COLORHIM Michael Torke
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LEONARD BERNSTEIN Symphony No
GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians. -
Musicalympics Curriculum Email
Musicalympics Concept by Music Director Daniel Meyer Curriculum Designed by Steven Weiser and the Erie Philharmonic Education Committee Table of Contents 1. Pre-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) 2. CD Track Listing and Listening Guide for Teachers 3. Map of the Orchestra 4. History of the Erie Philharmonic 5. Lesson 1 • Lesson Plan • Orchestra Map Exploration • Identifying Instruments 6. Lesson 2 (introducing Carnegie Hall’s Link Up program The Orchestra Sings) • Exploring Link Up • Beethoven in my Neighborhood Sponsored By 7. Game Break • Maze - Grades K-2, 3+ • Word Search - Grades K-2, 3+ • Coloring - all Grades 8. Brief History of the Warner Theatre 9. Lesson 3 • Musical Characteristics 10. What to Expect at the Concert 11. Post-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) Presented in partnership with Pre-Test (Grades K-2) Name ______________________ 1. Can you name one of the instrument families of the orchestra? 2. Can you name an instrument from the orchestra? 3. Can you name an instrument that has strings? 4. Can you name an instrument that you play by using air? Pre-Test Lesson 1 (Grades 3+) Name ______________________ 1. Can you list the 4 instrument families of a symphony orchestra? 1. 2. 3. 4. 2. Can you name these instruments? ______________ ______________ _________________ 3. Is this instrument from the Brass or Woodwind family? _______________________________ 4. Is this instrument from the Percussion or String family? ____________________________ 5. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Steen Kaargaard Nielsen Hvad Angår Chaka Khan I De Gule Sider ... En
Hvad angår Chaka Khan i De Gule Sider ... En kompositionsteknisk dissektion af Michael Torkes The Yellow Pages ledsaget af stilistiske og æstetiske betragtninger af Steen Kaargaard Nielsen Blandt den generation af unge amerikanske postminimalistiske komponister, for hvem det lykkedes at skabe sig en international karriere i sidste halvdel af 1980'erne, indtager Michael Torke (f. 1961) en særlig priviligeret position. Som komponiststuderende på East man School of Music ved University of Rochester (New York) i begyndelsen af 80' erne opnåede han stor anerkendelse for sine kom positioner. Og da han i 1985 valgte at afbryde sine videregående studier på Yale University, var han i stand til at ernære sig som komponist takket være en fortsat strøm af værkbestillinger fra såvel amerikanske som europæiske orkestre, ensembler, balletkompag nier og musikfestivaler. Blandt de foreløbige karrierehøjdepunk ter, som vidner om en for nulevende komponister usædvanlig popularitet, kan nævnes værkbestillingen fra Atlantas olympiske komite til fejring af Atlanta Symfoniorkesters 50 års jubilæum i 1994, hvilket resulterede i kompositionen Javelin (1994), og bestil lingen på et symfonisk oratorium, Four Seasons (1999), som led i Walt Disneys milleniumfejring. Med den massive økonomiske og symbolske opbakning fra diverse kulturinstitutioner og kommer cielle selskaber samt fortsat promovering fra såvel forlag (Boosey & Hawkes) som pladeselskab (Deeeas Argo-label), med hvem han har indgået langtidskontrakter, synes Torkes komponistkarriere sikret et godt stykke ind i det 21. århundrede sammen med en plads i den nyeste musikhistorie. 201 Formålet med denne artikel er ikke at foretage en analyse af Tor kes ekstraordinære karriereforløb eller årsagerne hertil, skønt en sådan utvivlsomt ville bidrage til en tiltrængt belysning af de kul turinstitutionelle mekanismer, der styrer produktionen af ny kom positionsmusik i Vesten. -
Dance Brochure
Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946. -
Kennesaw State University Wind Ensemble Wednesday, March 18, 2015 at 8:00 Pm Dr
program Kennesaw State University Wind Ensemble Wednesday, March 18, 2015 at 8:00 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-third Concert of the 2014-15 Concert Season featuring Sam Skelton, soprano saxophone David Kirkland Garner, guest composer Daniel S. Papp, special guest conductor WARREN BENSON (1924-2005) The Solitary Dancer (1969) DAVID KIRKLAND GARNER (b. 1982) Soprano Sax Concerto with Wind Ensemble (2014) (Georgia Premiere) I. dotted quarter note = 100 II. quarter note =72; lazy and relaxed III. quarter note = 112 Sam Skelton, soprano saxophone DMITRI SHOSTAKOVICH (1906-1975) transcribed by H. Robert Reynolds Prelude, opus 23, No. 14 MICHAEL TORKE (b. 1961) Bliss (2013) JOHN PHILIP SOUSA (1854-1932) The Washington Post (1889) Daniel S. Papp, guest