DOCSLIB.ORG

Baltimore Symphony Orchestra 1942, He Had No Idea It Would Become One of His Joan Tower (B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Baltimore Symphony Orchestra 1942, He Had No Idea It Would Become One of His Joan Tower (B CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, March 30, 2012, 8pm Aaron Copland (1900–1990) for their entrance music on tour. And even now, Zellerbach Hall Fanfare for the Common Man (1942) when we have heard it so many times, it never fails to raise the adrenaline. When Aaron Copland submitted a three-min- ute fanfare to the Cincinnati Symphony in late Baltimore Symphony Orchestra 1942, he had no idea it would become one of his Joan Tower (b. 1938) Marin Alsop, music director & conductor most famous pieces—in fact one of the most fa- Fanfare for the Uncommon Woman mous pieces ever written by an American classi- (1987–1992) with cal composer. World War II had been raging for years, and in 1942, there was little to celebrate And now a salute to the other half of the audience! Colin Currie, percussion on the Allied side. As a morale booster, Eugene A quiet revolution has taken place in classi- Goossens, Cincinnati’s music director, decid- cal music over the past few decades: at long last, ed to commission a series of 18 fanfares from women have successfully begun to infiltrate the America’s most prominent composers—includ- male-dominated fields of conducting and com- PROGRAM ing Morton Gould, Howard Hanson, William posing. Joan Tower is both, but it is her creative Grant Still and Virgil Thomson—to open each work that has won her a prominent place in the of the orchestra’s 1942–1943 season concerts. American contemporary music scene. Her vi- Aaron Copland (1900–1990) Fanfare for the Common Man (1942) Upon receiving the score, Goossens wrote brant, energetic, and often highly dramatic mu- Copland: “Its title is as original as its music.” sic has been commissioned and/or performed by The composer had considered a number of pos- major orchestras from New York to Tokyo. Joan Tower (b. 1938) Fanfare for the Uncommon Woman (1987–1992) sibilities, among them Fanfare for the Spirit of “Creating ‘high-energy’ music is one of my Democracy and Fanfare for the Rebirth of Lidice special talents,” Tower says. “I like to see just (a Czech town that had been destroyed by the how high I can push a work’s energy level with- Jennifer Higdon (b. 1962) Percussion Concerto (2004) Nazis that year). Finally, he settled on Fanfare out making it chaotic or incoherent.” Certainly Colin Currie, percussion for the Common Man. As he said, “It was the this is true of her Fanfare for the Uncommon common man, after all, who was doing all the Woman, which has become her most frequent- dirty work in the war and the army. He deserved ly performed piece (played by more than 500 INTERMISSION a fanfare.” ensembles since its premiere by the Houston The music—scored for four horns, three Symphony in 1987). trumpets, three trombones, tuba and percus- Its title, of course, is a play on Copland’s Sergei Prokofiev (1891–1953) Symphony No. 5 in B-flat major, Op. 100 (1944) sion—combined full-throated splendor with a Fanfare. And it even shares the same instrumen- sturdy, unvarnished pride that seemed an ideal tation: three trumpets, four horns, three trom- Andante tonal personification of the average G.I. Joe. Its bones, tuba, timpani, and two percussionists Allegro moderato brass writing emphasized big, rangy intervals, playing a very loud battery including tam-tams Adagio and its powerful, equally prominent part for (gongs). Tower has long been a fan of Copland’s Allegro giocoso timpani expressed virile force. Perhaps hoping music, and so when she received a commission to that this inspiring music would not be forgotten write a short work for the Houston Symphony’s Major program support for the BSO’s season-long celebration of revolutionary women after one performance in Cincinnati, Copland Fanfare Project, she originally wanted to create a is generously provided by Marin Alsop. also made it the focal point of the finale of his tribute to him. But ultimately her fanfare adopt- Third Symphony, composed between 1944 and ed a feminist message; it celebrates, in Tower’s Support for this program is generously provided by the National Endowment for the Arts. 1946 as the Allies swept to victory. words, “women who take risks and are adventur- He needn’t have worried. Fanfare for the ous.” And it is dedicated to just such a woman: Common Man quickly became a favorite of brass the Baltimore Symphony’s Marin Alsop. players everywhere, and not just in America. The This performance is made possible, in part, by the support of our Lead Community Partner, young television industry adopted it for sporting Bank of America, and by Patron Sponsors Earl F. and June Cheit. events, political conventions, and the achieve- ments