DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007 2006-2007 SEASON Lead a richer life. °w ^C \U#&*»*4 *vV4hJt^H^i John Hancock is pro^d to support the Boston Symphony Orchestra. A CD Manulife Financial Company w ^ h// /? the future is yours A World-Class Alcohol and Drug Treatment Program If View from The McLean Center, Princeton, MA E McLEAN CENTER « ; AT FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility ofHarvard Medical School, an affiliate of Partners. Hospital a member H ealthCare Massachusetts General and of Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Official | Hospital of the Boston Red Sox Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer George D. Behrakis Cynthia Curme Robert J. Mayer, M.D. Arthur I. Segel Gabriella Beranek William R. Elfers Nathan R. Miller Thomas G. Sternberg Mark G. Borden Nancy J. Fitzpatrick Richard P. Morse Wilmer J. Thomas, Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-qfficio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters Paul Buttenwieser George Krupp Edward I. Rudman Eric D. Collins Shari Loessberg, ex-qfficio Hannah H. Schneider Life Trustees Harlan E. Anderson James F. Geary Avram J. Goldberg Peter C. Read Vernon R. Alden Julian Cohen Edna S. Kalman Richard A. Smith David B. Arnold, Jr. Abram T. Collier George H. Kidder Ray Stata J. P. Barger Mrs. Edith L. Dabney R. Willis Leith, Jr. John Hoyt Stookey Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer John L. Thorndike Deborah Davis Berman Nina L. Doggett Mrs. Robert B. Newman Dr. Nicholas T. Zervas Peter A. Brooke Mrs. John H. Fitzpatrick William J. Poorvu Helene R. Cahners Dean W. Freed Irving W Rabb Other Officers of the Corporation Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chairman William F. Achtmeyer Joseph F. Fallon Robert Kleinberg Dr. Tina Young Poussaint Diane M. Austin Thomas E. Faust, Jr. Farla H. Krentzman James D. Price Lucille M. Batal Judith Moss Feingold Peter E. Lacaillade Claire Pryor Maureen Scannell Steven S. Fischman Renee Landers Patrick J. Purcell Bateman John F. Fish Robert J. Lepofsky John Reed Linda J.L. Becker Lawrence K. Fish Christopher J. Lindop Donna M. Riccardi George W. Berry Myrna H. Freedman John M. Loder Susan Rothenberg James L. Bildner Carol Fulp Edwin N. London Alan Rottenberg Bradley Bloom Dr. Arthur Gelb Jay Marks Joseph D. Roxe Anne F. Brooke Stephanie Gertz Jeffrey E. Marshall Kenan Sahin Gregory E. Bulger Robert P. Gittens Carmine Martignetti Ross E. Sherbrooke William Burgin Michael Gordon Joseph B. Martin, M.D. Gilda Slifka Ronald G. Casty Paula Groves Thomas McCann Christopher Smallhorn Rena F. Clark Michael Halperson Joseph C. McNay John C. Smith Carol Feinberg Cohen Carol Henderson Albert Merck Charles A. Stakely Mrs. James C. Collias Brent L. Henry Dr. Martin C. Mihm, Jr. Patricia L. Tambone Charles L. Cooney Susan Hockfield Robert Mnookin Samuel Thorne Ranny Cooper Osbert M. Hood Paul M. Montrone Albert Togut James C. Curvey Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Tamara P. Davis William W Hunt Evelyn Stefansson Nef Joseph M. Tucci Mrs. Miguel de Braganca Ernest Jacquet Robert T. O'Connell Paul M. Verrochi Disque Deane Everett L. Jassy Susan W Paine Robert S. Weil Paul F. Deninger Charles H. Jenkins, Jr. Joseph Patton David C. Weinstein Ronald M. Druker Darlene Luccio Jordan, Ann M. Philbin James Westra Alan J. Dworsky Esq. May H. Pierce Mrs. Joan D. Wheeler Alan Dynner Paul L. Joskow Claudio Pincus Richard Wurtman, M.D. Ursula Ehret-Dichter Stephen R. Karp Joyce L. Plotkin Dr. Michael Zinner John P. Eustis II Brian Keane Dr. John Thomas Potts, Jr. D. Brooks Zug Pamela D. Everhart Douglas A. Kingsley 1 Overseers Emeriti Helaine B. Allen Mrs. Thomas Mrs. Gordon F. Kingsley John Ex Rodgers Marjorie Arons-Barron Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Caroline Dwight Bain Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Sandra Bakalar Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Mrs. Levin H. Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles John Hamill Hart D. Leavitt L. Scott Singleton Joan P. Curhan Deborah M. Hauser Frederick H. Lovejoy, Jr. Mrs. Micho Spring Phyllis Curtin Mrs. Richard D. Hill Diane H. Lupean Patricia Hansen Strang Betsy P. Demirjian Marilyn Brachman Mrs. Charles P. Lyman Robert A. Wells JoAnne Walton Dickinson Hoffman Mrs. Harry L. Marks Mrs. Thomas H.P. Phyllis Dohanian Lola Jaffe Barbara Maze Whitney Goetz B. Eaton Michael Joyce John A. Perkins Margaret Williams- Harriett Eckstein Martin S. Kaplan Daphne Brooks Prout DeCelles George Elvin Mrs. S. Charles Kasdon Robert E. Remis Mrs. Donald B. Wilson J. Richard Fennell Richard L. Kayet Mrs. Peter van S. Rice Mrs. John J. Wilson Peter H.B. Frelinghuysen tDeceased Officers of the Boston Symphony Association of Volunteers Ann M. Philbin, President William S. Ballen, Executive Richard Dixon, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Howard Cutler, Executive Gerald Dreher, Treasurer Vice-President/Fundraising Leah Weisse, Nominating Chair Patty Geier, Education and Pat Kavanaugh, Membership Beverly Pieper, Hall Services Outreach Rosemary Noren, Symphony Shop Janis Su, Public Relations Mary Gregorio, Special Projects Staffing Table of Contents BSO News 5 On Display in Symphony Hall 7 A Brief History of the Boston Symphony Orchestra 1 BSO Music Director James Levine 16 The Boston Symphony Orchestra 18 This Week's Boston Symphony Orchestra Program 21 Notes on the Program 23 Featured Artists 47 Future Programs 60 Symphony Hall Exit Plan 62 Symphony Hall Information 63 This week's Pre-Concert Talks are given by Harlow Robinson, Northeastern University. Program copyright ©2007 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael J. Lutch Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales, Marketing, Ellen Highstein, Director of Tanglewood Music Center and Communications Tanglewood Music Center Directorship, endowed in honor of Caroline Taylor, Senior Advisor to the Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director Bernadette M. Horgan, Director of Media Relations Ray F. Wellbaum, Orchestra Manager Thomas D. May, Chief Financial Officer ADMINISTRATIVE STAFF/ARTISTIC Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/Valet * Suzanne Page, Assistant to the Managing Director /Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • Jake Moerschel, Assistant Stage Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Assistant to the Orchestra Manager BOSTON POPS Dennis Alves, Director of Artistic Programming Sheri Goldstein, Personal Assistant to the Conductor Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator BUSINESS OFFICE Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Theany Uy, StaffAccountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT Nancy Baker, Director of Major and Planned Giving Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer, 2000
    Tanglewood Baldwin & Tanglewood Celebrating A 61 -Year Musical Partnership | This season marks Baldwin's 61 st anniversary with Tanglewood. This very special association runs deep into trie Histories of both organizations. It began when Lucien Wulsin II, president of Baldwin during trie 1920s and 30s, met Serge Koussevitzky, trie renowned Russian conductor and music director of trie BSO. Koussevitzlcy was involved with Tanglewood from its inception and founded the Serge Koussfvitziky (above) Berkshire Music Center in 1940. Lucien Wulsin II (left) Wulsin, whose family had French- European roots, became good friends with Koussevitzky, who had lived in France in the early 1920s. It was this friendship, combined with noted Baldwin piano quality, that initiated the time-honored Baldwin-Tanglewood tradition. Since those early years, Baldwin has been the piano of choice for Tanglewood and many of its visionary leaders and alumni, including Charles Munch, Leonard Bernstein, Aaron Copland, Lukas Foss, Charles Dutoit and Seiji Ozawa. Today, the Baldwin tradition continues to grow with celebrated Tanglewood conductors Keith Lockhart and Robert Spano hecommg Baldwin Artists in recent years. This season, Baldwin pianos will share the stage at Tanglewood's orchestral and chamber music instrumental and vocal recitals, student performar the Festival of Contemporary Music, and performances by popular and jazz artists. As Official Piano, Baldwin is honored to play its part in the rich history and ongo\ng tradition of Tanglewood. Here's to ike next 61 years!