conductor program notes The Solitary Dancer | Warren Benson Warren Benson, as composer, conductor and performer, was perhaps best known for his music for wind ensemble and percussion and for his song cycles. Benson wrote over 150 works. His music has been played and recorded worldwide by the Kronos Quartet, New York Choral Society, International Horn Society and United States Marine Band. Benson’s teaching career spanned over 50 years and culminated with honors including the Kilbourn Professorship for Distinguished Teaching, and appointment as University Mentor and Professor Emeritus at the Eastman School of Music. Benson played timpani in the Detroit Symphony Orchestra under Ormandy, Reiner, Goosens, and Bernstein while an undergraduate at the University of Michigan. He later received Fulbright Teaching Fellowships, a John Simon Guggenheim Composer Fellowship, National Endowment for the Arts composer commissions and the Diploma de Honor from the Republic of Argentina. -
The CIM Orchestra Carl Topilow, Conductor Natalie Lin, Violin
Wednesday, September 21, 2011, 8:00 p.m. Severance Hall The CIM OrChesTra Carl TOpIlOw, conductor NaTalIe lIN, violin MICHAEL TORKE Bright Blue Music (b. 1961) BENJAMIN BRITTEN Violin Concerto in D minor, Op. 15 (1913-1976) Moderato con moto Vivace Passacaglia: Andante lento Played without pause INTERMISSION MODEST MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade – The Gnome arr. MAURICE RAVEL Promenade – The Old Castle (1875-1937) Promenade – Tuileries Bydlo Promenade – Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle The Marketplace at Limoges – Catacombs, Roman Tombs Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs – The Great Gate of Kiev Broadcast live on WCLV 104.9 FM with support from Audio-Technica THE CIM ORCHESTRA 1 2 THE CLEVELAND INSTITUTE OF MUSIC welCOMe! s we move further into the 21st Century, relevance to the greater community is more and more prominent in our thinking at CIM. Our students can only succeed as artists if they can find atheir audience and make their performance relevant to the world around them. We hope, this year, to bring our young students’ accomplishments into the community in new and imaginative ways while bringing the community’s culture into our own midst. On behalf of all of us at the Cleveland Institute of Music, I welcome you to the first of five appearances of the CIM Orchestra in Severance Hall for the 2011-12 season. Highlights of the coming season include a special appearance by artist-faculty member Vinson Cole, world-renowned tenor, performing alongside Jeffrey Kahane, the conductor of the Denver Symphony. -
Season 20 Season 2011-2012
Season 2011-2012 The P hiladelphia Orchestra Friday, January 6, at 2:00 Saturday, January 7, at 8:00 Sunday, January 8, at 2:00 a!id "in#an $onductor $hoon%-Jin $han% &iola Tor'e Ash First P hiladelphia O rchestra perform ances ( alton &iola $oncerto )* +ndante co#odo,$on spirito ))* &i!o, con #olto preciso )))* +lle%ro #oderato )nter#ission -eetho!en Sy#phony . o* / in $ #inor, Op* 67 )* +lle%ro con 0rio ))* +ndante con #oto )))* +lle%ro, )&* +lle%ro This pro%ra# runs appro1i#ately 1 hour, 2/ #inutes* a!id "in#an is in his 16th season as #usic director o3 the "urich Tonhalle Orchestra* 4 e studied conductin% 5ith Pierre 6onteu1 and #ade his 3irst #a7or conductin% de0ut 5ith The Philadelphia Orchestra in 1867* 6r* "in#an 5as pre!iously #usic director o3 the 9otterda# and 9ochester philhar#onics and the -alti#ore Sy#phony, and principal conductor o3 the . etherlands $ha#0er Orchestra* 4 e 5as also #usic director o3 the +spen 6usic Festi!al and School and +#erican +cade#y o3 $onductin% 3or 1: years* 6r* "in#an recently per3or#ed 5ith the . 4 ; Sy#phony and 4 on% ;on% Philhar#onic and #a'es return en%a%e#ents to the Sydney and . e5 "ealand sy#phonies this season* 4 e has toured 5idely 5ith #any international orchestras and continues to tour in <urope, +sia, and the = *S* 5ith the Tonhalle Orchestra* 4 is #ost recent opera per3or#ance 5as O33en0ach>s The Tales of H offm ann at ? ene!a Opera* 6r* "in#an>s e1tensi!e disco%raphy o3 #ore than 100 recordin%s has earned hi# nu#erous international honors, includin% 3i!e ? ra##y a5ards, t5o ? rand Pri1 du is@ue a5ards, t5o <dison priAes, the eutsche Schallplattenpreis, and a G ram ophone +5ard* 4 e 5as also the 1887 recipient o3 the itson +5ard 3ro# $olu#0ia = ni!ersity in reco%nition o3 his co##it#ent to the per3or#ance o3 5or's 0y +#erican co#posers* 6r* "in#an and the Tonhalle Orchestra recently co#pleted -rah#s and 6ahler sy#phony cycles Bthe 6ahler Sy#phony . -
Composer Brochure | Works
