»f * • H ^ >{V&^I> ^K S8 ^ r" • >-*f &a Davic^Company Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 (Tel) 1-800-DAVIDCO 617-969-3434 (Fax) www.davidnndcompany.com . Every car has its moment. This one has thousands per second. .-:.: % - The new 3 Series. Pure drive, The New ^m BMW 3 Series ^f^rn^w^ From $27,745* fop 9 Test drive The Ultimate Driving Machine bmwusa.com The Ultimate at your authorized BMW center 1-8QG-334-4BMW Driving Machine* Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEIJI OZAWA IN HIS FAREWELL SEASON Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK 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 Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]