of the space program. Popular musicians Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. loved it, and the Rolling Stones appropriated it 4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES Jennifer Higdon (b. 1962) the Indianapolis Symphony, and the Dallas section enters, mimicking the gestures of the this momentous time in their history with music Percussion Concerto (2004) Symphony; it received its premiere in November soloist. Only after this dialogue has been es- that paid tribute both to the terrible suffering 2005 by the Philadelphians led by Christoph tablished does the orchestra enter. There is sig- they had experienced and to the victory that Jennifer Higdon also represents the Baltimore Eschenbach with Colin Currie as soloist. nificant interplay between the soloist and the would soon be theirs. Symphony’s seasonal theme of adventurous Written for Currie, it is dedicated to him “with orchestra with a fairly beefy accompaniment in Prokofiev, too, had reached a personal turn- women, for she has successfully broken the bar- great admiration.” the orchestral part, but at various times the mu- ing point. Since he returned from the West to riers of classical composition, until recently a Higdon has provided the following guide to sic comes back down to the sound of the solo- the Soviet Union in 1936, he had struggled to field exclusively for men. The year 2010 was a the Concerto: ist and the percussion section playing together adjust to Stalin’s cultural whims. Now for a banner year for Higdon: she won the coveted “The 20th century saw the development of without orchestra. brief moment, he was at the apex of his career: Pulitzer Prize for Music for her Violin Concerto the percussion section as no other section in the “Eventually, the music moves through a slow no longer a suspiciously watched “foreigner” but for Hilary Hahn, and she won a Grammy Award orchestra. Both the music and the performers lyrical section, which requires simultaneous the voice of the Russian people. Later, Prokofiev for Best Contemporary Classical Composition grew in visibility as well as in capability. And… bowing and mallet playing by the soloist, and commented that the Fifth Symphony was “very for a recording by Colin Currie, Marin Alsop, the appearance and growth of the percussion then a return to the fast section, where a cadenza important not only for the musical material that and the London Philharmonic of her brilliant concerto as a genre exploded during the latter ensues with both the soloist and the percussion went into it, but because I was returning to the Percussion Concerto, which we hear tonight. half of the century. section. A dramatic close to the cadenza leads symphonic form after a break of 16 years. The Now a prolific composer in constant de- “My Percussion Concerto follows the nor- back to the orchestra’s opening material and the Fifth Symphony is the culmination of an entire mand for new works by major orchestras and mal relationship of a dialogue between soloist eventual conclusion of the work.” period of my work. I conceived of it as a sym- ensembles all over America, Higdon also man- and orchestra. In this work, however, there is an phony on the greatness of the human soul.” ages to pursue careers as a virtuoso flute play- additional relationship, with the soloist interact- Oddly, it had been easier to be a composer er, a conductor, and a very popular teacher of ing extensively with the percussion section. The Sergei Prokofiev (1891–1953) in the Soviet Union during World War II then composition at Philadelphia’s Curtis Institute ability of performers has grown to such an ex- Symphony No. 5 in B-flat major, in the years before or after: Stalin was too busy of Music (she holds the Milton L. Rock Chair tent that it has become possible to have sections Op. 100 (1944) prosecuting the war to worry about subversive in Compositional Studies). Her roots at Curtis within the orchestra interact at the same level as artists. Retreats far from the front lines were run deep, for she earned an artist’s diploma the soloist. The premiere of Prokofiev’s Symphony No. 5 in set aside for Soviet creators, and Prokofiev had in composition there (studying with Ned “When writing a concerto, I think of two Moscow on January 13, 1945, was an occasion spent most of 1944 at a “House of Creative Rorem), before moving on to the University of things: the particular soloist for whom I am charged with emotion. The great Soviet pianist Work” near Ivanovo, west of Moscow, with oth- Pennsylvania for master’s and doctoral degrees writing and the nature of the solo instrument. In Sviatoslav Richter vividly recalled the moment er leading composers, including Shostakovich, in composition, studying with the prominent the case of percussion, this means a large battery as Prokofiev mounted the podium: “He stood Glière and Khachaturian.