Book 3.indb 2 John ADAMS ElliottCARTER 9/5/2008 12:08:42 PM John Adams Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 16 Chamber Orchestra 20 Solo Instrument(s) and Orchestra 21 TABLE OF CONTENTS TABLE Voice(s) and Orchestra 22 Ensemble and Chamber with out Voice(s) 23 Piano(s) 26 Instrumental 26 Miscellaneous 27 Arrangements 27 Recordings 29 Chronological List of Works 32 Boosey & Hawkes Addresses 34 Composer List Cover photo: Deborah O'Grady Book 3.indb 3 9/5/2008 12:08:42 PM The Music of John Adams ON I The strains of his grandfather’s lakeside New England dance hall were among the earliest layers of John Adams’s aural CT memory. So too were the marching bands in which he played clarinet as a young student. Learning the basic European DU canon in front of the family Magnavox, Adams readily O assimilated it alongside the crazy quilt of American vernacular R music he encountered in the early postwar decades. Duke Ellington is a recurrent inspiration, and Adams’s love of jazz— which returns in unexpected forms, such as the improvisatory NT I “hypermelody” of the Violin Concerto (1993) or the electric violin’s raga-like musings in The Dharma at Big Sur (2003)— was early nurtured by his parents’ activities in jazz groups. As a student at Harvard during the cataclysmic upheavals of the late Sixties, Adams experienced the cognitive dissonance of the arid pronouncements of contemporary serialists when confronted with the fresh, Dionysian inventiveness of this golden age of rock. -
Dialogue with BEETHOVEN 2020 Dialogue with BEETHOVEN 2020
Dialogue with BEETHOVEN 2020 Dialogue with BEETHOVEN 2020 Ludwig van Beethoven is the composer’s composer. Though later luminaries such as Mahler, Ravel, Stravinsky, or Messiaen may loom large in a personal If I was really pressed to choose just pantheon, it is Beethoven that many composers look to as the archetypal figure exemplifying the creative will. Signaling the break from aristocratic patronage, one composer from the classical canon he took the new classical style and molded it into an individual idiom with an enhanced sense of freedom and bold expressive power. it would have to be Beethoven, because Composers are naturally attracted to his craftsmanship and struggle to achieve perfection, but also to the modernism of his late works, which explore a he stands out as an example of what splintering of language and continuity that has become increasingly relevant in later centuries. Beethoven’s dynamic energy and driving motives are precursors it is to be a contemporary composer. of minimalism and his expansion of references from classical beauty to the world around him have proved influential long beyond the Romantic era. Many MAGNUS LINDBERG composers are simply drawn to Beethoven the man, with his stormy personality, battles against personal adversity, and political aspirations for humankind, driven forward by his belief that “music is a higher revelation than all wisdom and philosophy.” The 250th anniversary of the composer’s birth, falling in December 2020, offers orchestras, festivals, and broadcasters the chance to set this titanic figure in the context of music from later centuries. Modern works can be selected to explore specific aspects of Beethoven and his oeuvre, offering imaginative pairings for his symphonies, concertos, and chamber music, and widening the audience’s perspective beyond the well-earned familiarity of Beethoven’s classic scores. -
Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL PROCESS IN SELECTED WORKS BY MICHAEL TORKE By KATHLEEN BIDDICK SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Kathleen Biddick Smith defended on March 17, 2009. Michael Buchler Professor Directing Dissertation Patrick Meighan Outside Committee Member Jane Piper Clendinning Committee Member Evan Jones Committee Member James Mathes Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation and gratitude to my advisor, Michael Buchler, for his patience, support, and encouragement throughout this journey. His doctoral seminar sparked the initial inspiration for this work, and I cannot thank him enough for his guidance, his enthusiasm, and his careful critiques of my writing. I am also grateful for the contributions of the rest of my committee members: Jane Piper Clendinning, for her helpful feedback on both early and late drafts; Evan Jones, particularly for a successful brainstorming session early on in the project; James Mathes, for his doctoral seminar on form during which an initial chapter of this dissertation was drafted; and Patrick Meighan for lending an invaluable performer’s perspective to this work. -
Works Written As Ballets
Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/dance Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946.