DOCSLIB.ORG

Atlanta Symphony Orchestra Last Fall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Atlanta Symphony Orchestra Last Fall ATLANTA Subscription Concerts SYMPHONY Thursday, Friday evenings 8:30 ORCHESTRA Sunday afternoon 3:00 ROBERT SHAW music director March 19, 20 and 22, 1970 and conductor ROBERT SF1AW, conducting Assisting Artists: BETHANY BEARDSLEE, soprano ANDRZEJ HIOLSKI, baritone ARA BERBERIAN, bass PETER HARROWER, narrator THE FLORIDA STATE UNIVERSITY SINGERS AND CHAMBER CHOIR Joseph Flummerfelt, director THE ATLANTA BOY CHOIR Fletcher Wolfe, director KRZYSZTOF PASSIO ET MORS DOMINI NOSTRI IESU CHRISTI PENDERECKI SECUNDAM LUCAM (The Passion and Death of Our Lord Jesus Christ According to St Luke) There will be an intermission between Parts I and / /i f 1T 0_ -£T / /(7) C o The use of recording devices and cameras during concerts is strictly prohibited. PROGRAM NOTES BY JOHN SCHNEIDER Music Department, irgia State University The Passion According to St. Luke movement of specific masses of Krzysztof Penderecki (1933- ) sound. Just as our comprehension Since his graduation with distinc­ of traditional music is rooted in the tion some twelve years ago in ad­ perception of melody and harmony, vanced musical study in his native so must our acceptance of this new Poland, Krzysztof Penderecki (pro­ kind of music be based on recog­ nounced pen-der-ETS-kee) has be­ nizing these clusters of sound and come one of the most noted figures the way they move in relation to in contemporary' music. Public at­ each other. Such a sound block may tention first came in T959 when also move by seeming to "evapo­ he anonymously entered three dif­ rate" into itself, or, contrarily, to ferent compositions in a competi­ mushroom from smallness into big­ tion sponsored by the Youth Circle ness by whittling away or adding to of the Association of Polish Com­ the outside notes of a given sound posers, and won all three first prizes. block. More awards have since followed, Penderecki's Passion According including a mark of recommenda­ to St. Luke has been called "one of tion and distinction in 1961 from the most important contributions to UNESCO for his Threnody to the sacred music of our time." Commis­ Victims of Hiroshima, scored for sioned by the West German Radio fifty two string instruments. to mark the seven hundredth anni­ The impact of Penderecki's writ­ versary of Munster Cathedral, it was ing stems from his concern for and finished in 1965, after two years acute perception of the texture and in the writing. The first performance nature of sound. Contemporary took place in the famed cathedral composers are constantly seeking on March 30, 1966. to expand the spectrum of instru­ Both Passion music and Passion ments as we know them, and drama were much in vogue in the through the production of sound sixteenth, seventeenth and eight­ by artificial (usually electronic) eenth centuries. Composers of the means. Penderecki's path of explor­ pre-Baroque era were strongly at­ ation has so far been non-electro­ tracted to the subject, and music nic. Rather has he delved into new archives abound with examples of expressive possibilities of musical the Passions according to St. Mat­ instruments and of the human thew, St. Luke and St. John, in par­ voice. With string instruments, for ticular. The style and techniques of example, a wailing kind of sound this special kind of sacred music may be called for by having the en­ is a study unto itself, which inevit­ tire group of instruments effect what ably leads one to realize that the might be called a mass slide move­ summit of the art was reached in ment at varying relative pitches. the Passion According to St. Mat­ To give this new-sounding music thew of Johann Sebastian Bach. The its due, it is imperative that the lis­ few examples since that time are tener consciously put aside his ac­ clearly modeled after the supreme customed expectancy of clearly de­ work of Bach. fined melodies and harmonies. The Despite its austerely modern impact of the music is derived not sound, so is Penderecki's Passion. from these, but rather from the As a clear tribute to the great Luth- eran composer, almost the entire as Jesus is led to Calvary. The sing­ melodic structure of the present ers are sometimes required to taper work is rooted in the oft-quoted off a phrase with the highest, or German representation of the name lowest, note