CURRICULUM VITAE B. Douglas Bernheim
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Czech Portraits Friday, Mar
Czech Portraits Friday, Mar. 4 10:30am Vítězslav NovákNovák, Czech composer (1870-1949) Vítězslav Novák held an almost “cult status” popu- larity among his native Czech people. Like his mentor Antonín Dvořák, he used thematic mate- rial from Czech folk melodies in his music and was inspired by the landscape of his native country in South Bohemia. In 1908 he succeeded Dvořák as professor of composition at the Prague Conserva- tory and helped lead the next generation of Czech composers into the new age. Lady Godiva Overture Composed in 1907, duration is 15 minutes This piece was commissioned to open a Czech play of the same name and is taken from a 13th century story about the noble-hearted and beautiful Lady REPERTOIRE Godiva. It tells the story of the Lady’s efforts to end the suffering and oppression of the people in Coventry under her husband’s rule, Count Leofric. After multiple pleas to ask the Count to lower the • NOVÁK taxes, Leofric finally offers her a deal. Lady Godiva Overture The terms, which she ultimately ac- cepts, require her to ride through • ELGAR town naked in exchange for an end to Concerto in E Minor for the heavy taxation. The piece portrays Cello and Orchestra the characters, Count Leofric and • NOVÁK Lady Godiva through contrasting Eternal Longing Op. 33 melodies. Count Leofric has a very fierce motif in C minor while Lady • SMETANA Godiva is delicately portrayed in Eb Moldau from Má Vlast major. The music moves back in forth Coventry painted by Herbert Edward Cox, United Kingdom between the two as if in argument. -
ONYX4206.Pdf
EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure -
The Elgar Sketch-Books
THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career. -
A N N U a L R E P O R T
A N N U A L R E P O R T 2014 – 2015 SIEPR’s Mission The Stanford Institute for Economic Policy Research supports research, trains undergraduate and graduate students, and shares nonpartisan scholarship that will lead to better economic policies in the United States and abroad. Table of Contents From the Director 2 New Faculty 4 Policy Impact 6 Young Scholars Program 8 Student Support 9 Events and Conferences 14 Policy Briefs 18 Income and Expenditures 19 Research Centers and Programs 20 Development 24 Donors 28 Visitors 32 Senior Fellows 34 Steering Committee 38 Advisory Board 39 ANNUAL REPORT | 2014 – 2015 1 From the Director Dear Friends, My first six months as the Trione Director of the undergraduates working as research assistants with Stanford Institute for Economic Policy Research have been SIEPR scholars. We have also organized a number of marked with significant activity. We added more than a policy forums that were geared toward students, including dozen faculty to our Senior Fellow ranks in the Fall. They one on innovation challenges for the next presidential include Professors from the Department of Economics administration and others that focused on the “app along with the schools of Business, Education, Law, and economy” and the evolution of finance. Medicine. We also welcomed 11 Assistant Professors as We have hosted some of the most important and Faculty Fellows. These additions mean SIEPR’s arsenal of influential leaders in government and business who have expertise on economic policy includes more shared with us their insights on economic than 80 faculty from all seven Stanford schools policy and many other issues. -
18 February 2020
