Boston Symphony Orchestra Concert Programs, Summer, 1996, Tanglewood

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Summer, 1996, Tanglewood — — — — — — TangJewqpd SEIJI OZAWA HALL Wednesday, August 7, at 8:30 Florence Gould Auditorium, Seiji Ozawa Hall BO SKOVHUS, baritone WARREN JONES, piano Texts and Translations The audience is politely requested to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group. ROBERT SCHUMANN "Liederkreis," Op. 24 (To poems by Heinrich Heine) 1. Morgens steh' ich auf und frage: Mornings I arise and ask: Kommt feins Liebchen heut? Will my love come today? Abends sink' ich hin und klage: Evenings I sink back and lament: Ausblieb sie auch heut. Today, too, she stayed away. In der Nacht mit meinem Kummer At night, with my grief, Lieg' ich schlaflos, wach; I lie sleepless, awake; Traumend, wie im halben Schlummer, dreaming, as if half in slumber, Wandle ich bei Tag. I go about by day. Es treibt mich hin, es treibt mich her! I am driven here and there! Noch wenige Stunden, dann soil ich sie Just a few hours more, then I shall see schauen, her! Sie selber, die schonste der schonen she herself, the loveliest of the fair Jungfrauen ; maidens; Du armes Herz, was pochst du schwer! True heart, why do you pound so strongly! Die Stunden sind aber ein faules Volk! Oh, the hours are a lazy lot! Schleppen sich behaglich trage, They saunter along at a comfortable pace, Schleichen gahnend ihre Wege; sneak along their path yawning; Tummle dich, du faules Volk! Hurry up, you lazy ones! Tobende Eile mich treibend erfasst! A driving hurry grips me! Aber wohl niemals liebten die Horen; But the Hours were probably never in love; Heimlich im grausamen Bunde secretly, sworn to a fearful plot, verschworen, Spotten sie tiickisch der Liebenden Hast. they mock the haste of lovers. Please turn the page quietly. — — — — 3. Ich wandelte unter den Baumen I was strolling under the trees Mit meinem Gram allein; alone with my anguish; Da kam das alte Traumen, the old dream came to me Und schlich mir ins Herz hinein. and stole into my heart. Wer hat euch die Wortlein gelehret, Who taught you those little words, Ihr Voglein in luftiger Hoh'? you birds high up in the air? Schweigt still! wenn mein Herz es horet, Hush! for when my heart hears it, Dann tut es noch einmal so weh. then it brings me so much pain. "Es kam ein Jungfraulein gegangen, "A young maid came along, Die sang es immerfort, who sang it constantly; Da haben wir Voglein gefangen that's how we birds learned Das hiibsche, goldne Wort." those pretty golden words." Das sollt ihr mir nicht mehr erzahlen, You should not have told me that, Ihr Voglein wunderschlau; you crafty little birds; Ihr wollt meinen Kummer mir stehlen, you wish to steal my sorrow away from me, Ich aber niemanden trau'. but I trust no one. Lieb Liebchen, leg's Handchen aufs Dearest, lay your little hand on my Herze mein; heart; Ach, horst du, wie's pochet im Ah, do you hear the knocking in that Kammerlein? little chamber?, Da hauset ein Zimmermann schlimm There dwells a spiteful, wicked und arg, carpenter Der zimmert mir einen Totensarg. who is making a coffin for me. Es hammert und klopfet bei Tag und bei The hammering and pounding goes Nacht; on day and night; Es hat mich schon langst um den Schlaf . it has long since deprived me of sleep. gebracht Ach! sputet Euch, Meister Zimmermann, Ah, make haste, master carpenter, Damit ich balde schlafen kann. so that I soon may sleep. 5. Schone Wiege meiner Leiden, Fair cradle of my sorrows, Schones Grabmal meiner Ruh', lovely tomb of my tranquility, Schone Stadt, wir mussen scheiden, beautiful city, we must part, Lebe wohl! ruf ich dir zu. Fare well! I call to you. Lebe wohl, du heil'ge Schwelle, Fare well, hallowed threshold, Wo da wandelt Liebchen traut; where my dear love used to walk; Lebe wohl! du heil'ge Stelle, Fare well, hallowed place Wo ich sie zuerst geschaut. where I first saw her. Hatt' ich dich doch nie gesehen, If only I had never seen you, Schone Herzenskonigin! fair queen of my heart! Nimmer war' es dann geschehen, Never would I have been, Dass ich jetzt so elend bin. as I am now, so wretched. Nie wollt' ich dein Herze riihren, I never desired to touch your heart, Liebe hab' ich nie erfleht; I never begged for love; Nur ein stilles Leben fuhren I only wished to live peacefully, Wollt' ich, wo dein Odem weht. within reach of your breath. Doch du drangst mich selbst von hinnen, But you yourself drive me away, Bittre Worte spricht dein Mund; your lips speak bitter words; . — Wahnsinn wiihlt in meinen Sinnen, my mind reels in a frenzy, Und mein Herz ist krank und