they are capable of BACH (in our terminology, B flat, producing, without regard for spe­ A, C, B natural). Even of this, the cific pitch. At other times, they must mere half-tone fall of either the shout, or even laugh. For certain first or second pair of notes in that words, the syllables are divided be­ representation is frequently heard tween various choral sections, giv­ throughout the oratorio, conveying ing an almost three-dimensional ef­ an aura of sadness all by itself. In fect of the space and distance occu­ Penderecki's music, that minimum pied by a babbling crowd. The re­ interval seems to suggest the slight sult is much like that of poi nti 11 ism droop of Christ's head as he hangs in painting, in which the individual on the cross. Conversely, the same dots emerge in mass to form recog­ half-tone relationship is sometimes nizable shapes. inverted, especially in the solo Two places near the end of the voices, connoting an ever-recurring oratorio are startling in their simple note of hope in its subtle upward surprise. One is on the word gloria, motion. In fact, the interval of the at the end of the section which be­ half-tone is predominant through­ gins Stabat Mater. The other comes out; many of the melodic progres­ with the very last notes of the mu­ sions as well as the accompanying sic. In both instances, Penderecki harmonies are fashioned from this deftly turns aside from the highly juxtaposing of notes as closely to­ uncommon sounds and groups the gether as possible. This, together entire gamut of performing sources with the generally slow tempi, tends onto the most fundamental major * to heighten the unhurried aspect chord. The effect is stunning, like of the sorrowful mood. TIME maga­ a shaft of blinding light from heav­ zine, commenting on the roaring en itself. success the work has had in its The main chorus is divided into European performances, said that three separate choruses, each with "Penderecki slices to the heart of its complement of sopranos, altos, the Passion, revealing through the tenors and basses. In addition, there is a boys' choir of sopranos and al­ intolerance shown to one man the tos. The text is drawn from the Cos- tragedy of all men." pel, from the Psalms, and from por­ Much of the rare individuality of tions of the Roman Catholic liturgy. the piece stems from the unconven­ Penderecki stipulates that the work tional use of both instruments and must be performed in Latin. The voices to achieve powerful, drama­ Gospel texts are narrated by a tic effects. The score is full of un- speaker, the Evangelist; the solo unusual markings instructing players singing voices assume the other to rub the back of the bow on a roles in the drama (the baritone hard surface, for instance, or to sings the words of Jesus); the chor­ uses represent the multitude, both draw across the short expanse of in active participation in the scenes string between the bridge and the of condemnation, and as commen­ tail piece. The chorus members tator for other episodes. The diffi­ whisper certain words, or prolong cult baritone role is written at one the sound at the end of a word to point all the way up to a high B flat. produce a mocking, hissing sound, The huge orchestra score calls for: four flutes (including two pic­ will tend to increase his enjoyment colos and one alto flute), bass clar­ of it. The first is not to grudge be­ inet, two alto saxophones, three cause the music sounds like noth­ bassoons, one contrabassoon, six ing one has heard before, or be­ French horns, four trumpets, four cause it seems to be "out of tune." trombones and tuba; a large per­ Penderecki uses quarter tones in cussion section comprising four both instruments and voices, which tympani, bass drum, six torn toms, at times produce sounds that might two bongos, military drum, whip, easily be called "anguished." But rattle, four wood blocks, a gui'ro (a this very anguish of the unorthodox gourd which,is scraped), claves, four sound can, if we as listeners permit cymbals (soprano, alto, tenor, bass), it, become meaningfully related to one medium and one bass tarn tarn, the anguish of the subject as a one Chinese and one Javanese gong, whole. The second decision relates chimes, harp, and vibraphone; key­ to that: not allowing the preoccu­ board instruments consisting of pi­ pation with some of the startling ano, harmonium, and organ; a full details of the