Load more

Recommended publications
  • Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
    Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No.
    [Show full text]
  • National Museum of American Jewish History, Leonard Bernstein
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/public/public-humanities- projects for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Leonard Bernstein: The Power of Music Institution: National Museum of American Jewish History Project Director: Ivy Weingram Grant Program: America's Historical and Cultural Organizations: Planning Grants 1100 Pennsylvania Ave., N.W., Rm. 426, Washington, D.C. 20506 P 202.606.8269 F 202.606.8557 E [email protected] www.neh.gov THE NATURE OF THE REQUEST The National Museum of American Jewish History (NMAJH) respectfully requests a planning grant of $50,000 from the National Endowment for the Humanities to support the development of the special exhibition Leonard Bernstein: The Power of Music (working title), opening in March 2018 to celebrate the centennial year of Bernstein’s birth.
    [Show full text]
  • Sound out Loud Ensemble New Arts Venture Challenge Grant Proposal
    Sound Out Loud Ensemble New Arts Venture Challenge Grant Proposal April 5, 2016 Satoko Hayami DMA Candidate in Collaborative Piano, School of Music Executive Summary History and Makeup of Sound Out Loud Sound Out Loud (SOL) is a new music ensemble that recently launched in Madison. SOL is comprised of 7 forward­looking, classically trained musicians, which includes 2 pianists, 1 percussionist, 1 flutist, 1 clarinetist, 1 violinist and 1 cellist. The group is lead by pianists Satoko Hayami and Kyle Johnson, a percussionist Garrett Mendelow. Mission SOL’s mission is to create a growing circle of musicians and audiences to share the excitement of the innovative, contemporary language of newly/recently composed classical music through a series of creative concerts and presentations primarily in the city of Madison. SOL also commissions works of young upcoming composers to enrich the repertoire of the genre. SOL believes that progressive new classical music expands the audience’s existing perspectives of music, and therefore further enhances their appreciation toward music in general. SOL also understands that new music’s relatable contemporary language helps the audience reconnect with conventional classical music, as inherited by contemporary classical music. Through commitment to contemporary classical music, SOL’s hope is to cultivate a sense of freedom toward classical music as well as toward other aspects of life, without the limitation of a conventional concept of music. Method SOL thrives to present high­energy performances of dynamic programs which are intellectually and emotionally inspirational for a wide array of audiences (including both classical music lovers and non classical music lovers).