wund. and my heart is sick and wounded. Und die Glieder matt und trage And my feeble and tired limbs Schlepp' ich fort am Wanderstab, I drag forth onward with my staff, Bis mein miides Haupt ich lege until I lay down my tired head, Feme in ein kiihles Grab. far from here, in a cool grave. Schone Wiege meiner Leiden,. Fair cradle of my sorrows, etc. 6. Warte, warte, wilder Schiffsmann, Wait, wait, wild sailor, Gleich folg' ich zum Hafen dir; I'll follow you at once to port; Von zwei Jungfraun nehm' ich Abschied, I bid farewell to two maidens Von Europa und von Ihr. Europa—and her. Blutquell, rinn' aus meinen Augen, Fountain of blood, run from my eyes, Blutquell, brich aus meinem Leib, Fountain of blood, issue forth from my body, DaB ich mit dem heissen Blute that I, with this hot blood, Meine Schmerzen niederschreib'. may catalogue my woes. Ei, mein Lieb, warum just heute Ah, my love, why do you tremble to see Schaudert dich, mein Blut zu sehn? my blood today? Sahst mich bleich und herzeblutend You saw me, pallid and bleeding in my heart, Lange Jahre vor dir stehn! standing before you for many years! Kennst du noch das alte Liedchen Do you still remember that old story Von der Schlang' im Paradies, of the serpent in Paradise, Die durch schlimme Apfelgabe that, with the evil gift of an apple, Unsern Ahn ins Elend stieB? drove our ancestors to misery? Alles Unheil brachten Apfel! Those apples brought on all evil! Eva bracht' damit den Tod, Eve brought on death with it, Eris brachte Trojas Flammen, Paris brought flames to Troy, Du brach'st beides, Flamm' und Tod. you brought both, flames and death. Berg' und Burgen schau'n herunter Mountain and fortress look down In den spiegelhellen Rhein, into the mirror-bright Rhine, Und mein Schiffchen segelt munter, and my little ship sails merrily, Rings umglanzt von Sonnenschein. sparklingly surrounded by sunshine. Ruhig seh' ich zu dem Spiele Calmly I observe the play Goldner Wellen, kraus bewegt; of golden waves, moving in ripples; Still erwachen die Gefuhle, silently feelings grow Die ich tief im Busen hegt'. that I have been hiding deep in my breast. Freundlich griissend und verheissend Greeting and welcoming in friendship Lockt hinab des Stromes Pracht; the stream's splendor tempts us down- ward; Doch ich kenn' ihn, oben gleissend, but I know that, though gleaming above, Bringt sein Inn'res Tod und Nacht. its depths bring death and night. Please turn the page quietly. — — — — Oben Lust, im Busen Tucken, Pleasure outside, treachery in its heart, Strom, du bist der Liebsten Bild! stream, you are the image of my beloved! Die kann auch so freundlich nicken, She can greet in just such a friendly way, Lachelt auch so fromm und mild. and smile just as purely and tenderly. Anfangs wollt' ich fast verzagen, At first I was almost ready to despair, Und ich glaubt', ich triig' es nie; and I thought I'd never bear it; Und ich hab' es doch getragen and yet I have borne it Aber fragt mich nur nicht, wie? just don't ask me how. Mit Myrten und Rosen, lieblich und With myrtle and roses, charming and hold, fair, Mit duft'gen Zypressen und Flittergold, with fragrant cypresses and tinsel, Mocht' ich zieren dies Buch wie 'nen I'd like to adorn this book like a Totenschrein, funeral shrine, Und sargen meine Lieder hinein. and bury my songs within it. O konnt' ich die Liebe sargen hinzu! O, if only I could bury love there, too! Auf dem Grabe der Liebe wachst On the grave of love grows the flower Blumlein der Ruh', of peace; Da bluht es hervor, da pfluckt man it grows there, one plucks it, es ab, Doch mir bliiht's nur, wenn ich selber but for me, it only blooms when I im Grab. myself am in my grave. Hier sind nun die Lieder, die einst so Here, then, are the songs that once so wild, wildly Wie ein Lavastrom, der dem Atna like a stream of lava flowing forth from entquillt, Etna, Hervorgesttirzt aus dem tiefsten Gemiit, burst forth from the depths of my soul, Und rings viel blitzende Funken verspriiht! and sprayed many fiery sparks all around! Nun liegen sie stumm und totengleich, Now they lie silent as death, Nun starren sie kalt und nebelbleich, now they grow rigid, cold, pale as the mist, Doch aufs neu' die alte Glut sie belebt, yet the old glow will enliven them again, Wenn der Liebe Geist einst iiber sie . if once love's spirit blows over them. schwebt Und es wird mir im Herzen viel Ahnung: And a premonition stirs in my heart laut Der Liebe Geist einst iiber sie taut; one day the spirit of love will drop on them like dew, Einst kommt dies Buch in deine Hand, one day this book will come into your hands, Du susses Lieb im fernen Land.