    [Show full text]
  • The Boston Modern Orchestra Project's January 2008 Premiere of Ezra Sims's Concert Piece II, Featuring Clarinetists Michael
    The Boston Modern Orchestra Project’s January 2008 premiere of Ezra Sims’s Concert Piece II, featuring clarinetists Michael Norsworthy and Amy Advocat, was one of the most thrilling concert experiences I can remember. I’ve been an admirer of Sims’s music for many years, and I am familiar with his distinctive microtonal style—certain characteristic intervals and harmonies, ostinati, and phrase contours. But despite my familiarity, I found myself laughing out loud with pleasure at this latest, and very grand, example of Sims’s continued resolve and daring. Years ago the Boston Globe music critic Richard Buell called Sims’s music “subversive,” and I believe in a sense he was right. With certain aspects of his music Sims sticks to tradition; for example, Concert Piece II is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching “antecedent” and “consequent” phrases, even tonality (albeit of an idiosyncratic kind). However, within conventional parameters such as these Sims produces sonorities that subvert our expectations on a visceral level. From the very opening of Concert Piece II, over undulating and pulsating microtonal figures in the strings and bassoons, the clarinets begin trading off strange, soaring lines with intervals such as 1/3 tones, 2/3 tones, and 1/6-tone-augmented minor thirds. The melodies are elegant, articulate, intensely expressive, and even seem to have familiar contours—yet they are also startlingly alien. This feeling is somehow underscored when the oboe enters with its own wild take on the theme, and then even further when later the violins, flutes, and oboe take up the thematic line in unison.
    [Show full text]
  • View PDF Document
    Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Kenneth Radnofsky KENNETH RADNOFSKY, Born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476
    Kenneth Radnofsky KENNETH RADNOFSKY, born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476. Phone: 781-646-5748; e:mail [email protected], website: www.KenRadnofsky.com ADMINISTRATIVE EXPERIENCE Executive Director and Founder, World-Wide Concurrent Premieres 1991-Present and Commissioning Fund, Inc. Responsible for fund raising for commissions of Schuller, Colgrass, Harbison, Wyner Theofanidis, Ticheli and Bell), plus over 40 commissioned works (1981-) including Gunther Schuller, David Amram, Donald Martino, Milton Babbitt; with private donations and NEA Consortium Grants Interim Chair, Woodwind Division, The Boston Conservatory 2004-2005 Associate Director, Community Music Center of Boston 1997-2000 Responsible for all educational and daily activities of Community Music School of over 600 in-house students, an original Settlement School in Boston’s South End Artistic Director, Sounds in Concert Inc., Cape Cod 1984-1994 (Artistic Consultation, including engaging artists, programming) Contractor, Orchestra Manager, Waterville Valley Bridge Orchestra 1989, 1990 Artist Member, Board of Directors, Affiliate Artists Inc. 1986-88 Director, Great Woods Summer Saxophone Seminar 1985-87 Editor, Winds Quarterly Magazine (Responsible for all aspects of production, including layout, design, paste-up, publicity, engaging writers, editing and writing.) 1980 EDUCATION BM cum laude University of Houston (Studies with Jeffrey Lerner) MM with honors New England Conservatory (Studies with Joseph Allard) COLLEGE TEACHING EXPERIENCE Present: Longy School of Music (2002) Prof. of Saxophone (10 hours), New England Conservatory (1976- ) Professor of Saxophone and Chamber Music (8.5 hours) and Boston Conservatory (1984-88, 1992- ) Professor of Saxophone, Chamber Music and Director of Weekly Wind Seminars, Interim WW Chair (2004-2005) (15 hours) Past: Hartt School of Music, U.
