DOCSLIB.ORG

AUGUST 6, 2017 Stephen Rogers Radcliffe, Music Director THANK YOU to OUR COMMUNITY PARTNERS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AUGUST 6, 2017 Stephen Rogers Radcliffe, Music Director THANK YOU to OUR COMMUNITY PARTNERS MARROWSTONE 2017 FESTIVAL PROGRAM 74 TH SEASON in partnership with JULY 23 - AUGUST 6, 2017 Stephen Rogers Radcliffe, Music Director THANK YOU TO OUR COMMUNITY PARTNERS MARROWSTONE SCHOLARSHIP FUND SPONSOR The Estate of Mrs. Marjorie Moore SEATTLE OPERA ACADEMY SPONSORS Susan Coughlin and John Lauber Hearst Foundations MEET THE $10,000+ STAFF & BOARD Mr. Terry Clark SYSO Staff Marrowstone Staff $2,000-$4,999 Kathleen Allen Robert Babs Donald & Mary Louise Brown Interim Executive Director Marrowstone Coordinator Robert & Judith Eagan Janice Gatti Megan Cummings Horizons Foundation Orchestra Coordinator / Counselor Coordinator Office Manager Paul & Ya-Ling Ristuccia Darian Douglas Paul Rafanelli & Dan Williams Lance Georgeson Box Office Manager / Counselor Coordinator Williamson Foundation for Music MITC Program Coordinator Tomick Necessary $1,000-$1,999 Chris Harshman Student Liaison MITC Director Mrs. Susan Jay Gordon Robbe Meini Li Mrs. Maxine Shum & Mr. John McKee Orchestra Personnel Manager Advancement Manager Evan Berge $500-$999 Bryan Lindeman Data & Operations Coordinator Music Librarian Karen & Dr. Don Berry Shannon Loys Coltan Foster National Federation of Music Club Graphic Designer Faculty Liaison Ms. Lynne Rein Dan Schmitt Bryan Kolk Associate Director of Opera Liaison $100-$499 Development Hank & Kristin Van Schelt • Mr. & Mrs. John Woll • Dr. & Mrs. Caleb Ren Clyde Hiss • Mr. John Stephens & Ms. Alice Hale • Mr. Evan Collaborative Pianist Kuhlmann • James & Addis Chapman SYSO Board of Directors Alice Ikeda, President | Nancy Grauman, Vice President MEDIA SPONSOR IN-KIND Christine Chang, Secretary | Dean Willard, Treasurer Mary Lou Brown, Francisco J. Grijalva, Ed.D., Ikuko Hellevik, Mae Lin, Ginger Hunt Luce, Yoshiaki Minegishi, John Neeleman, Paul Rafanelli, Robert M. Sokol, Fernando Vega, M.D. Western Washington University Marrowstone Personnel Dr. Christopher Bianco David Saxton Lea Fetterman Cory Herman Music Department Chair PAC Operations Kramer Elwell Conference Services Jon Bash Heather Dalberg Michelle Stranges Samantha Golden Kaitlyn Ronstadt Administrative Services Keyboard Technician Shayna Woods Kristina Nielsen Manager Apartments & Guest Housing Jesse Phillips Lacey Knudtson Fred Ramage Box Office Manager Kathryn Moore PAC Operations Manager Ariel Mathwig Facilities/Technical Staff Head House Manager 2 | July 23 - August 6, 2017 | MARROWSTONE NOTES FROM MARROWSTONE LEADERSHIP Thank you for joining us at On behalf of Seattle Youth Symphony Welcome to Marrowstone 2017! As Marrowstone. Your participation makes you Orchestra, it gives me great pleasure to a Marrowstone and SYSO alumnus, I am part of a great Northwest tradition. Over the welcome you to the 2017 Marrowstone honored to be participating in Marrowstone course of its 74-year history, Marrowstone Music Festival. Set among the grandeur of as the program coordinator. Overall, this is my has become the premier summer youth music the Puget Sound and the snow-capped peaks seventh season at the festival, having attended program in the Pacific Northwest, featuring of the Cascade Mountains, Marrowstone is a not only as a student, but as a counselor, inspiring performances, world-class faculty, magical musical event, one in which lifelong and staff member as well. This program has and unparalleled artistic and educational friendships are forged, where the love for been such a significant part of my life and experiences. This year we add to this tradition great music is kindled and where musicians musical education. The memories