Recommended publications
  • The German North Sea Ports' Absorption Into Imperial Germany, 1866–1914
    From Unification to Integration: The German North Sea Ports' absorption into Imperial Germany, 1866–1914 Henning Kuhlmann Submitted for the award of Master of Philosophy in History Cardiff University 2016 Summary This thesis concentrates on the economic integration of three principal German North Sea ports – Emden, Bremen and Hamburg – into the Bismarckian nation- state. Prior to the outbreak of the First World War, Emden, Hamburg and Bremen handled a major share of the German Empire’s total overseas trade. However, at the time of the foundation of the Kaiserreich, the cities’ roles within the Empire and the new German nation-state were not yet fully defined. Initially, Hamburg and Bremen insisted upon their traditional role as independent city-states and remained outside the Empire’s customs union. Emden, meanwhile, had welcomed outright annexation by Prussia in 1866. After centuries of economic stagnation, the city had great difficulties competing with Hamburg and Bremen and was hoping for Prussian support. This thesis examines how it was possible to integrate these port cities on an economic and on an underlying level of civic mentalities and local identities. Existing studies have often overlooked the importance that Bismarck attributed to the cultural or indeed the ideological re-alignment of Hamburg and Bremen. Therefore, this study will look at the way the people of Hamburg and Bremen traditionally defined their (liberal) identity and the way this changed during the 1870s and 1880s. It will also investigate the role of the acquisition of colonies during the process of Hamburg and Bremen’s accession. In Hamburg in particular, the agreement to join the customs union had a significant impact on the merchants’ stance on colonialism.
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Joel Phillip Friedman
    ADDRESS 3131 CONNECTICUT AVENUE NW, APT. 2105 WASHINGTON, DC 20008-5001 TEL 202-450-2173 CELL 347-731-3471 EMAIL [email protected] WEB WWW.JOELFRIEDMAN.COM GREY BIRD MUSIC JOEL PHILLIP FRIEDMAN EDUCATION Columbia University 1998 DMA in Composition (Mellon Foundation President’s Fellow) Dissertation: Extreme Measures (piano trio with analytical paper) - Jonathan Kramer, advisor Boston University 1988 MM in Composition (Malloy Miller Award) Thesis: Concerto (In the Form of Variations) for Viola and Orchestra - Joyce Mekeel, Bernard Rands, advisors BM in Composition 1982 TEACHING American University 2014-present Adjunct Professorial Lecturer Levine School Of Music 2013-present Faculty Lecturer Stanford University 2008-2013 Continuing Studies Program Lecturer (Revolution: The Music of The Beatles, The Anatomy Of A Musical, We Will Rock You) Notre Dame de Namur University 2008-2013 FacultyTheory/Composition/History/Analysis Santa Clara University 2006-2013 Quarterly Part-Time InstructorTheory/Composition/Popular Music History/Orchestration The Osher Lifelong Learning Institute at Santa Clara University: Anatomy Of A Musical , Revolution: The Music of The Beatles Swarthmore College 2002-2006 Visiting Assistant Professor (Theory/Musicianship/Popular /Music History) Seton Hall University 1996-2002 Assistant Professor, tenure track (1997-2002) (Theory/Composition/Music History/Popular Music) Columbia University 1993-1996 Instructor Music Humanities (1995-96), Advanced Ear Training (1993-94) •• See addendum for additional employment and
    [Show full text]
  • DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL B
    DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL b. 1967 DUST DANCES [1] DUST DANCES (1994) 9:26 THRACIAN ECHOES [2] THRACIAN ECHOES (2002) 19:23 ELIXIR [3] ELIXIR (2006) 7:21 VOICES, FOR SOLO CLARINET AND ORCHESTRA VOICES, FOR SOLO CLARINET AND ORCHESTRA (1997) [4] I. Id 6:43 DEREK BERMEL clarinet [5] II. She Moved Thru the Fair 5:46 BOSTON MODERN ORCHESTRA PROJECT [6] III. Jamm on Toast 6:12 GIL ROSE, CONDUCTOR TOTAL 54:54 2 COMMENT idea in the orchestral realm by writing myself a clarinet concerto. My thoughts immediately turned to two of my favorite musicians, bass clarinetist Eric Dolphy and bassist Charles Mingus. Their conversational rapport inspired the first movement—called “Id”—and the rest of the concerto followed from there. I dedicated Voices to my father, who taught me By Derek Bermel an enormous amount about theatre. The outer movements more fully embrace my jazz From an early age, I was obsessed with the orchestra. During my preteen years I would background—using techniques including glissandi, growl tones, and flutter tongue—with return from the public library with armfuls of LP records—Stravinsky, Bartok, Debussy, a nod to the bittersweet “keening” of Irish folksong in the middle movement. Berg, Mussorgsky, Ravel, Copland, Britten, Webern, Messiaen, Ives. During the same Another tradition that had always fascinated me was Bulgarian folk music. In August period my knowledge of jazz was deepening. When my grandmother bought me a beat- 2001, I traveled to Plovdiv, Bulgaria, where I spent six months learning the Thracian folk up piano for $300 (she overpaid), I immediately began to reenact the works of Thelonious style with clarinetist Nikola Iliev.
