Mango Suite Program Pages
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Fiery Pianist Khatia Buniatishvili Makes Indianapolis Symphony Orchestra Debut in Lilly Classical Series Concerts Jan
Date: Monday, January 16, 2012 Contact: Tim Northcutt – (317) 262-4904 Jessica Di Santo – (317) 229-7082 Fiery Pianist Khatia Buniatishvili Makes Indianapolis Symphony Orchestra Debut in Lilly Classical Series Concerts Jan. 26-28 at Clowes Memorial Hall 2008 Arthur Rubinstein Competition prize winner performs Rachmaninoff Second Piano Concerto INDIANAPOLIS – As one of the fast-rising young stars in classical music, pianist Khatia Buniatishvili will make her Indianapolis Symphony Orchestra debut in performances of Sergei Rachmaninoff’s passionate and colorful Second Piano Concerto to highlight Lilly Classical Series concerts Thursday through Saturday, January 26-28, at Clowes Memorial Hall, located at 4602 Sunset Avenue on the Butler University campus. Originally scheduled for the Hilbert Circle Theatre, the venue change was prompted by the needs of the National Football League and the Indianapolis Super Bowl XLVI Committee to reserve large venues in the downtown area that are capable of hosting various Super Bowl events and activities. Preparations to host NBC’s Live with Jimmy Fallon during Super Bowl week will be underway at the ISO’s home that weekend. This all-Russian classical weekend, conducted by Princeton Symphony Orchestra Music Director Rossen Milanov, will open with Dmitri Shostakovich’s Festive Overture, a light and celebratory piece that the composer wrote to mark the anniversary of the Bolshevik overthrow of the Russian government in 1917. Buniatishvili will introduce herself to Indianapolis audiences in performances of one of the crown jewels of the piano repertoire, Sergei Rachmaninoff’s popular Second Piano Concerto. This glittering and melodic work showcases the technical artistry of the soloist with many rhapsodic moments spotlighting the pianist. -
SHEDDING LIGHT on BULGARIAN SYMPHONY ORCHESTRAS /PIANO Or FORTЕ
SHEDDING LIGHT ON BULGARIAN SYMPHONY ORCHESTRAS /PIANO or FORTЕ/ Brief historic notes Orchestral music-making in Bulgaria goes back to mid-nineteenth century when in the Northeastern, multilingual town of Shumen the first ensemble was founded. It had entertainment and promotional purposes rather than serious concert activities. The significance of the ensemble though is mainly in the first establishment of a repertoire (Bulgarian and foreign) which was suitable for performance, as well as bringing together professionally educated national musicians and music-makers. Over WW2 orchestras developed in Bulgaria in lows and peaks. Those days gave rise to the Guards Orchestra (1892) conducted by Joseph Hohola; the Academic Symphony Orchestra (1928) and the Royal Military Symphony Orchestra (1936)both founded in Sofia by Prof. Sasha Popov; the State Philharmonic Orchestra at the National Opera (1935). At concerts in Bulgaria and abroad they perform major works by national and international musical classics. These ensembles invited outstanding guest conductors and soloists – Fausto Magnani, Karl Bohm, Bruno Walter, Edmondo de Vecchi, Emil Kupper, Carlo Zecchi, Henry Marteau, Paul Wittgenstein, Dinu Lipatti etc. After the end of the war the dynamic history of Bulgarian orchestras included both the above listed and numerous new ensembles founded all over the country. The Sofia Philharmonic Orchestra continued the tradition of the Sofia-based ensembles. The Philharmonic has performed with conductors Konstantin Iliev, Dobrin Petkov, Vassil Stefanov, Vladi Simeonov, Dimitar Manolov, Yordan Dafov, Emil Tabakov etc. At approximately the same time the capital saw the rise and establishment of yet another outstanding ensemble – the Symphony Orchestra of the Bulgarian National Radio (1948). -
Ning Fengviolin Virtuosismo