score to obscure the complement of strings. overall effect of the work, which is Two deliberate and conscious de­ the anguish of the Lord's Passion. cisions on the part of the listener The text in Latin and English fol­ hearing this music for the first time lows: PART I t O Crux, ave, spes unica, Hail, O Cross, the only hope, Hoc Passionis tempore In this time of Passion Piis adauge gratiam, Heighten the grace of religious Reisque dele crimina. souls, And do away with that which Te, forts salutis, Trinitas, is criminal. To thee, Trinity, source Collaudet omnis spiritus. of salvation, May every soul sing thy praises. f ft egressus ibat secundum consue- And going out, He went according tudinem in montem Olivarum.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer, 1969
    THE MUSIC DIRECTOR music department he organizes the vocal lenufa, Aida, Parsifal, The flying Dutch- fellows' activities, which have been much When ERICH LEINSDORF relinquishes his man, Tristan und Isolde, Elektra and Son's extended during the last two seasons. post as Music Director of the Boston Sym- Codunov, to name only a few. He now Charles Wilson becomes principal resi- phony Orchestra at the end of the 1969 lives in Hamburg. dent conductor of the New York City Berkshire Festival, he will have made a Opera Company, beginning this coming significant contribution to American mu- SHERRILL MILNES, who made his first fall. sical life. Under his leadership the Or- appearance with the Boston Symphony chestra has presented many premieres and last summer here at Tanglewood, started revived many forgotten works. Among THE SOLOISTS his professional career as a member of the latter have been the complete Schu- Margaret Hiilis's Chicago Choir, and was mann Faust, the original versions of Twenty-three year old ANDRE WATTS soon taking solo parts when the chorus Beethoven's Fidelio and Strauss's Ariadne made his debut with the Boston Sym- appeared with the Chicago Symphony. auf Naxos, and the Piano concerto no. 1 phony Orchestra last winter. He started He won scholarships to the opera depart- of Xaver Scharwenka, while among the to study the piano with his mother when ment of the Berkshire Music Center for numerous world and American premieres he was seven. Two years later he won a two consecutive summers, then joined have been works like Britten's War competition to play a Haydn concert for Boris Goldovsky's company for several requiem and Cello symphony, the piano one of the Philadelphia Orchestra chil- tours.
    [Show full text]
  • Georgia's International Representatives
    AWARD-WINNING TRADE SERVICES 2015 GEORGIA’S INTERNATIONAL REPRESENTATIVES CONNECTING GEORGIA TO THE WORLD’S KEY MARKETS A MESSAGE FROM THE COMMISSIONER GLOBE AWARD As you know, Georgia is a leader in the global marketplace. A critical component hing O nc p u po to maintaining this status is our international footprint. Our international a r L t a u Georgia’s second annual GLOBE (Georgia Launching Opportunities By i representatives not only market Georgia as the No. 1 state in the nation to do n g i Exporting) Award recognizes 44 companies who entered into a new r business, but as a leader in international trade, innovation, workforce, tourism, t o i e e international market in 2014. The 2015 winners from 17 different Georgia arts, music and film. By having such a significant international presence, we can G s G .L counties collectively expanded into 214 new markets, representing 104 continue to create jobs and investment opportunities in communities across .O.B.E. different countries and territories. Among the winners, a few of the most Georgia. b y d popular new markets included Colombia, Korea and the United Kingdom. r ex a p w This past year, state representatives traveled to all of our strategic markets orting a for activities ranging from gubernatorial and trade missions to trade shows, conventions and high-level business meetings. Last summer, Governor Nathan Deal led a delegation of government, philanthropic and business leaders to Israel, and I led an education and agriculture-focused mission to China. In addition to numerous other countries, GDEcD’s International 2015 GLOBE Award Winners Trade division exhibited at tradeshows in Brazil, Canada, Chile, Colombia, Germany and Mexico while our International Investment team called on companies in Canada, China, Europe, Japan, Korea and the United Kingdom.