    [Show full text]
  • Bremen Und Die Kunst in Der Kolonialzeit
    DER BLINDE FLECK BREMEN UND DIE KUNST IN DER KOLONIALZEIT THE BLIND SPOT BREMEN, COLONIALISM AND ART EDITED BY JULIA BINTER ©2017byKunsthalle Bremen –Der Kunstverein in Bremen www.kunsthalle-bremen.de ©2017byDietrich Reimer Verlag GmbH, Berlin www.reimer-mann-verlag.de Funded by the International MuseumFellowship program of the German Federal Cultural Foundaition In cooperation with Afrika-Netzwerk Bremen e.V. Bibliographic Information of the German National Library Deutsche Nationalbibliothek holds arecordofthis publication in the Deutsche Nationalbibliografie; detailed bibliographical data can be found under: http://dnb.d-nb.de. All rightsreserved. No partofthis book maybereprintedorrepro- ducedorutilised in any form or by any electronic, mechanical or other means, nowknown or hereafter invented, including photocopying and recording, or in any information storage or retrievalsystem, without permission in writing from the publishers. ISBN 978-3-496-01592-5 With contributions by Julia Binter Anna Brus Anujah Fernando Anna Greve HewLocke YvetteMutumba Ngozi Schommers Vivan Sundaram Translations from German and English by Daniel Stevens Lenders Nolde-Stiftung Seebüll Sammlung Vivanund Navina Sundaram Sammlung Karl H. Knauf,Berlin Übersee-Museum Bremen Deutsches Schifffahrtsmuseum Bremerhaven Museum für Völkerkunde Hamburg Focke-Museum Landesmuseum für Kunst und Kulturgeschichte Schulmuseum Bremen Landesfilmarchiv Bremen Intro Ⅰ Kawanabe Kyōsai, The Lazy one in the Middle, n. d., monochrome woodcut, Outro Ⅰ Kunsthalle Bremen – Artist unknown,
    [Show full text]
  • Education Teaching Grants, Fellowships, and Awards
    Joel Phillip Friedman – Composer/Professor/Writer address 3131 Connecticut Avenue NW, Apt. 2105 Washington, DC 20008- 5001 tel 202- 450- 2173 cell 347- 731- 3471 email [email protected] Web www.joelfriedman.com GREY BIRD MUSIC Education Columbia University 1998 DMA in Composition (Mellon Foundation President’s Fellow). Composition: George Edwards, Jonathan Kramer, Fred Lerdahl, Dissertation: Extreme Measures (piano trio with analytical paper) - Jonathan Kramer, advisor Boston University 1988 MM in Composition (Malloy Miller Memorial Composition Award). Composition: Theodore Antoniou, Charles Fussell, Joyce Mekeel, Thesis: Concerto (In the Form of Variations) for Viola and Orchestra - Joyce Mekeel, Bernard Rands, advisors BM in Composition. 1982 Composition: Joyce Mekeel, Marjorie Merryman, Robert Sirota teaching Catholic University of America Fall 2016-present Adjunct Composition Instructor Georgetown University 2014-2016 Visiting Associate Professor (Composition/Theory/song writing) Levine School Of Music/Baltimore Symphony 2013-present Faculty Lecturer/host “All Classical Saturdays“ Stanford University 2008-present Continuing Studies Program Lecturer (Revolution: The Music of The Beatles, The Anatomy Of A Musical, We Will Rock You) American University 2014 Adjunct Professorial Lecturer Notre Dame de Namur University 2008-2013 Faculty Theory/Composition/History/Analysis Santa Clara University 2006-2013 Quarterly Part-Time Instructor Theory/Composition/Popular Music History/Orchestration The Osher Lifelong Learning Institute at Santa
    [Show full text]
  • Late Fall 2020 Classics & Jazz
    Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music.