CHANNEL CLASSICS CCS 40719 NING FENG VIOLIN PAGANINI&VIEUXTEMPS VIRTUOSISMO ORQUESTA SINFÓNICA DEL PRINCIPADO DE ASTURIAS ROSSEN MILANOV CONDUCTOR Ning Feng (photo: Lawrence Tsang) 2 NING FENG returns to the Shanghai Symphony Orchestra under the baton of Yu Long. “Ning Feng’s total mastery could be seen in the In recital and chamber music Ning Feng precision and sweep of his bow, and heard in the regularly performs with Igor Levit and Daniel effortless tonal range, from sweet to sumptuous.” Müller-Schott, amongst others, and in 2012 New Zealand Herald - founded the Dragon Quartet. He appears at major venues and festivals such as the Wigmore Hall in Ning Feng is recognised internationally as an artist London, the Concertgebouw Amsterdam, National of great lyricism, innate musicality and stunning Centre for Performing Arts (Beijing) as well as the virtuosity. Blessed with an impeccable technique Schubertiade, Mecklenburg-Vorpommern and Hong and a silken tone, his palette of colours ranges from Kong International Chamber Music Festivals. intimate delicacy to a ferocious intensity. The Berlin Born in Chengdu, China, Ning Feng studied at based Chinese violinist performs across the globe the Sichuan Conservatory of Music, the Hanns Eisler with major orchestras and conductors, in recital School of Music (Berlin) with Antje Weithaas and and chamber concerts. the Royal Academy of Music (London) with Hu Kun Recent successes have included a return to where he was the first student ever to be awarded the Budapest Festival Orchestra with Iván Fischer -
The Clarinet and Piano
REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto. -
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL B
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL b. 1967 DUST DANCES [1] DUST DANCES (1994) 9:26 THRACIAN ECHOES [2] THRACIAN ECHOES (2002) 19:23 ELIXIR [3] ELIXIR (2006) 7:21 VOICES, FOR SOLO CLARINET AND ORCHESTRA VOICES, FOR SOLO CLARINET AND ORCHESTRA (1997) [4] I. Id 6:43 DEREK BERMEL clarinet [5] II. She Moved Thru the Fair 5:46 BOSTON MODERN ORCHESTRA PROJECT [6] III. Jamm on Toast 6:12 GIL ROSE, CONDUCTOR TOTAL 54:54 2 COMMENT idea in the orchestral realm by writing myself a clarinet concerto. My thoughts immediately turned to two of my favorite musicians, bass clarinetist Eric Dolphy and bassist Charles Mingus. Their conversational rapport inspired the first movement—called “Id”—and the rest of the concerto followed from there. I dedicated Voices to my father, who taught me By Derek Bermel an enormous amount about theatre. The outer movements more fully embrace my jazz From an early age, I was obsessed with the orchestra. During my preteen years I would background—using techniques including glissandi, growl tones, and flutter tongue—with return from the public library with armfuls of LP records—Stravinsky, Bartok, Debussy, a nod to the bittersweet “keening” of Irish folksong in the middle movement. Berg, Mussorgsky, Ravel, Copland, Britten, Webern, Messiaen, Ives. During the same Another tradition that had always fascinated me was Bulgarian folk music. In August period my knowledge of jazz was deepening. When my grandmother bought me a beat- 2001, I traveled to Plovdiv, Bulgaria, where I spent six months learning the Thracian folk up piano for $300 (she overpaid), I immediately began to reenact the works of Thelonious style with clarinetist Nikola Iliev. -
Grow Your Art Residency Luciana Souza Thursday, November 7, 2019 Brown Hall 7:30 P.M