    [Show full text]
  • Xm Radio to Broadcast New Series of Baltimore Symphony Orchestra Concerts in 2007-2008 Season
    NEWS RELEASE XM RADIO TO BROADCAST NEW SERIES OF BALTIMORE SYMPHONY ORCHESTRA CONCERTS IN 2007-2008 SEASON 6/14/2007 SEPT. 27 SERIES DEBUT TO BE BROADCAST LIVE FROM STRATHMORE, FEATURING MARIN ALSOP’S INAUGURAL CONCERT AS BSO MUSIC DIRECTOR Washington, D.C., and Baltimore, Md. June 14, 2007 – XM, the nation’s leading satellite radio service with more than 8 million subscribers, and the Baltimore Symphony Orchestra (BSO) announced today that XM will broadcast eight performances during the Baltimore Symphony’s 2007-2008 season on XM Classics (XM 110), one of XM’s three classical music channels. The series will debut with a live broadcast on September 27, 2007, the inaugural concert of the music directorship of Marin Alsop, the dynamic conductor who that evening will become the first female music director of a major American orchestra. This series marks the BSO’s foray into satellite radio, gaining exposure for the orchestra to a much broader national audience as it enters a new artistic chapter under Marin Alsop. The historic inaugural concert marking Maestra Alsop’s directorship features John Adams’ Fearful Symmetries, and a hallmark of Alsop’s repertoire, Gustav Mahler’s Symphony No. 5, and will be broadcast live on XM Classics from the Music Center at Strathmore in N. Bethesda, Md. at 8 p.m. ET on Thursday, September 27, with an encore broadcast on Sunday, September 30, at 3 p.m. ET. The live broadcast will be the first of its kind at the Music Center at Strathmore since the performing arts venue opened in February 2005.
    [Show full text]
  • PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele­ brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon­ orable profession. But it is also the most unappreciated, underrat­ Los Angeles. Devoted to improv­ There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere.
    [Show full text]
  • Tong Chen, Conductor
    Tong Chen, conductor “Masterfully presented the Mendelssohn’s Fifth Symphony,” described the Leipzig Time. A prizewinner of the prestigious International Malko Conducting Competition, Tong Chen has quickly established herself as one of the most promising and exciting young conductors in her generation. Ms. Chen has worked with numerous orchestras across the globe, including Orquestra Sinfônica do Estado de São Paulo, Danish National Symphony Orchestra, Mikkelin Kaupunginorkesteri, Besançon Symphony Orchestra, Leipzig Symphony Orchestra, Bamberg Symphony Orchestra, Alabama Symphony Orchestra, Baltimore Symphony Orchestra, Charleston Symphony Orchestra, Richmond Symphony, Aspen Music Festival Orchestra, Manhattan School of Music Orchestra, Orchestra St. Luke’s, Peabody Symphony Orchestra, Xia Men Philharmonic, Qing Dao Symphony Orchestra, Guang Zhou Symphony Orchestra, and Shanghai Opera House, where she worked as the assistant Photo credit: Bob Plotkin conductor. 2019-2020 season’s highlight includes Tong’s debuts with New Jersey Symphony Orchestra, Shanghai Philharmonic, and Rutgers Symphony Orchestra; a return to Los Angeles Philharmonic working with Gustavo Dudamel and assisting Iván Fisher with Budapest Festival Orchestra at the Hollywood Bowl. This season marks her fifth anniversary as music director of Yonkers Philharmonic Orchestra. As an avid advocate of education, Chen taught orchestral conducting and led the orchestra program at Copland School of Music from 2012-2018. Summer 2019 marked her second years as the director of Queens College Conductor’s workshop, founded by Maurice Peress in 2010. Additionally, Tong is a regular guest conductor at Manhattan School of Music, Montclair State University, Manners Pre- college orchestra, and All-State Youth Orchestras in New York State area, as well as a guest lecturer at Shanghai Conservatory of Music.