18 February 2020 12:01 AM Stanislaw Moniuszko (1819-1872) Overture to Verbum Nobile: Opera in 1 act (1860) Polish Radio Symphony Orchestra, Jerzy Salwarowski (conductor) PLPR 12:06 AM Gabriel Faure (1845-1924) Elegy, Op 24 Tsuyoshi Tsutsumi (cello), Emmanuel Strosser (piano) FIYLE 12:13 AM Johannes Brahms (1833-1897) Schicksalslied (Song of destiny), Op 54 Oslo Philharmonic Choir, Oslo Philharmonic Orchestra, Rafael Fruhbeck de Burgos (conductor) NONRK 12:29 AM Francesco Durante (1684-1755) Concerto per quartetto No 2 in G minor Concerto Koln DEWDR 12:41 AM Wolfgang Amadeus Mozart (1756-1791) Divertimento in E flat major, K113 Saarbrucken Radio Symphony Orchestra, Myung-Whun Chung (conductor) DESR 12:55 AM Johann Nepomuk Hummel (1778-1837) Rondo in B minor (Op.109) Stefan Lindgren (piano) SESR 01:04 AM Jacques Ibert (1890-1962) Trois Pieces Breves for wind quintet Ariart Woodwind Quintet SIRTVS 01:11 AM Edward Elgar (1857-1934) Froissart, concert overture Op 19 BBC National Orchestra of Wales, Tadaaki Otaka (conductor) GBBBC 01:27 AM Johann Sebastian Bach (1685-1750) Toccata in D major, BWV 912 Leif Ove Andsnes (piano) NONRK 01:39 AM Gabriel Faure (1845-1924) Cello Sonata No 2 in G minor, Op 117 Andreas Brantelid (cello), Bengt Forsberg (piano) NONRK 02:01 AM Franz Liszt (1811-1886) Piano Concerto No 2 in A major, S125 Anton Lahovsky (piano), Andris Poga (conductor), Latvian National Symphony Orchestra LVLR 02:22 AM Domenico Scarlatti (1685-1757) Keyboard Sonata in B minor, Kk 27 (L449) Anton Lahovsky (piano) LVLR 02:24 AM Franz Liszt -
Classic Choices April 6 - 12
CLASSIC CHOICES APRIL 6 - 12 PLAY DATE : Sun, 04/12/2020 6:07 AM Antonio Vivaldi Violin Concerto No. 3 6:15 AM Georg Christoph Wagenseil Concerto for Harp, Two Violins and Cello 6:31 AM Guillaume de Machaut De toutes flours (Of all flowers) 6:39 AM Jean-Philippe Rameau Gavotte and 6 Doubles 6:47 AM Ludwig Van Beethoven Consecration of the House Overture 7:07 AM Louis-Nicolas Clerambault Trio Sonata 7:18 AM Wolfgang Amadeus Mozart Divertimento for Winds 7:31 AM John Hebden Concerto No. 2 7:40 AM Jan Vaclav Vorisek Sonata quasi una fantasia 8:07 AM Alessandro Marcello Oboe Concerto 8:19 AM Franz Joseph Haydn Symphony No. 70 8:38 AM Darius Milhaud Carnaval D'Aix Op 83b 9:11 AM Richard Strauss Der Rosenkavalier: Concert Suite 9:34 AM Max Reger Flute Serenade 9:55 AM Harold Arlen Last Night When We Were Young 10:08 AM Wolfgang Amadeus Mozart Exsultate, Jubilate (Motet) 10:25 AM Wolfgang Amadeus Mozart Symphony No. 3 10:35 AM Wolfgang Amadeus Mozart Piano Concerto No. 10 (for two pianos) 11:02 AM Johannes Brahms Symphony No. 4 11:47 AM William Lawes Fantasia Suite No. 2 12:08 PM John Ireland Rhapsody 12:17 PM Heitor Villa-Lobos Amazonas (Symphonic Poem) 12:30 PM Allen Vizzutti Celebration 12:41 PM Johann Strauss, Jr. Traumbild I, symphonic poem 12:55 PM Nino Rota Romeo & Juliet and La Strada Love 12:59 PM Max Bruch Symphony No. 1 1:29 PM Pr. Louis Ferdinand of Prussia Octet 2:08 PM Muzio Clementi Symphony No. -
Romantic Serenades for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings
95655 Romantic Serenades for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings CD1 58’00 CD3 42’50 Pyotr Ilyich Tchaikovsky 1840-1893 Capella Istropolitana Edward Elgar 1857-1934 Niels Wilhelm Gade 1817–1890 Serenade for Strings Op.48 Jaroslav Krcˇek Serenade Op.20 for strings (1888-1892) Novellette No.1 in F Op.53 (1874) 1. I. Pezzo in forma di sonatina: 9. Allegro Piacevole 3’31 1. I. Andantino – Allegro vivace Andante non troppo – Recording: 6-11 May 1990, Moyzes Hall of the 10. Larghetto 6’37 e grazioso 6’05 Allegro moderato 7’50 Slovak Philharmonic (5-9) 11. Allegretto 2’58 2. II. Scherzo: Moderato 5’02 Producers: Karol Kopernicky, Hubert Geschwandtner 2. II. Valse: Moderato (5-9) 3. III. Andantino con moto 3’58 (Tempo di valse) 3’39 © 2018 Brilliant Classics Orchestra da Camera ‘Ferruccio Busoni’ 4. IV. Allegro vivace 3’40 3. III. Elégie: Larghetto elegiaco 8’27 Music Licensed Courtesy of Naxos Music Group Massimo Belli director 4. IV. Finale (Tema russo): Novellette No.2 in E Op.58 (1883–6) Andante; Allegro con 1st violin: Gabriel Ferrari, Valentino 5. I. Andante – Allegro ma spirito 7’07 CD2 53’08 Dentesani, Olga Zakharova, Giuseppe non troppo 7’29 Vasily Kalinnikov 1866-1901 Carbone 6. II. Intermezzo: Ensemble Instrumental Musica Viva 1. Serenade in G minor for strings 2nd violin: Martina Lazzarini, Furio Allegro moderato 4’28 Alexander Rudin cello & conductor (1891) – Andantino 9’13 Belli, Giuseppe Dimaso, Verena Rojc 7. III. Andante espressivo 5’52 Viola: Giancarlo Di Vacri, Federico 8. -
Season 2012-2013
27 Season 2012-2013 Thursday, December 13, at 8:00 The Philadelphia Orchestra Friday, December 14, at 8:00 Saturday, December 15, Gianandrea Noseda Conductor at 8:00 Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Cello Concerto in E minor, Op. 85 I. Adagio—Moderato— II. Lento—Allegro molto III. Adagio IV. Allegro—Moderato—[Cadenza]—Allegro, ma non troppo—Poco più lento—Adagio—Allegro molto Intermission Tchaikovsky Symphony No. 3 in D major, Op. 29 (“Polish”) I. Introduzione ed allegro: Moderato assai (tempo di marcia funebre)—Allegro brillante II. Alla tedesca: Allegro moderato e semplice III. Andante elegiaco IV. Scherzo: Allegro vivo V. Finale: Allegro con fuoco (tempo di polacca) This program runs approximately 1 hour, 55 minutes. The December 14 concert is sponsored by Medcomp. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
CURRICULUM VITAE B. Douglas Bernheim
March 2006 CURRICULUM VITAE B. Douglas Bernheim Department of Economics Phones: 650-725-8732 (W) Stanford University 650-725-5702 (FAX) Stanford, CA 94305-6072 650-424-0443 (H) Education Massachusetts Institute of Technology, 1979-1982, Ph.D. Harvard University, 1975-1979, A.B. Academic Positions Stanford University, Department of Economics, 1994-present. Lewis and Virginia Eaton Professor of Economics (1994-2005), Edward Ames Edmonds Professor of Economics (2005-present). Princeton University, Department of Economics, 1990-1994. John L. Weinberg Professor of Economics and Business Policy. Northwestern University, J.L. Kellogg Graduate School of Management, Department of Finance, 1988- 1990. Harold J. Hines Jr. Distinguished Professor of Risk Management. Stanford University, Department of Economics, 1987-1988. Associate Professor with tenure. Stanford University, Department of Economics, 1982-1987. Assistant Professor. Honors and Awards John Simon Guggenheim Memorial Foundation Fellowship, 2001-02. Fellow, Center for Advanced Study in the Behavioral Sciences, 2001-02. Fellow of the American Academy of Arts and Sciences, elected 1997. Fellow of the Econometric Society, elected 1991. ACCF Center for Policy Research Fellowship, 1994. Alfred P. Sloan Foundation Research Fellow, 1987-1989. NBER-Olin Research Fellow, 1985-1986. 1 Awarded Hoover National Fellowship, 1985-1986 (declined to accept NBER-Olin). National Science Foundation Graduate Fellowship, 1979-1982. John H. Williams Prize, 1979 (first ranked graduate in Economics). A.B. conferred -
Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him. -
