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The Darius Milhaud Society Newsletter, Vol. 3, Spring 1987

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The Darius Milhaud Society Newsletter, Vol. 3, Spring 1987 Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 1987 The Darius Milhaud Society Newsletter, Vol. 3, Spring 1987 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Recommended Citation Darius Milhaud Society, "The Darius Milhaud Society Newsletter, Vol. 3, Spring 1987" (1987). Darius Milhaud Society Newsletters. 5. https://engagedscholarship.csuohio.edu/milhaud_newsletters/5 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE DARIUS MILHAUD SOCIETY NEWSLETrER Cleveland, Ohio Spring 1987 Vol. 3, No. 1 ' ... polytonality and atonality, far from destroying the than the essential melody, which . will prevent the fundamental principles ofmusic . .. continue anddevelop to stagnation of these processes in a system otherwise still­ the highest point ideas that musicians have greatly born ... polytonality and atonality will furnish but a vaster enriched and enlarged [o ver time. ] There exist between field, a richer medium for writing, a more complex ladder of polytonality and atonality the same essential differences as expressiveness for sensitivity, imagination and fancy . between diatonism and chromaticism. Ploytonality and atonality are not [in themselves] arbitrary systems . .. they rejoin each other in certain cases (atonal harmonies resul· ting from an origin of polytonal counterpoint, atonal melodies resting upon a harmonic tissue made up ofdiatonic elements.) What will determine the polytonal or atonal character of a work will be much less the method ofwriting INFORMAL NATIONAL MILHAUD FESTIVAL 1987 Conservatories, universities and colleges in many states are commemorating Milhaud's 95th birth anniversary year (1987) by presenting his music. This in­ formal national festival continues throughout 1987, until the end of summer 1988. If you know of Milhaud performances or wish to plan a program, please inform the Darius Milhaud Society of the activities, in order for the occasion(s} to be included in the calendarofevents distribu­ ted by the Society nationally and internationally. Festivals occurring during spring 1987 are described below in chrono­ logical order. ARIZONA (Tucson) January 19, May 3, October 4: The University of Arizona is participating in the informal national Milhaud festival with three widely spaced perform­ ances. On January 19, the Suite, Op.157b (1936), for violin, clarinet and piano, was heard in Crowder Hall, performed by Theodora McMillan, violin, Charles West, clarinet, and Robert Muczynski, piano. On May 3, the University ofAri­ zona Symphony Orchestra, conducted by Dr. Leonard Pearlman, with Charles West as soloist, will present the Concerto, Op. 230 (1941), for clarinet and orchestra, in Centennial Hall. The University of Arizona Wind En­ semble; conducted by Dr. John Boyd, will perform Suite Fraru;ai.se , Op. 248 (1944), on October 4 in CentennialHall. This drawing of Darius Milhaud was made by Marion VIRGINIA (Charlottesville and Sweet Briar) March 22 Claude] in January 1944 and was first printed in Modern and April 6: At the University ofVirginia on March 22, and Music for Jan.-Feb. 1944, Vol XXI, No.2. at Sweet Briar College on April 6, The Piedmont Chamber Players will present a program of Milhaud's music organized by Anne Kish, including performances by her and Content Sablinsky, both ofwhom studied with Milhaud • • •••• * • • • at Mills College. The program includes the Suite de Concert , Op. 81 b (1926), (the piano-with-string-quartet version of Creation of the World); the Sonatine, Op. 76 MA VIE HEUREUSE, Milhaud's autobiography extend­ (1922), for flute and piano; songs for soprano and piano; and ing through 1972, was scheduled for release in February Quinte t, Op. 312 (1951), for piano and string quartet, 1987, and copies have been ordered for those who asked for written to celebrate the centennial ofMills College in 1952. them in 1986. The Milha ud Society will send information to The Piedmont Chamber Players include, in addition to those who ordered the book as soon as the copies arrive. Mmes. Kisb, violin, and Sablinsky, piano, Diana Bennett, Although we do not know if more copies are available, write soprano, M. Alexandra Eddy, violin, Sandy Robinson to the Society ifyou areinterested in purchasingone,and we viola, Robert Ashby and Eric Stoltzfus, violoncelli, and will inquire about availability. Margaret Newcomb, flute. (continued on page 2) -1­ HONORARY TRUSTEES HONORARY COMMITTEE Madeleine Milhaud , Chair Maurice Abravanel Charles Jones