    [Show full text]
  • The Cliburn Names Marin Alsop As 2021 Jury Chairman
    THE CLIBURN NAMES MARIN ALSOP AS 2021 JURY CHAIRMAN The American luminary will serve as jury chairman and Final Round conductor for the Sixteenth Van Cliburn International Piano Competition, May 28–June 12, 2021, at Bass Performance Hall in Fort Worth, Texas USA. Contact: Maggie Estes, director of communications and digital content, [email protected], 817.739.0459 FORT WORTH, Texas, March 28, 2019—The Cliburn announces today that Marin Alsop will be the jury chairman for the Sixteenth Van Cliburn International Piano Competition, taking place May 28–June 12, 2021, at Bass Performance Hall in Fort Worth, Texas USA. Widely considered one of the preeminent international music contests, the Van Cliburn International Piano Competition exists to share excellent classical music with the largest international audience possible and to launch the careers of its winners every four years. Building on a rich tradition that began with its 1962 origins in honor of Van Cliburn and his vision for using music to serve audiences and break down boundaries, the Cliburn seeks, with each edition, to achieve the highest artistic standards while utilizing contemporary tools to advance its reach. The world’s top 18- to 30-year-old pianists compete for gold in front of a live audience in Fort Worth, Texas, as well as a global online viewership of over 5 million. Beyond cash prizes, winning a Cliburn medal means comprehensive career management, concert tours, artistic support, and bolstered publicity efforts for the three years following. One of the world’s most distinguished and innovative conductors, Marin Alsop holds major appointments on three continents: music director of the Baltimore Symphony Orchestra since 2007; principal conductor and music director of the São Paulo State Symphony Orchestra since 2012; and chief conductor of the ORF Vienna Radio Symphony Orchestra beginning September 2019.
    [Show full text]
  • Marin Alsop La Dama De La Batuta
    Entrevista Marin Alsop La dama de la batuta por Lorena Jiménez uando Marin Alsop (Nueva CYork, 1956), le anunció a su profesora de violín en la Juilliard Pre College Division que quería convertirse en directora de orquesta, ella le respondió: “Imposible, eres una niña”. Esa misma mañana, su padre (concertino del New York City Ballet) le regaló una caja de 10 batutas hechas a mano, que todavía conserva. “Fue su forma de decirme, puedes hacer lo que quieras, te apoyaremos”. Y Marin Alsop nunca renunció a su sueño; mientras se gana la vida como violinista freelance, comienza a estudiar dirección. No le resultó fácil encontrar una orquesta en el microcosmos masculino de la clásica y, apasionada del jazz y el swing, funda la orquesta Concordia con los miembros de su banda de jazz String Fever. A finales de los ochenta, se convierte en la primera mujer en recibir el famoso Premio de Dirección Koussevitzky del Tanglewood Music Center, donde fue alumna de su héroe y mentor Leonard Bernstein, el hombre que despertó su entusiasmo por la dirección cuando tenía 9 años y sus padres la llevaron a un concierto de la Filarmónica de Nueva York. “Eso es lo que quiero hacer”- dijo; inaccesible al desaliento, nunca cambió de idea, a pesar de que hasta mediados del siglo XX era raro que las orquestas contrataran mujeres instrumentistas y mucho menos directoras. “Tenía un poster de los Beatles en la pared de mi habitación, pero un poster más grande de Bernstein”. Hace poco más de una década, esta neoyorquina que irradia autoridad, pero con fama de dialogante con los músicos, a quien le gusta levantarse temprano, comenzar el día practicando cross trainer, y acompañando a su hijo a la escuela, hizo historia al convertirse en la primera mujer al frente de una de las principales orquestas americanas.
    [Show full text]
  • A “Jubilant” Voice by Diane Petersen the Press Democrat December 9, 2011
    A “Jubilant” Voice by Diane Petersen The Press Democrat December 9, 2011 For lack of a better term, baritone Jubilant Sykes is often labeled a crossover artist. The classically-trained singer, in demand as an opera and orchestral soloist all over the world, feels equally at home singing jazz and gospel music, Top 40 hits and Broadway tunes. “The term crossover, I get it,” he said in a phone interview from his home in Venice Beach. “But for me, I’m just a singer … If I had to label myself, I’m a folk singer, and I sing what I like.” The baritone will sing two beloved spirituals this weekend when he joins the Santa Rosa Symphony for a set of holiday vocal concerts. During the first half of the program, Sykes will warm up his deep, resonant voice with the classic spirituals, “Sometimes I Feel Like a Motherless Child” and “Were You There?” During the second half, he will join forces with soprano Karen Clift and the Santa Rosa Symphony Honor Choir for a performance of Johannes Brahms’ uplifting German Requiem . “The unifying factor is that these are sacred works, and it’s singing to the divine, of the divine,” Sykes said of the concert program. “Stylistically, they are excruciatingly different, and that’s probably the challenge.” First appearance a success Sykes first appeared with the Santa Rosa Symphony in 1998, when he sang the bass solo in Beethoven’s Ninth Symphony, along with three spirituals. That concert was such a success that he was asked to return the next year, opening the symphony’s 1999-2000 season with Copland’s “Old American Songs,” a Mahler song and two Mozart arias.