shared and of excellence a partnership with the Seattle learn to give voice to the beauty within and lessons learned here over the years are some Opera for the first-ever Seattle Opera around them. of my most cherished. I am eternally grateful Academy at Marrowstone, which will culminate to the faculty, staff, and my fellow students The Festival draws its name from the fabled in performances of the full opera “The Tender who have continuously inspired, pushed, and Puget Sound island that hosted many of Land” by Aaron Copland. nurtured me. I am sure that this year will be no the early performances. While the Festival’s exception. Thank you to all who have helped make location has changed, its role as the Pacific this season’s festival possible. Marrowstone Northwest’s most distinguished orchestral My best wishes for a successful festival to could not happen without the strong support performance and training program has not. all students this season. The Marrowstone of Western Washington University, all our experience is one that is both instructive and Whether you are a longtime Marrowstone friends in the Bellingham community, and our fun! And many thanks to all of the wonderful patron, a visitor, a parent, or a lover of great partners at Seattle Opera. I hope you enjoy families and community members who have music, we welcome you to our 2017 Festival the performances and your Marrowstone made it a priority to support these great young and look forward to sharing with you these experience. musicians and this festival! magnificent gifts of great music. KATHLEEN ALLEN STEPHEN ROGERS RADCLIFFE ROBERT BABS Marrowstone Coordinator Interim Executive Director Music Director & Conductor Seattle Youth Symphony Orchestra Seattle Youth Symphony Orchestra MEET OUR PARTNER WESTERN WASHINGTON UNIVERSITY The Music Department at Western Washington University has long been a leading institution in the Northwest for undergraduate and graduate studies in music, with an enrollment of over 200 majors and an additional 300 non-major ensemble performers each quarter. Students majoring in music are able to pursue a variety of degree programs including Music Education, Composition, Performance, Music History & Literature, and Conducting. Western’s Performing Arts Center is one of the finest facilities in the nation for teaching, performing, and studying music. The facility includes a concert hall, large auditorium, electronic music/ composition studio, keyboard lab, classrooms, and rehearsal halls. LEARN MORE > wwu.edu MARROWSTONE | July 23 - August 6, 2017 | 3 MEET THE FACULTY CONDUCTORS STEPHEN ROGERS RADCLIFFE RYAN DUDENBOSTEL Music Director & Conductor Conductor Dr. Radcliffe continues to fulfill the promise recognized when he made Dr. Dudenbostel is the Director of Orchestral Studies at Western his Lincoln Center conducting debut with Metropolitan Opera sopranos Washington University, where he conducts the WWU Symphony Orchestra; Jan DeGaetani, Susan Graham, and Dawn Upshaw. Since then, he teaches courses in conducting, music theory, and music history; and leads has conducted orchestras on four continents, produced compact disc the contemporary music ensemble NowHearThis! He conducts regularly recordings of operatic, orchestral, and chamber music works, and has on the Jacaranda new music series in Los Angeles, and has taught at the fostered the development of audiences through innovative educational Marrowstone Music Festival for seven summers. Previously, he served as and artistic programs. An Assistant Conductor of the Boston Lyric Opera, Music Director of the Santa Monica Youth Orchestra. He also spent three Radcliffe was Founder and Music Director of the New York Chamber seasons as a rehearsal and cover conductor at the Manhattan School of Ensemble (performing for over a decade at Lincoln Center), Artistic Music, and was among fewer than a dozen Americans invited to participate Director of the Cape May Music Festival, and Principal Guest Conductor of in the 11th Cadaqués Orchestra International Conducting Competition in the Hungarian Virtuosi, which he led in international touring, television and Barcelona. Dudenbostel is a graduate of UCLA, UMKC, and WWU, and radio broadcast performances and recording projects. has studied conducting with Neal Stulberg, Robert Olson, David Wallace, Kenneth Kiesler, Gustav Meier and Rossen Milanov. DALE CLEVENGER JONATHAN GIRARD Conductor Conductor Principal horn of the Chicago Symphony Orchestra from February 1966 Dr. Girard is one of the rising stars of his generation. A passionate musician to June 2013, Clevenger is a versatile musician in many areas, including committed to engaging audiences with thrilling performances, he enjoys a chamber music, jazz, commercial recordings, and solos, his principal mentors reputation as a musical force equally versed in symphonic repertoire, opera, being Arnold Jacobs and Adolph Herseth. Clevenger was a member of and new music. As the Director of Orchestras at the University of British Leopold Stokowski’s American Symphony Orchestra, the Symphony of the Columbia School Of Music, Girard dedicates himself to raising the standard Air directed by Alfred Wallenstein, the Kansas City Philharmonic, and the of orchestral training in Western Canada. He also serves as the assistant Berlin Philharmonic Orchestra under Daniel Barenboim. Also a conductor, conductor for the Vancouver Symphony Whistler Institute Orchestra. He Clevenger served as music director of the Elmhurst Symphony Orchestra was the assistant conductor of the Ohio Light Opera from 2012-2014. for fourteen years. His conducting career has included guest appearances Girard served as cover conductor for the Rochester Philharmonic Orchestra with numerous orchestras worldwide, including the Chicago Symphony (NY) in 2012. At the Eastman School of Music, he studied conducting with Orchestra, the New Japan Philharmonic, and the Shanghai Symphony Neil Varon and was the assistant conductor of the Eastman Symphony Orchestra.
Load more

Recommended publications
  • Jazz Concert
    Artist Series presents Sonatas for Violin and Piano featuring Maria Sampen, violin and Oksana Ezhokina, piano Saturday, November 14, 2015 at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents: Artist Series Sonatas for Violin and Piano Maria Sampen, violin Oksana Ezhokina, piano Saturday, November 14, 2015, at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Scherzo in C Minor for Violin and Piano, WoO 2 ............................................ Johannes Brahms (1833-1897) Sonata for Violin and Piano in A Major, Op. 100 ................................................................. Johannes Brahms Allegro amabile Andante tranquillo – Vivace Allegretto grazioso INTERMISSION Sonata No. 3 for Violin and Piano in A Minor, Op. 25 .......................................... George Enescu (1881-1955) Moderato malinconico Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso About the Artists Russian-born pianist Oksana Ezhokina appears frequently as guest recitalist and chamber musician on concert series across the United States and abroad. She has soloed with the Seattle Symphony, St. Petersburg Chamber Philharmonic and Tacoma Symphony, and performed in venues such as the Phillips Collection in Washington DC, Benaroya Hall in Seattle, Governor’s Mansion in Olympia, Davies Orchestra Hall in San Francisco, and Klassik Keyifler Festival in Turkey. A dedicated performer of new music, she has premiered works by Marilyn Shrude, Wayne Horvitz, Bern Herbolsheimer, and Laura Kaminsky, among others.