    [Show full text]
  • 1St Connection Between Baseball and Opera
    Baseball & Opera (compiled by Mark Schubin, this version posted 2014 April 14) 1849 : 1 st connection between baseball and opera: Fans of American actor Edwin Forrest, who is playing Macbeth in New York, hire thugs from among ballplayers at Elysian Fields in Hoboken, New Jersey (1 st famous ball field) to disrupt performances of British actor William Macready, also playing Macbeth in New York at what had been Astor Opera House. Deadly riot ensues; Macready is rescued by ex-Astor Opera House impresario Edward Fry, who later (1880) invents electronic home entertainment (and probably headphones) by listening to live opera by phone. 1852: Opera-house exclusivity dispute with composer’s niece Johanna Wagner forms legal basis of baseball’s reserve clause. 1870 : Tony Pastor’s Opera House baseball team is covered by The New York Times (they won). 1875 : San Francisco Chronicle reports on that city’s opera-house baseball team. 1879 : Pirate King role created for Signor Brocolini, who, as John Clark, played first base for the Detroit Base Ball Club. 1881 : Dartmouth College opera group performs to raise money for college’s baseball team. 1884 : Three telegraph operators, James U. Rust, E. W. Morgan, and A. H. Stewart, present live games remotely. One sends plays from ballpark, second receives and announces, third moves cards with players’ names around backdrop. Starting in Nashville’s 900-seat Masonic Theater, they soon move to 2,500-seat Grand Opera House, beginning half-century of remote baseball game viewing at opera houses (also Augusta, GA Grand Opera House starting 1885). 1885 : The Black Hussar is probably 1 st opera with baseball mentioned in its libretto (in “Read the answer in the stars”).
    [Show full text]
  • Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
    Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
    [Show full text]
  • The Music of Randall Thompson a Documented
    THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century.
    [Show full text]
  • Alumni Recital
    Dr. Bobbie Bailey & Family Performance Center Anniversary Celebration Saturday & Sunday, October 7 & 8, 2017 at 3 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Twentieth & Twenty-first Concerts of the 2017-18 Concert Season alumni recital Saturday, October 7, 2017 FELIX MENDELSSOHN (1809–1847) Rondo capriccioso in E Major, Op. 14 Huu Mai, piano CAMILLE SAINT-SAËNS (1835–1921) Fantasie for Violin and Harp, Op. 124 Ryan Gregory, violin Tyler Hartley, harp HALSEY STEVENS (1908–1989) Sonata for Trumpet and Piano Mvt. I Justin Rowan, trumpet Judy Cole, piano J. S. BACH (1685–1750) Concerto for Two Violins Mvt. I & II Grace Kawamura, violin Jonathan Urizar, violin Huu Mai, piano GIOACHINO ROSSINI (1792–1868) la calunia from il barbiere di Siviglia Eric Lindsey, bass Judy Cole, piano GIUSEPPE VERDI (1813–1901) Caro nome from Rigoletto Amy Smithwick. soprano Judy Cole, piano CÉSAR FRANCK (1822–1890) Violin Sonata in A minor Mvt. IV Grace Kawamura, violin Huu Mai, piano ANDREW LIPPA (b. 1964) What is it about her? from Wild Party Nick Morrett, tenor Judy Cole, piano MICHAEL OPTIZ (b. 1995) Two Weeks Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums Michael Opitz, tenor saxophone Luke Weathington, alto saxophone Michael DeSousa, trombone BRANDON BOONE (b. 1994) Last Minute Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums JANNA GRAHAM (b. 1992) Nayem, I Am Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums Michael Opitz, tenor saxophone Luke Weathington, alto saxophone Michael DeSousa, trombone FRÉDÉRIC CHOPIN (1810–1849) Ballade No.