    [Show full text]
  • Program Notes Hosted by the Score Board 7:00
    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
    ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
    /JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr.
    [Show full text]
  • Klezmer Madness
    Klezmer Madness SATURDAY NOVEMBER 23, 2019 8:00 Klezmer Madness Welcome to New England SATURDAY NOVEMBER 23, 2019 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Conservatory’s Jordan Hall. Pre-concert talk at 7:00 New England Conservatory is home to acoustically superb Jordan Hall, where you’re seated now. Welcome, and enjoy the performance! AVNER DORMAN Uriah (2009) NEC is also the oldest independent music school in the United States, home to musical innovators across our College, Preparatory School, MATHEW ROSENBLUM Lament / Witches’ Sabbath (2017) and School of Continuing Education. David Krakauer, clarinet From chamber and orchestral music to jazz to Contemporary Improvisation, it’s all right here at NEC. INTERMISSION Join us for a concert, take WLAD MARHULETS Concerto for Klezmer Clarinet (2008) lessons, or join an ensemble: David Krakauer, clarinet necmusic.edu I. II. III. AVNER DORMAN Ellef Symphony (2000) I. Adagio II. Feroce III. Con Moto IV. Adagio GIL ROSE, conductor PROGRAM NOTES 5 By Clifton Ingram AVNER DORMAN (b. 1975) Uriah : The Man The King Wanted Dead (2009) Avner Dorman is not shy about his roots, which grow deep in his art. Born in Tel Aviv in 1975, Dorman has since transplanted to the United States, where he is currently an as- sociate professor at Sunderman Conservatory of Music at Gettysburg College. But whether composing music about the Tanakh (Hebrew Bible) or the American Civil War (both of which he has done, for the record) Dorman identifies Israel as home. Through his music, this sense of home becomes more a feeling, one almost utopian in its endless urge for a hopeful future in spite of harsh reality.
    [Show full text]
  • 2013-2014 Subscription Series
    2013-2014 Subscription Series Fri. Sun. Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM 2013-2014 Subscription Series A B C D A B A B C D A B September Fri. Sun. Beethoven 9 PREMIuM Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. Westminster Symphonic Choir Prosperous Voyage A B C D A B A B C D A B Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Beethoven Symphony September No. 9 (“Choral”) Beethoven 9 PREMIuM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. OctoberWestminster Symphonic Choir Prosperous Voyage Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Mahler 4 Beethoven Symphony Oct. Oct. Oct. Oct. Yannick Nézet-Séguin Conductor Britten No. 9 (“Choral”)Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell 4 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto October Mahler Symphony No. 4 Mahler 4 Oct. Oct. Oct. Oct. BronfmanYannick Nézet-Séguin Plays BeethovenConductor Britten Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. 4 Oct. Oct. 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto Yefim Bronfman Piano Shostakovich Symphony No. 11 Mahler Symphony No. 4 10 11 12 (“The Year 1905”) BronfmanPines of Rome Plays BeethovenPREMIuM Rafael Frühbeck de Burgos Beethoven Overture to Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. Oct.
    [Show full text]
  • 0912 BOX Program Notes
    THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina.
    [Show full text]