Vitya Vronsky Babin Leonard Bernstein Virgil Thomson Grant Johannesen Dave Brubeck Henri Sauguet, France Odette Valabregue Wurzburger Aaron Copland Paul Collaer, Belgium c FOUNDING TRUSTEES: Clinton and Katharine Warne, Ursula Korneitchouk INFORMAL NATIONAL MILHAUD FESTIVAL 1987 (continued) CONNECTICUT (Hartford) April 12: Linda Laurent, Katherine Jones, flute, Rosemary Platt, piano; Petite Artist-in-Residence at Trinity College and founder of the Symphonie No. 6, Op. 79 (1923) - William Baker, oboe, Chamber Players at Trinity (CPT), has organized a William Conable, violoncello, and voices from the OSU program to be performed in collaboration with the Hartt Chorale, Maurice Casey, conductor; Quatrains Valaisins, School of Music. The program will be presented in Hamlin Op. 206 (1939) - OSU Chorale, conducted by Maurice Hall, Trinity College. Works to be heard include Cantatede Casey, Director; String Quartet No. 7 , Op. 87 (1925)­ l'En{ant et de Ia Mere, Op. 185 (1938); Deuxieme Con­Hughes Quartet: Michael Davis and Jonquil Thoms, certo, Op. 394 (1961), for two pianos and percussion; and violins, Edward Adelson, viola, and William Conable, Suite de Concert de la Creation du Monde, Op. 81b violoncello; Scaramouche, Op. 165b (1937) - Rosemary (1926). Participating will be CPT players Karin Fagerburg Platt and Nelson Harper, pianos; andPetite Symphonie and CynthiaTreggor, violins, Sharon Dennison, viola, Julie No. 5, Op. 76 (1922), (Dixtu.or auent)- Faculty Chamber Charland, violoncello, Linda Laurent, piano, and guest Winds, Craig Kirchoff, conductor. artists Marie-Claire Rohinsky, recitante, Bridget de Marra­ Castro, piano, and Douglas Jackson, percussion. ALASKA (Anchorage) May 3-10: Week-long attention will be given to Milha ud's music, including two filmshowingsat NEW MEXICO (Albuquerque) April16: The University of the Museum of Art, organized by Don Davisson, and a New Mexico plans a program coordinated by Scott faculty chamber music program at the University of Wilkinson, Professor of Music Theory, who studied with Alaska, Anchorage. On May 3, viewers will see Madame Milha ud at Mills College and Aspen. Dean Emeritus John Bouary, and on May 10, The Private AffairsofBelAmi.The Donald Robb, who was a lso a Milhaud student, has been chamber music program, to be performed in the new audito­ helpful in bringing about the program, organized by con­ rium of the Performing Arts building on the University ductor John Landis, which will include Sonatine, Op. 100 campus, is being organized by Sally E. Hood under the (1927), performed by Keith Lemmons, clarinet, and Eveline guidance of Dr. George Belden, Chair, the Department of ( Brancart, piano; Catalogue de Fleurs, Op. 60 (1920), Music. The program will be announcedlater. Radio stations Bradley Ellingboe, bass-baritone, Rita Angel, piano; will feature Milhaud's music throughout the week, in Sonatine, Op. 76 (1922), Frank Bowen, flute, Mimi Tung, programs planned and coordinated by Jon Sharpe. piano; Scaramouche, Op. 165b (1937), Mimi Tung and Organizer of the festival is Doris M. Hood. George Robert, pianos; Concerto, Op. 278 (1947), Christo­ pher Shultis, marimba and xylophone soloist, with John Landis conducting the University of New Mexico OHIO (Cleveland)May 13-16: A festival ofmusic and dance Symphony Orchestra. will present new choreographies to two Milhaud works­ Creation of the World, Op. 81 (1923), choreographed by Patricia Brandt, holder of a Master's degree in dance and OHIO (Columbus) April27: TheOhio Music Teachers Asso­ choreograph y from Mills College, and SecondSymphonic ciation (OMTA) andThe Ohio State University (OSU) have Suite, Op. 57 (1919), which originated as incidental music made plans for a Milhaud festival which will feature a for Paul Claudel's play, Proteus. Thefestival will begin with master class and concert. Sponsored by OMTA, and a dance lecture-demonstration on May 13, conducted by organized by Dorothy Larmee, James Somerville and Paul Tom Evert, Artistic Director of the Tom Evert Dance Strouse, the master class of Milhaud's songs, open to the Company. Discussion of Evert's choreography for Second public, will be h eld at Capital University. The class will be Symphonic Suite will include attention to important conducted by Faye Liebman-Cohen, Chair of the Voice movement motifs which provide structure and give expres­ Department at the Cleveland Music School Settlement. sive content, with demonstration by the dancers of the Participants will be students from five institutions ofhigher Company. The evening will also include demonstration of learning, including: Christine Cox, Otterbein
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