    [Show full text]
  • Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
    CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary
    [Show full text]
  • Adams Other Mary on Stage
    Boosey & Hawkes Music Publishers Limited February 2015 2015/1 Adams Other Mary on stage Included in this issue: “John Adams received a rapturous response for the world premiere staging MacMillan Concertos including new at ENO of his Passion oratorio, The Gospel According to the Other Mary. work for Colin Currie Bursting with fury, compassion and inspiration, this elemental score seems to carry the composer to a whole new level of expression.” So wrote The Independent of the work’s first full staging by Peter Sellars, in a production shared between English National Opera, Theater Bonn and Royal Swedish Opera. Joana Carniero Little summoned a vivid range of sonorities from Interview with the newly the orchestra, with fervent vocal portrayals signed US composer from Patricia Bardon as Mary, Meredith The final book by the late Bob Gilmore, Arwady as Martha and Russell Thomas Claude Vivier: A Composer’s Life, breaks as Lazarus. new ground as the first in-depth study of the composer (University of Rochester “…the music sweeps all before it. The distance that Press 978-1-58046-485-7). With Adams has travelled from his minimalist beginnings unrestricted access to Vivier’s archives, to this rich tapestry of a score is remarkable. Some of the passages for orchestra alone, such as the author drew upon interviews with the Lazarus’s death, ride on waves of emotion; and Canadian-born composer’s family, friends Adams has mastered the ability to keep the and colleagues to build a picture of a complex audience gripped over hour-long arcs of intensity… Photo: ENO/Richard Hubert Smith soul, while revealing the personal quest for Is it opera or oratorio? It hardly matters.
    [Show full text]
  • Classical Season 2019 / 20
    CLASSICAL SEASON 2019 / 20 Welcome Welcome to our 2019/20 Classical Season. We are proud to be at the centre of classical music in London, bringing the very best from leading classical artists from around the world to our three venues: our iconic concert hall, Royal Festival Hall, and our refurbished Queen Elizabeth Hall and Purcell Room. This promises to be another exciting season, bringing together world-class orchestras, new commissions and a much- loved repertoire. Our four resident orchestras, the London Philharmonic Orchestra, Philharmonia Orchestra, Orchestra of the Age of Enlightenment and London Sinfonietta, present standout series that are sure to prove, as ever, thought- provoking and enjoyable. I look forward to seeing you there. Elaine Bedell Chief Executive, Southbank Centre In 2020 we mark Beethoven’s 250th birthday, and our season highlights include performances of his most original and time-honoured works, a series about his influence on other composers, Beethoven & the Avant-Garde, curated by Artist in Residence pianist Pierre-Laurent Aimard, and a fresh look at his Symphony No.9, conducted by Associate Artist Marin Alsop and featuring over 400 performers including the National Youth Orchestra of Great Britain. Music and art spark off each other in a series of concerts alongside the Hayward Gallery’s upcoming Bridget Riley exhibition, featuring performances from Sean Shibe and Colin Currie, and music by Éliane Radigue, Julia Wolfe, Steve Reich and Georg Friedrich Haas. The Bergen Philharmonic Orchestra’s award-winning production of Peter Grimes promises to be another immersive experience: conducted by Edward Gardner, it features an all-star cast led by the incomparable Stuart Skelton as a definitive Grimes.
    [Show full text]