    [Show full text]
  • Journal of the American Viola Society Volume 9 No.2/3, 1993
    JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds
    [Show full text]
  • 2015-10-23 Monteverdi Vespers
    welcome pacific musicworks ensemble I will never forget the first Stephen Stubbs time I participated in a full music director & lute performance of the Monteverdi Joseph Adam Vespers. It was one of a handful organ of pivotal moments in my life Maxine Eilander so far when I felt that I was harp not really in control of my own Tekla Cunningham & Linda Melsted destiny. It might sound like violins hyperbole, but my experience Laurie Wells & Romeric Pokorny is that this is a work of such violas persuasive power, architectural Photo credit Jan Gates brilliance and raw beauty, that it literally changed the course William Skeen cello of my life. Christopher Jackson was the conductor of the Studio de Musique Ancienne de Montréal on that occasion Moriah Neils and I remember the joy, fascination and pure enthusiasm he bass managed to communicate to everyone involved. I was totally Bruce Dickey & Kiri Tollaksen hooked and felt so compelled and intrigued with how this cornettos work made me feel, that 25 years later, I am still spending Greg Ingles, Erik Schmalz and Mack Ramsey my time convincing anybody who will listen, that there is no sackbuts music that will make them feel luckier to be alive. Christopher Jackson died on September 25th, 2015, after a long and extremely influential career as a master of renaissance and baroque music. His inspirational work with the SMAM and as Dean of the Faculty of Arts at Concordia brought him into regular contact with hundreds of young and vancouver chamber choir aspiring musicians over the years. I will be forever grateful to him for first introducing me and many others to this wondrous music, as well as for instilling in me a desire to perform and promote art that still has the amazing power to transform lives over 400 years later.
    [Show full text]
  • 18423 Cmp.Pdf
    ® GRAN TEATRE DEL LICEU LA PROEZARougeDE UNA LARGA DURACiÓNMagnéticLIGERA COMO UNA PLUMA Ei o u <Ú Ei o u 1 Temporada 1998-99 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA AJUNTAME T DE BARCELO A Ei MI ISTERIO DE C LTURA o u DIPUTACIÓ DE BARCELO A innova.,tion <Ú lANCOME Ei o --99-- u .§ LANCOME 4£) � PARIS � � ® Die Zauberflote ingspiel n do actos Libreto de Emmanuel chikaneder Música de Wolfgang Amadeu Mozart Teatre Victòria Vierne 11 de 21 núm. -i turno , junio, h., función 1, E Sábado, 12 de junio, 21 h., función núm. -i9 (precio populares) Domingo, 13 de junio, 17 h., función núm. -i2. turno T Martes, 15 de junio, 21 h., función núm. -i3, turno A Miércoles, 16 de junio, 21 h., función núm. 50 (precios populares) Jueves, 17 de junio, 21 h., función núm. -i4, turno B 18 21 45 Vierne , de junio, h., función núm. (precios populares) Sábado, 19 de junio, 21 h., función núm. -i6, turno e Domingo, 20 de junio, 17 h., función núm. 47 (precios populares) Martes, 22 de junio, 21 h., función núm. -i8, turno D I Indice 9 Reparto 10 Resumen argumental 32 Papageno en el centro del universo de la Zauberflote 50 Eclecticismo y unidad en La flauta màuica 72 Biografías 95 Grabaciones 103 Cronología liceísta 107 Próximas funcione ® Die Zauberfl óte ara 1 ro Harry Peeters Kon (an tin Corny (día 12, 16,18 Y 20 le junio) Tamino Jo ep Bros Claude Pia (día 12.16. 18 �. 20 ci junio) Orador Robert Holzer Sacerdotes Cristóbal Viñas, Vicenç Esteve l adrid Reina de la Noche Cyndia Sieden Milagros Poblador (día 12.
