DOCSLIB.ORG

Eastman Notes July 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eastman Notes July 2006 Reflec. Conne c. Expec. Eastman Weekend 2006 JANUARY 2007 A MAGAZINE FOR ALUMNI AND FRIENDS OF THE EASTMAN SCHOOL OF MUSIC FROM THE DEAN “Exemplary excellence” Dear Friends, Throughout the fall semester, the faculty and staff embarked on the process of analyzing Eastman’s present position as one of the premier music institutions in the world, and determining the potential long-term future of the School. This was a challenging, uplifting, and somewhat cathartic endeavor. In a report titled ‘The Future of the Eastman School of Music,” which was submitted to President Seligman in November as part of the University’s strategic planning initiative, we wrote: “Our goal for the future is more ambitious than simply maintaining a place in the ranks of the world’s great music schools. To strive for anything short of ex- emplary excellence in artistry, scholarship, leadership, and community engage- NOTES ment would be to abdicate our responsibility as a music Volume 25, Number 1 school whose tradition of leadership and innovation in January 2007 each of these areas has been so significant for music in higher education and the music profession.” Editor In my convocation address to the students and faculty David Raymond at the beginning of the semester, I stated that there is Assistant editor simply no substitute for excellence. New ideas, excit- Juliet Grabowski ing initiatives, and cutting-edge curricula are all vitally Contributing writers important in a school of music, but they cannot take the Ruth Cahn Juliet Grabowski place of exceptional accomplishment as musicians. As Susan Hawkshaw we move forward, it is important to know that the com- Bobbi Lonobile mitment of our faculty is first and foremost to exemplary Jamal J. Rossi excellence in artistry, scholarship, leadership, and com- Jamal J. Rossi Contributing photographers munity engagement -- the hallmarks of an Eastman edu- Kurt Brownell cation. The uncompromised quality of what we do must always be at the heart Walter Colley Gelfand-Piper Photography of an exceptional education. Nathan Martel It has been my honor and great privilege to serve Eastman as the interim dean Photography coordinator during this time of transition between permanent leaders. It was a joy to wel- Karen Ver Steeg come back to campus many alumni during Eastman Weekend 2006, and I have Design enjoyed meeting many other alumni and friends of Eastman during my travels Steve Boerner Typography & Design over the past eight months. Eastman Weekend was a powerful reminder that the Eastman community comprises not just current faculty, students, and staff, but Published twice a year by the Office of all of those who have come before us, and all who care deeply about the future of Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, our School. To the many alumni and friends who have contributed to our prog- 14604, (585) 274-1050. ress this past year as noted in the enclosed Report on Giving, I offer our sincere [email protected] thanks and appreciation. On behalf of the Eastman community, I extend to each of you our best wishes for a happy and prosperous new year. BKSFOLKJBKQ>I?BKBCFQPPQ>QBJBKQ &BTUNBO4DIPPMPG.VTJDTBWFEUIFGPMMPXJOHSFTPVSDFTCZVTJOH /FX-FBG3FJODBSOBUJPO NBEFXJUISFDZDMFEGJCFS Jamal J. Rossi QPTUDPOTVNFSXBTUF BOEFMFNFOUBMDIMPSJOFGSFF Interim Dean HSFFOIPVTF USFFT XBUFS FOFSHZ TPMJEXBTUF HBTFT GVMMZHSPXO HBMMPOT NJMMJPO#56T QPVOET QPVOET photographS by GELFAND-PIPER PHOTOGRAPHY (yearbooks) AND NATHAN MARTEL (JAMAL ROSSI) $BMDVMBUJPOTCBTFEPOSFTFBSDICZ&OWJSPONFOUBM%FGFOTFBOEPUIFSNFNCFSTPGUIF1BQFS5BTL'PSDF /FX-FBG1BQFSXXXOFXMFBGQBQFSDPN INSIDE FEATURES 4 Eastman Weekend 2006 Eastman Weekend brought the different 50TH ANNIVERSARY CLASSMATES WORE THEIR MEDALS areas of the School together for a busy WITH PRIDE AT EASTMAN WEEKEND 2006 weekend of connecting, reflecting—and fun 4 FOR THE 9 There is no substitute for excellence ROSSIS, FATHER 9 Times change, but the values at the heart AND SON, ONLY of an Eastman education endure THE BEST