    [Show full text]
  • Gibson CV 2020
    Mara Gibson maragibson.com 5652 Burgundy Ave [email protected] Baton Rouge, LA 70806 (913) 957-6876: cell Education 1996--2001 Ph.D. Music Composition, State University of New York at Buffalo; Buffalo, NY Committee Members: David Felder, Martha Hyde, Erik Oña, Michael Long; Outside Reader: Stephen Jaffe, Duke University; Dissertation: mirar 1990--1994 Bachelor of Arts, Music Composition and Piano Performance, Bennington College; Bennington, VT Positions 2017—present Louisiana State University, Associate Professor of Composition (starting 2018) Visiting Assistant Professor: Composition (2017-18), Composition Forum, Laptop Orchestra, Constantinides New Music Ensemble, Orchestration (CxC certified), Contemporary Musical Practices PhD Committees: William Montgomery (chair), Landon Viator, Shane Courville, Christopher McCardle; MM Committee: Austin Franklin; Honors Thesis Committee: Hollyn Slykhuis, Mikeila McQueston (National Board of Sigma Phi Chapter Scholastic Award, LSU Presser Award) 2004--2017 Conservatory of Music and Dance, University of Missouri-Kansas City Associate Teaching Professor (2013- present), Instructor (2004-2013): Composition (133-433), Creative Strategies for Collaboration, Composition Forum, Ensembles for Composers, MUSE, graduate faculty (committee member), Musicianship IV, Composition Coordinator for Undergraduate Recruitment (2016), supervise all teaching artists for Conservatory in the Schools, Composition Workshop founder and director. Recent DMA committees: Dylan Baker, Tatev Amiryan, AMao Wang, MM Committees:
    [Show full text]
  • Mch Kaufmanconnectsbell 050
    Kaufman Music Center presents A Virtual Concert and Cocktail Tasting Kaufman Connects Streamed Monday, May 3, 2021 at 6:30 pm ET with Joshua Bell, violin and Peter Dugan, piano Kevin Peterson, mixologist Program Welcome and Introduction KATE SHEERAN, Executive Director SHAHRIAR RAFIMAYERI, President, Board of Trustees JUSTIN BERRIE, Trustee SAMUEL COLERIDGE-TAYLOR La Tarantelle Frétillante BIANNA BELL, violin Special Music School,10th Grade Student of Nurit Pacht Tasting: Cocktail Experience #1 KEVIN PETERSON, mixologist LUDWIG VAN BEETHOVEN Violin Sonata No. 5 in F Major, Op. 24 “Spring” Allegro JOSHUA BELL and PETER DUGAN Tasting: Cocktail Experience #2 KEVIN PETERSON, mixologist KaufmanMusicCenter.org|866-222-6330 FRÉDÉRIC CHOPIN Nocturne in E-flat Major, Op. 9, No. 2 arr: Bell/Wallace HENRYK WIENIAWSKI Polonaise brillante in D Major, Op. 4 JOSHUA BELL and PETER DUGAN Tasting: Cocktail Experience #3 KEVIN PETERSON, mixologist Event Sponsors and Hosts Justin Berrie Shahriar Rafimayeri Castalia at Sfumato Maker’s Mark Winfield Flynn Wine & Spirits Kaufman Connects Benefactors Bethany and Robert B. Millard Cathy White O’Rourke Joy and Graham Wyatt All 2020-21 Kaufman Music Center performances are online, filmed in safe, socially distanced locations observing health and safety protocols, and enjoyed from the safety of your home. Steinway is the official piano of Merkin Hall KaufmanMusicCenter.org|866-222-6330 About the Artists Joshua Bell With a career spanning almost four decades, Joshua Bell is one of the most celebrated violinists of his era. Having performed with virtually every major orchestra in the world, Bell continues to maintain engagements as a soloist, recitalist, chamber musician, conductor, and Music Director of the Academy of St.
    [Show full text]
  • The Magic Flute
    The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students.
    [Show full text]
  • The Inventory of the Phyllis Curtin Collection #1247
    The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.
    [Show full text]