    [Show full text]
  • DECEMBER, 2007 the Brick Presbyterian Church New York City
    THE DIAPASON DECEMBER, 2007 The Brick Presbyterian Church New York City Cover feature on pages 30–32 Dec 07 Cover.indd 1 11/8/07 8:39:21 AM a total cleaning and releathering. Given siderably smaller than the Trinity organ the prices that have been bandied about (about 100 ranks). St. John the Divine THE DIAPASON for the “temporary” instrument, it prob- (another historic Aeolian-Skinner from A Scranton Gillette Publication ably would have cost the same or less to the 1950s, 150 ranks) is being rebuilt for Ninety-eighth Year: No. 12, Whole No. 1177 DECEMBER, 2007 restore this legendary organ with up-to- about $5 million after the disastrous gift date retrofi tting and new consoles in the shop fi re. Established in 1909 ISSN 0012-2378 Skinner tradition. My advice would be to store the his- An International Monthly Devoted to the Organ, 5) Dr. Burdick will not be at Trin- toric Aeolian-Skinner intact for many the Harpsichord, Carillon, and Church Music ity forever. Given the prestige of Trin- years, with the intention of reinstalling it ity Wall Street, when a replacement is at a later date with upgrades. It would be hired, I am sure the new director of a shame to sell it piecemeal, as the organ music will want a real pipe organ to had its own integrity and worked as an CONTENTS Editor & Publisher JEROME BUTERA [email protected] replace the current digital organ. New integrated musical unit. 847/391-1045 pipe instruments (even with some digi- I have worked with many organ com- FEATURES tal voices because of space or budgetary panies in sales, construction and consult- In celebration of the 100th birthday, concerns) are being installed around the ing for the last 35 years.
    [Show full text]
  • The Torchbearer • }Ahagir St
    The Torchbearer • }ahagir St. John Armenian Church of Greater Detroit 22001 Northwestern Highway • Southfield, MI 48075 248.569.3405 (phone) • 248.569.0716 (fax) • www.stjohnsarmenianchurch.org The Reverend Father Garabed Kochakian, Pastor Clergy residing within the St. John parish and community: The Reverend Father Diran Papazian, Pastor Emeritus The Reverend Father Abraham Ohanesian Deacon Rubik Mailian, Director of Sacred Music and Pastoral Assistant Ms. Margaret Lafian, Organist komitas choir and centennial chorale celebrate christmas..... On Sunday, December 28th, over 60 members and guests of St. John’s Komitas Choir and the Centennial Chorale came together with their families and friends to celebrate the sacred season of our Lord’s Birth at the Italian American Club in Livonia. Guests were greeted by dinner organizers Yeretzgin Roberta Kochakian and Dolly Matoian in the Clubhouse Room, beautifully decorated for the season with table centerpieces. Appetizers were served followed by a repast abbondanza of delectable Italian cuisine topped off with dessert and treats provided by many choir members. Yeretzgin Roberta greeted everyone and asked Der Garabed to offer grace. He invited all the voices to sing the Hayr Mer, which resounded throughout the complex in four-part harmony. She then invited every table to “sing for their supper” by offering a Christmas carol designed for each table. With no words, but only memory, suddenly mobile phones appeared as a frantic search began for the lyrics of each song. After dinner came the entertainment of the evening, a light-hearted Armenian-style comic presentation by Harry Berberian, son of Detroit opera star Ara Berberian.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990, Subscription
    BOSTON SYMPHONY ORCHESTRA SBJI OZAWA MUSIC DIRECTOR 109TH SEASON 1989-90 ^r^ After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R.
    [Show full text]
  • David Dichiera
    DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story.