WILL DO 12 Alfred Mann remembered An Eastman musicologist fondly recalls a distinguished colleague 14 Old-fashioned virtues Composer Jack Beeson (BM ’42, MM ’43) takes pride in a richly creative life and from LIZZIE a classic American opera BORDEN to 1 4 CAPTAIN JINKS: master of 2 COMING EVENTS opera jack beeson 3 LETTERS 19 SCHOOL NEWS A PRETEND 26 ALUMNI NOTES GARDEN GIRL, 1 9 AND A GENUINE MOZART 27 IN MEMORIAM DISCOVERY 29 EASTMAN ALUMNI ON CD 32 SHOWING OFF 34 FACULTY NOTES 35 EASTMAN FACULTY ON CD 36 STUDENT NOTES ON THE COVER: The three words in the motto for the School’s first all-Eastman weekend say it all. See page ON THE INTERNET: More news about the Eastman School of Music, 4 for more news and photos. including the full text of Notes and expanded alumni information, can be found online at www.esm.rochester.edu. photographs by GELFAND-PIPER PHOTOGRAPHY (EASTMAN WEEKEND, MOZART OPERA) AND COURTESY JACK BEESON AND JAMAL ROSSI Steve Reich Coming Events March 25–April 21 • Inaugural Howard Hanson Visiting Professor Residency, with composer-in-residence Mario Davidovsky March 26–30 • Third annual Women in Music Festival, with composer-in- residence Tania León March 31, 2007 • Eastman Musica Nova: 70th Birthday Concert of music by Steve Reich , with the composer attending April 12–15, 2007 • Eastman Opera Theatre Bellini, I Capuleti e I Montecchi May 25 • ViM Saxophone Quartet performs in the Kennedy Center’s Conservatory Project June 25–August 3 Summer at Eastman 2007 • Alumni discount! • New offerings include Viola and Trumpet Institutes, African Drumming, Rock Music in the Classroom, and many more. • Visit www.esm.rochester. On October 20–22, 2006 Eastman School of edu/summer abol! Music hosted an unprecedented event for everyone in our vast, interconnected community. An African zpv" The festivities included amazing performances, drumming engaging speakers, and fun activities as we course will heat up celebrated Alumni Weekend, Family Weekend, Eastman’s and the Eastman Community Music School Open Summer of 2007. House. Thank you to everyone who attended and www.esm.rochester.edu/alumni helped make this unique event a success! LETTERS “Renaissance” revised Women in Music I received my July 2006 copy of Notes and In our July 2006 issue, we printed a letter from noted with interest the story Renaissance Florence Du Poit criticizing Eastman’s Women Reborn about the Ars Antiqua group founded in Music Festival for not programming music by by Dorothy Amarandos. I am the Wallace two famous alumna, Emma Lou Diemer (MM Rust mentioned in the story. ’49, PhD ’60) and Nancy Van de Vate (x ’52). There are some factual errors that I wish The following is a reply from the director of the to correct. Here is the true story about the Women in Music Festival. tapes and their transfer to CDs: Chère Madame Du Poit, On December 15, 1959 I recorded onto Thank you for your letter to the editor tape the Ars Antiqua performance Il Solco. and for sharing your interest in, and advo- The tape lay dormant in my possession cacy of, the music of women composers. until December 18, 2002, when I trans- JULY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC Eastman’s Women in Music Festival is what ferred it to CD in my studio in Greece, New I call a “performer-based” festival; i.e. the York. Wanting to share it, I then sought and performers (faculty, students, and guest art- found Dorothy Amarandos (living in Reston, ists) choose their own repertoire for four out Virginia) and sent her a copy of the CD. She 2004, two years later (not one year as stated of five concerts presented during the week of was delighted and told me she had other tapes in Notes). the Festival. By giving performers that free- of Ars Antiqua performances, and would I Thus, it was I who digitized the Ars dom, the programs in 2005 and 2006 offered consider transferring them to CD. I said I Antiqua tapes, not Dorothy’s son. Her son an amazing variety of styles, instrumenta- would, and she sent me a trial lot of ten of may have been the one who selected the tions, and historical periods. I certainly do her