    [Show full text]
  • The Flutist Quarterly Volume Xxxv, N O
    VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Photo by Claudio Papapietro Support Scholarships The Juilliard Scholarship Fund provides vital support to any student with need and helps make a Juilliard education possible for many deserving young actors, dancers, and musicians. With 90 percent of our students eligible for financial assistance, every scholarship gift represents important progress toward Juilliard’s goal of securing the resources required to meet the needs of our dedicated artists. Gifts in any amount are gratefully welcomed! Visit juilliard.edu/support or call Tori Brand at (212) 799-5000, ext. 692, to learn more. The Juilliard School presents Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Part of the Daniel Saidenberg Faculty Recital Series Friday, October 18, 2019, 7:30pm Paul Hall ZOLTÁN KODÁLY Adagio (1905) (1882-1967) FRANK BRIDGE Pensiero (1908) (1879-1941) PAUL HINDEMITH “Thema con Variationen” from Sonata, (1895-1963) Op.31, No. 4 (1922) ARTHUR BLISS “Furiant” from Viola Sonata (1934) (1891-1975) BRUCE ADOLPHE Dreamsong (1989) (b.1955) GEORGE BENJAMIN Viola, Viola (1998) (b.1960) Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by the Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 ELLIOTT CARTER Elegy (1943) (1908-2012) IGOR STRAVINSKY Elegy (1944) (1882-1971) GYÖRGY KURTÁG Jelek (1965) (b.1926) Agitato Giusto Lento Vivo Adagio Risoluto DMITRI SHOSTAKOVICH “Adagio” from Viola Sonata (1975) (1906-75) Performance time: approximately 1 hour and 30 minutes, including an intermission The Viola in the 20th Century By Misha Amory The 20th century was transformative for the viola as a solo instrument.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2009
    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
    [Show full text]
  • Diszkográfia Az Első Kötethez
    © Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus
    [Show full text]
  • Handel's Harp
    HANDEL’S HARP MAXINE EILANDER SEATTLE BAROQUE ORCHESTRA STEPHEN STUBBS CYNDIA SIEDEN SOPRANO e t r o p a L n i t r a M : o t o h P ACD2 2541 ATM A Classique GEORGE FRIDERIC HANDEL (1685-1759) MAXINE EILANDER HARPE BAROQUE | BAROQUE HARP CYNDIA SIEDEN SOPRANO THE SEATTLE BAROQUE ORCHESTRA INGRID MATTHEWS PREMIER VIOLON | CONCERTMISTRESS STEPHEN STUBBS DIRECTION ET LUTH | CONDUCTOR AND LUTE 1 | “Praise the Lord with cheerful noise” Esther [ 5:50 ] SEATTLE BAROQUE ORCHESTRA SOPRANO , CORDES ET HARPE SOLO | SOPRANO STRINGS , AND HARP SOLO PREMIERS VIOLONS | FIRST VIOLINS : 2 | Symphony Saul [ 2:57 ] Ingrid Matthews, James Garlick, Courtney Kuroda SOLO DE HARPE | HARP SOLO DEUXIÈMES VIOLONS | SECOND VIOLINS : Concerto pour harpe en si bémol majeur | Harp Concerto in Bb Alexander’s Feast [ 12:00 ] Tekla Cunningham, Steve Creswell, Olga G. Hauptman CORDES , DEUX FLÛTES À BEC ET HARPE SOLO | STRINGS , TWO RECORDERS , HARP SOLO 3 | Allegro moderato [ 6:06 ] 4 | Larghetto [ 3:30 ] 5 | Allegro moderato [ 2:24 ] ALTOS | VIOLAS : Margriet Tindemans, Steve Creswell, Ruth Sereque 6 | “Tune your harps to cheerful strains” Esther [ 4:10 ] SOPRANO , CORDES EN PIZZICATO , HAUTBOIS ET HARPE | SOPRANO , PIZZICATO STRINGS , OBOE , HARP VIOLONCELLES | CELLOS : Nathan Whittacker, Karen Fardal, Page Smith 7 | Sinfonia &“V’adoro pupille” Giulio Cesare [ 6:16 ] FLÛTES | FLUTES : SOPRANO , CORDES AVEC SOURDINE , VIOLE DE GAMBE , THÉORBE , HARPE , HAUTBOIS ET BASSON SOPRANO , STRINGS WITH SORDINI , VIOLA DA GAMBA , THEORBO , HARP , OBOE , BASSOON Courtney Westcott, Janet See FLÛTES TRAVERSIÈRES | RECORDERS : 8 | “Lascia ch’io pianga” Rinaldo [ 4:00 ] Vicki Boeckman, Sand Dalton SOLO DE HARPE | HARP SOLO [ARR .