A Comprehensive Tempo Analysis of Phrases from Commercial Recordings of the Hummel Trumpet Concerto Using Tempo Maps in Pro Tools
Finding Interpretations: A Comprehensive Tempo Analysis of Phrases from Commercial Recordings of the Hummel Trumpet Concerto using Tempo Maps in Pro Tools by Marc Lynn Sutton, B.M., M.M. A Doctoral Performance Project In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Andrew Stetson Chair of Committee Dr. Kevin Wass Dr. Lisa Garner Dr. Mark Sheridan Dean of the Graduate School August 2018 Copyright 2018, Marc Lynn Sutton Texas Tech University, Marc Lynn Sutton, August 2018 ACKNOWLEDGEMENTS This project would not have been possible if not for the help of a number of people. First and foremost, I would like to thank my parents. Without them, I would never have made it this far. They are the only ones that have been with me through every high and low that I’ve experienced throughout my life. My parents were my first teachers and coaches. Everything that I have done or learned in life is simply a variation on their lessons. Their encouragement to reach for the stars has taking me to places that I never thought possible. They mean the world to me and I am thankful for them every single day. Next, I would like to thank my mentor and professor, Dr. Stetson. The decision to return to school and begin work on a doctorate was not easy, but now in hindsight, it was exactly what I needed. From our first conversation, Dr. Stetson had me convinced that working together we would be able to accomplish a lot, and that proved to be true. -
John Karl Scholz Address
John Karl Scholz Address: Office: Department of Economics University of Wisconsin–Madison Madison, Wisconsin 53711 1180 Observatory Drive Madison, Wisconsin 53706-1397 Phone: (608)262-5380 e-mail: [email protected] Education 1988, Ph.D., Economics, Stanford University. 1981, B.A., Economics and Mathematics, Carleton College Employment Nellie June Gray Professor of Economic Policy, University of Wisconsin–Madison, Department of Economics, since 2010 (Assistant Professor, Economics Department and La Follette Institute of Public Affairs, 1988-95; Associate Professor of Economics, 1995-98; and Professor of Economics since 1998) Deputy Assistant Secretary, Office of Tax Analysis, U.S. Treasury Department, January 1997- August 1998 Senior Staff Economist, Council of Economic Advisers, Executive Office of the President, Washington, D.C., September 1990-July 1991 Professional Appointments 2011 - today Coeditor, American Economic Journal – Economic Policy 2009 - 2011 Coeditor, Journal of Public Economics 2008 - today TIAA-CREF Institute Fellow 2008 - today Research Fellow, Netspar (Netherlands), Member of Netspar Scientific Counsel 2007 - 2009 Member, Internal Revenue Service Advisory Council (Tax Gap Committee) 2007 - 2009 Chair, NRC Panel on the Dynamics of Economic Well-Being System 2005 - 2008 Associate Editor, The New Palgrave: A Dictionary of Economics 2005 International Monetary Fund Technical Assistance, South Korea 2004 Chair, National Research Council Panel on Enhancing the Data Infrastructure in Support of Food and Nutrition Programs, Research, and Decision Making 2003 - today Michigan Retirement Research Center Board of Outside Scholars 2003 - today Senior Research Affiliate at the Michigan National Poverty Center 2001 - 2003 Member, National Research Council Panel to Evaluate the USDA’s Methodology for Estimating Eligibility and Participation for the WIC Program 2001 - today Editorial Board, The B.E.