Grow Your Art Residency Luciana Souza Thursday, November 7, 2019 Brown Hall 7:30 p.m. Doralice Antonio Almeida and Dorival Caymmi Dona Lu Marco Pereira He Was Too Good To Me Music by Richard Rodgers Lyrics by Lorenz Hart These Things Luciana Souza Say No To You Luciana Souza In March (I Remember) Luciana Souza Só Danço Samba Music by Antonio Carlos Jobim Lyrics by Vinicius De Moraes Ester Wiesnerova, voice Priya Carlberg, voice Ian Buss, tenor saxophone Moshe Elmakias, piano Andres Orco-Zerpa, guitar Andrew Schiller, bass Avery Logan, drums Intermission No Wonder Luciana Souza, arranged by Jim McNeely Heaven Duke Ellington, arranged by Guillermo Klein Choro Dançado Maria Schneider A Felicidade Music by Antonio Carlos Jobim Lyrics by Vinicius De Moraes arranged by Ken Schaphorst Cravo e Canela Milton Nascimento, arranged by Vince Mendoza NEC Jazz Orchestra Ken Schaphorst, conductor Aaron Dutton, soprano and alto saxophones, flute, clarinet Samantha Spear, alto saxophone, clarinet, flute, piccolo Jesse Beckett-Herbert, tenor saxophone, flute, clarinet Declan Sheehy-Moss, tenor saxophone, clarinet, bass clarinet Nick Suchecki, baritone saxophone, contra-alto clarinet, bass clarinet Trumpets Miles Keingstein Massimo Paparello Eliza Block Daniel Hirsch Trombones Michael Prentky Michael Sabin Sam Margolis Dorien Tate Piano Moshe Elmakias Guitar Andres Orco-Zerpa Bass Domenico Botelho Drums Charlie Weller Born in São Paulo, Brazil, Ms. Souza grew up in a family of Bossa Nova innovators - her father, a singer and songwriter, her mother, a poet and lyricist. Ms. Souza’s work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to new music. -
Listening Program Script I
Non-Directed Music Listening Program Series I Non-Directed Music Listening Program Script Series I Week 1 Composer: Manuel de Falla (1876 – 1946) Composition: “Ritual Fire Dance” from “El Amor Brujo” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658 Day 1: This week’s listening selection is titled “Ritual Fire Dance”. It was composed by Manuel de Falla. Manuel de Falla was a Spanish musician who used ideas from folk stories and folk music in his compositions. The “Ritual Fire Dance” is from a ballet called “Bewitched By Love” and describes in musical images how the heroine tries to chase away an evil spirit which has been bothering her. Day 2: This week’s feature selection is “Ritual Fire Dance” composed by the Spanish writer Manuel de Falla. In this piece of music, de Falla has used the effects of repetition, gradual crescendo, and ostinato rhythms to create this very exciting composition. Crescendo is a musical term which means the music gets gradually louder. Listen to the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helps give a feeling of excitement to the piece. Day 3: This week’s featured selection, “Ritual Fire Dance”, was written by the Spanish composer Manuel de Falla in 1915. Yesterday we mentioned how the composer made use of the effect of gradually getting louder to help create excitement. Do you remember the musical term for the effect of gradually increasing the volume? If you were thinking of the word ‘crescendo’ you are correct. -
GEORGIEV Martin
MARTIN GEORGIEV’s artistic activity connects the fields of composition, conducting and research in a symbiosis. As a composer and conductor he has collaborated with leading orchestras and ensembles, such as the Brussels Philharmonic, BBC Symphony Orchestra, Bulgarian National Radio Orchestra, Heidelberg Philharmonic Orchestra, Sofia National Philharmonic Orchestra, National Orchestra of Belgium, Azalea Ensemble, Manson Ensemble, Cosmic Voices choir, Isis Ensemble and Ensemble Musiques Nouvelles. More recently he was Composer in Residence to the City of Heidelberg - 'Komponist für Heidelberg 2012|13", featuring the orchestral commission The Secret which premiered in 2013 with the Heidelberg Philharmonic Orchestra conducted by the composer. Since 2013 he works as Assistant Conductor for the Royal Ballet at ROH Covent Garden, London, where he is involved with a number of world premieres. In 2010-11 he was SAM Embedded Composer with the BBC Symphony Orchestra, London. He has completed a PhD doctorate in Composition at the Royal Academy of Music, University of London (2012), in which he developed his Morphing Modality technique for composition. He also holds Masters' degrees in both Composition and Conducting from the Royal Academy of Music and the National Academy of Music 'Pancho Vladigerov', Sofia, Bulgaria. Born in 1983 at Varna, Bulgaria, he is based in London since 2005, holding both Bulgarian and British citizenship. He is a laureate of the International Composers' Forum TACTUS in Brussels, Belgium, where his works featured in the selection in 2004, 2008 and 2011; the Grand Prize for Symphonic Composition dedicated to the 75th Anniversary of the Sofia National Philharmonic Orchestra in 2003; the UBC Golden Stave Award in 2004; orchestral commission prize in memory of Sir Henry Wood by the Royal Academy of Music, London, in 2011; he was a finalist of the Hindemith Prize of the Schleswig-Holstein Music Festival in Germany in 2011 and a recipient of 15 prizes from national and international competitions as a percussionist. -
Edition 4 | 2019-2020
A Message from the Chair of the Board of Trustees 4 2020 Musician Roster 5 MARCH 6-7 11 Peaks of Beauty and Devotion MARCH 20-21 19 Beethoven at 250: An Apotheosis of Energy MARCH 27-28 27 The Rite of Spring APRIL 17-18 35 Beethoven at 250: The Ninth Symphony Spotlight on Education 50 Board of Trustees/Staff 51 Friends of the Columbus Symphony 53 Columbus Symphony League 54 Future Inspired 55 Partners in Excellence 57 Corporate and Foundation Partners 57 Individual Partners 58 In Kind 61 Tribute Gifts 61 Legacy Society 64 Concert Hall & Ticket Information 67 ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The Columbus Symphony program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The Columbus Symphony program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES Dear Columbus Symphony Supporter, As our 2019–20 season comes to a close, we again thank you for your support of quality, live performances of orchestral music in our community! We are thrilled to end our season with four amazing performances. Our wonderful spring concerts start with Peaks of Beauty and Devotion (March 6–7, Ohio Theatre). American artist Joshua Roman performs his own evocative Cello Concerto in a CSO premiere. Rossen Milanov conducts this powerful performance, culminating in Anton Bruckner’s majestic Symphony No. -
News Release
news release FOR IMMEDIATE RELEASE PRESS CONTACT: Maggie Stapleton, Jensen Artists September 25, 2019 646.536.7864 x2; [email protected] American Composers Orchestra Announces 2019-2020 Season Derek Bermel, Artistic Director & George Manahan, Music Director Two Concerts presented by Carnegie Hall New England Echoes on November 13, 2019 & The Natural Order on April 2, 2020 at Zankel Hall Premieres by Mark Adamo, John Luther Adams, Matthew Aucoin, Hilary Purrington, & Nina C. Young Featuring soloists Jamie Barton, mezzo-soprano; JIJI, guitar; David Tinervia, baritone & Jeffrey Zeigler, cello The 29th Annual Underwood New Music Readings March 12 & 13, 2020 at Aaron Davis Hall at The City College of New York ACO’s annual roundup of the country’s brightest young and emerging composers EarShot Readings January 28 & 29, 2020 with Buffalo Philharmonic Orchestra May 5 & 6, 2020 with Houston Symphony Third Annual Commission Club with composer Mark Adamo to support the creation of Last Year ACO Gala 2020 honoring Anthony Roth Constanzo, Jesse Rosen, & Yolanda Wyns March 4, 2020 at Bryant Park Grill www.americancomposers.org New York, NY – American Composers Orchestra (ACO) announces its full 2019-2020 season of performances and engagements, under the leadership of Artistic Director Derek Bermel, Music Director George Manahan, and President Edward Yim. ACO continues its commitment to the creation, performance, preservation, and promotion of music by 1 American Composers Orchestra – 2019-2020 Season Overview American composers with programming that sparks curiosity and reflects geographic, stylistic, racial and gender diversity. ACO’s concerts at Carnegie Hall on November 13, 2019 and April 2, 2020 include major premieres by 2015 Rome Prize winner Mark Adamo, 2014 Pulitzer Prize winner John Luther Adams, 2018 MacArthur Fellow Matthew Aucoin, 2017 ACO Underwood Commission winner Hilary Purrington, and 2013 ACO Underwood Audience Choice Award winner Nina C. -