    [Show full text]
  • The DETROIT SYMPHONY ORCHESTRA
    W;AD011\T£ROO~ featuring the DETROIT SYMPHONY ORCHESTRA PROGRAM, NOTES conducted by CONCERT Page No. CONCERT Page No. SIXTEN EHRLING THURSDAY-FRIDAY, June 30-July 1 77 SUNDAY, July 24 90 SATURDAY·SUNDAY, July 2-3 78 THURSDAY, July 28 93 THURSDAY-FRIDAY, July 7-8 78 FRIDAY, July 29 94 SATURDAY-SUNDAY, July 9-10 .. 81 SATURDAY, July 30 97 THURSDAY·FRIDAY, July 14-15 .. 82 SUNDAY, July 31 98 SATURDAY-SUNDAY, July 16-17 . 85 THURSDAY, Aug. 4 98 JAMES D. HICKS, THURSDAY, July 21 .; 86 FRIDAY, Aug. 5 101 Manager of Meadow Brook Festival FRIDAY, July 22 89 SATURDAY, Aug. 6 102 SATURDAY, July 23 .......•.. 89 SUNDAY, Aug. 7 105 MARY JUNE MA TIHEWS Coordinator of Women's Acth'itit'S PROGRAM CONTENTS PAGE PAGE Third Season - - - - - - - - - - 11 Guest Artists: Planning + People + Great Music = Meadow Brook 20 & 21 Henryk Szeryng, June 30, July 1-2-3 79 Meadow Brook Fe$lival Committees - - - - 28 & 30 Maureen Forrester, July 7-8-9-10 83 Major Donors to 1966 Meadow Brook Festival - - - 37 Van Cliburn, July 14-15-16·17 87 Sponsors of 1966 Meadow Brook Festival - - - 39 & 41 Isaac Stern, July 21·24-30, Aug. 5·7 91 Majar Innovations at Meadow Brook - - - - - 53 Eugene Istomin, July 22-28-31, Aug. 6·7 95 Meadow Brook School of Music - - - 48-49 Leonard Rose, July 23-29, Aug. 4-7 99 Detroit Symphony Orchestra, Sixten Ehrling 71-72 Robert Shaw, July 14-15-16·17, Aug. 11-12-13-14-18 73 Seventh Concert Week, Choral Programs - - - - - 66 Oakland University 60 & 61 Eighth Concert Week, Contemporary Music 67 Istomin-Stern-Rose Special Chamber Concerts - 45 Advertisers' Index ___ ___ __ ___ ______ __ ___ ___ ____ ___ ____ 129 & 130 SINGLE TICKETS AVAILABLE AT THE BOX-OFFICE, Pavilion $3, Grounds $1.50, or at the Festival Office, Oakland University, Rochester, Michigan, 48063, Telephone 338-7211, ext.
    [Show full text]
  • June 2010 Pp. 24-29 .Indd 24 5/12/10 9:18:59 AM Church of the Heavenly Rest, Fifth Avenue and 90Th Street, New York City Bach, St
    Conversations with Charles Dodsley Walker, Part II Neal Campbell Part 1 of this interview was published in the March 2010 issue of THE DIAPA- SON. Charles Dodsley Walker celebrated his 90th birthday on March 16. He is a Fellow of the American Guild of Organ- ists and is the founding director of the Canterbury Choral Society, which he began in 1952 at the Church of Heavenly Rest—a position he still holds, preparing and conducting three concerts per sea- son. Part I ended with Mr. Walker about to leave for France to serve as organist at the American Cathedral in Paris. NC: So, you’re in Paris. CDW: Yes, I’d longed to go to France; this was my fi rst time there. I’d been to a French-speaking country during the war—Algeria, on the way to Sicily. At Trinity College, I had immersed myself in the study of the French language and cul- ture, and this was a dream come true. Charles Dodsley Walker teaching air- I lived in the deanery—a lovely three- craft recognition while in the Navy, 1944 story stone building separated from the (Offi cial U.S. Navy photograph) cathedral by a garden. The church sexton was a man named Lucien; he was also a cathedral, as director of the American master chef, and he did a lot of things Students’ and Artists’ Center on the Left beside dust the church pews off, I’ll tell Bank—a beautiful building on what had you that! I lived there on the top fl oor of Brahms Requiem at the American Cathedral, Paris, 1949 been Chateaubriand’s estate.
    [Show full text]