    [Show full text]
  • Uw Music
    ~~~ ~1~SC. ::z qq SCHOOL OF MUSIC UNIVERSITY of WASHINGTON JOl7 \-1'1 Opera Workshop: Mozart Scenes Instructors: Cyndia Sieden, Stephen Stubbs Stage direction ......................................... Cyndia Sieden, Unda Kitchen, Deanne Meek Assistant Stage director ........................................................................ Gemma Balinbin Musical direction .................................................................................... Stephen Stubbs Musical coaching ............................................................... Rhonda Kline, Cyndia Sieden Piano Accompaniment ........................................................................Andrew Romanick 7:30 PM January 14, 2017 Meany Studio Theater UW MUSIC 2016-17 SEASON b vl;;> 1F /1-/931 PROGRAM I f2~CYlf.U5" <;fVhi>s/51(2cLu" ~k LE NOllE DI FIGARO: 1786 The Marriage of Figaro takes place in the palace ofthe Count and Countess Almaviva. Figaro is the Valet to the Count and Susanna the maid and confidante of the Countess. The Count is a philanderer and has his eyes on Susanna. Prior to the opera he abolished the law of 'droit de seigneur', the right of the lord of the manorto take the virginity of a bride before the wedding, but with Susanna, about to get married, he plans to re-establish this law. This provides the emotional foundation for all the characters in the opera, leaving Figaro angry, Susanna confused and the Countess bereft, relying on her page, Cherubino to cheer her up. They are reduced to hatching a plot to obstruct the Count's plans and to humiliate him. Z 1. Act II Sc. 1: Duets (Figaro and Susanna) Susanna: Gemma Balinbin / J; 2-:;- Figaro: Jacob Caspe Figaro and Susanna are preparing their bedroom as their wedding is taking place later that day. Figaro takes measurements to see ifthe bed will fit, while Susanna is concerned by the position of the room, placed between those of the Countess and the Count­ convenient in Figaro's eyes but dangerous in Susanna/so She knows the Count has designs on her, and warns Figaro of this.
    [Show full text]
  • Critical Success Factors in Cello Training – a Comparative Study
    Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London.
    [Show full text]
  • Library of Congress Rule Interpretations for Aacr 2, Revision 2002
    LIBRARY OF CONGRESS RULE INTERPRETATIONS FOR AACR 2, REVISION 2002 Basic cumulation updated through Cataloging Service Bulletin No. 128 Compiled by Alan Boyd and Elaine Druesedow OBERLIN COLLEGE LIBRARY OBERLIN, OHIO January, 2012 [This page intentionally left blank] Chapter 1 General Rules for Description 1.0:CSB124 Decisions Before Cataloging Table of Contents What is Being Cataloged? Type of Issuance Monograph vs. Serial Situations Requiring Further Consideration 1) Electronic resources 2) Resources issued in loose-leaf format 3) Conference publications 4) Supplements 5) Republications 6) Printed travel guides 7) Certain other printed resources Edition or Copy of Monograph Change in Cataloging Decision: Monograph/Serial Change in Type of Issuance Initial Articles ____________________________________________________________________________________ What is Being Cataloged? This section represents LC/PCC practice. Before creating a bibliographic record, determine what is being cataloged. Answer these two questions: OBERLIN LCRI CUMULATED 1-2 rev. 12-10 1) What aspect of the bibliographic resource will the bibliographic record represent? a) A resource may not be part of a larger resource and so the bibliographic record can represent only that resource. b) A resource may be part of a larger resource (one part of a multipart item, one analytic of a monographic series, one of several separate resources on a Web site, etc.). The bibliographic record could represent the “smaller” or the “larger” resource. c) A resource may not be part of a larger resource but local cataloging policies may specify creating a bibliographic record for a made-up larger resource of materials that are not published, distributed, or produced together.1 2) What is the type of issuance of that aspect? a) See both the definitions from AACR2 appendix D and the diagram in “Type of Issuance” below.
    [Show full text]