CULTIVATE Five Emerging Composers Selected for Intensive, All-Scholarship Workshop and Mentoring Program; Derek Bermel Named Program Director
NEWS...For Immediate Release June 15, 2012 Contact: Elizabeth Dworkin, Dworkin & Company 914.244.3803, [email protected] Copland House Launches CULTIVATE Five Emerging Composers Selected for Intensive, All-Scholarship Workshop and Mentoring Program; Derek Bermel Named Program Director Cortlandt Manor, NY - Copland House today announces the launch of CULTIVATE, an intensive, annual, all-scholarship creative workshop and mentoring program dedicated to developing the talents of exceptionally gifted American composers in the initial stages of their professional careers. Serving as CULTIVATE Director is Derek Bermel, the acclaimed composer and Founding Clarinetist of the Music from Copland House ensemble. For the inaugural session this summer, five composers from around the U.S. have been invited to participate: Nathan Heidelberger, 25 (Westchester Community Foundation Valentine and Clark Fellow); Roger Zare, 27 (ASCAP Foundation Fellow); Michael Djupstrom, 31; Reena Esmail, 29; and Michael Ippolito, 27. "We hope that CULTIVATE will help these gifted young composers to be better prepared as creators, artists, and leaders in a profoundly-changing musical landscape," said Copland House's Artistic and Executive Director Michael Boriskin. "We intend for this program to contribute substantively to the essential discourse about the role of composers in today's shifting social, civic, and cultural environments. And having worked with Derek -as composer, performer, resident, educator, and general artistic partner, colleague, and friend- since Copland House first opened its doors in 1998, we know that he is singularly-equipped to oversee one of our most important new initiatives to support young composers." "I am excited about steering Copland House's CULTIVATE program," Bermel explained. -
The Musical Contexts Listening Exercises Pack
SQUILT LISTENING GUIDE The Musical Contexts SQUILT Listening Exercises Pack P a g e 1 o f 13 © WWW.MUSICALCONTEXTS.CO.UK SQUILT LISTENING GUIDE 1. Listening to Music for Special Events a) Scan the QR code and listen to eight different pieces music. Each relates to a special event or is only used for a specific activity or at a particular time. Match up the 8 pieces of music with their events choosing from the special events listed below. Piece 1 2 3 4 5 6 7 8 Number Occasion Letter A - A Grand Wedding B - Trooping the Colour C - At a Ceilidh or Barn Dance D - In an Opera House E - American Independence Day F – At a Carnival G - Dancing on May Day H - A Cathedral Service b) Now listen to all 8 extracts again choose TWO pieces. Say why you thought they belonged to particular occasions. Which features in the music led you to make your choices? Give the number of each piece you write about and use the Elements of Music and other words, given in the box below to help you with your answers. a Piece no. b Piece no. Pitch Tempo Dynamics Duration Texture Timbre/Sonority Articulation Silence Instruments Rhythm Melody c) Think about a special event NOT listed in part 1 and how you would create a piece of music for it which would be appropriate. Describe this below using the ELEMENTS OF MUSIC (given in the box above). Special Event My Music for my Special Event would sound like P a g e 2 o f 13 © WWW.MUSICALCONTEXTS.CO.UK SQUILT LISTENING GUIDE 2.