tapes. tracks from my CDs to make the four-CD not want to take that feeling of ownership After digitizing them and creating CDs, set, An Ars Antiqua Renaissance. As you can away from them. However, Eastman being she decided to go ahead with digitizing her see, I did not send Dorothy 17 tapes. She had also an educational institution, it is part remaining tapes as a formal project at her ex- the tapes of all the performances except for of my duty and mission to introduce “new” pense. In all, she sent me 45 reel-to-reel four- my tape of Il Solco, and I did the digitizing of music (or what is perceived as new!) to the track tapes, and I digitized them and made all the tapes. Festival’s audiences and to the Wednesday 40 CDs from them. I started the project in Wallace Rust programs, which feature a specific composer January 2003 and finished it in November Rochester, New York or a theme (such as “Music in the Time of Susan B. Anthony” in 2006). The Festival is now preparing for its third edition, and I expect new names to be added to the roster of composers we have presented so far. There are only 300 minutes per year that the Festival can devote to music written by women, and I am aware that many wonder- ful composers will be left behind, year after year, just because of the nature of the process. But you’re in luck! For the last year or so, I have been corresponding with Nancy Van de Vate, and working at the possibility of making her the Festival’s composer-in-resi- dence in 2008.
Load more

Recommended publications
  • National Council on the Humanities Minutes, No. 11-15
    Office of th8 General Counsel N ational Foundation on the Aria and the Humanities MINUTES OF THE ELEVENTH MEETING OF THE NATIONAL COUNCIL ON THE HUMANITIES Held Monday and Tuesday, February 17-18, 1969 U. S. Department of State Washington, D. C. Members present; Barnaby C. Keeney, Chairman Henry Haskell Jacob Avshalomov Mathilde Krim Edmund F. Ball Henry Allen Moe Robert T. Bower James Wm. Morgan *Germaine Br&e Ieoh Ming Pei Gerald F. Else Emmette W. Redford Emily Genauer Robert Ward Allan A. Glatthorn Alfred Wilhelmi Members absent: Kenneth B. Clark Charles E. Odegaard John M. Ehle Walter J. Ong Paul G. Horgan Eugene B. Power Albert William Levi John P. Roche Soia Mentschikoff Stephen J. Wright James Cuff O'Brien *Present Monday only - 2 - Guests present: *Mr. Harold Arberg, director, Arts and Humanities Program, U. S. Office of Education Dr. William Emerson, assistant to the president, Hollins College, Virginia Staff members present; Dr. James H. Blessing, director, Division of Fellowships and Stipends, and acting director, Division of Research and Publication, National Endowment for the Humanities Dr. S. Sydney Bradford, program officer, Division of Research and Publication, NEH Miss Kathleen Brady, director, Office of Grants, NEH Mr. C. Jack Conyers, director, Office of Planning and Analysis, NEH Mr. Wallace B. Edgerton, deputy chairman, NEH Mr. Gerald George, special assistant to the chairman, NEH Dr. Richard Hedrich, Director of Public Programs, NEH Dr. Herbert McArthur, Director of Education Programs, NEH Miss Nancy McCall, research assistant, Office of Planning and Analysis, NEH Mr. Richard McCarthy, assistant to the director, Office of Planning and Analysis, NEH Miss Laura Olson, Public Information Officer, NEH Dr.
    [Show full text]
  • [email protected] 2
    FOR IMMEDIATE RELEASE Press Contact: Betsy Aldredge Media Relations Specialist 914-251-6959 [email protected] PURCHASE OPERA AND ALBANY RECORDS RELEASE “THE CRUCIBLE” THE FIRST RECORDING IN MORE THAN 50 YEARS OF THIS WORK Based on Arthur Miller’s Play with Music by Robert Ward Purchase, NY, January 13, 2017: Purchase Opera and Albany Records have partnered to release the first new recording in more than fifty years oF The Crucible, an opera by composer Robert Ward and librettist Bernard Stambler based on Arthur Miller’s play about the Salem witch trials. Originally commissioned by the New York City Opera, The Crucible premiered on October 26, 1961, just eight years after Miller’s play was first perFormed. The opera won a Pulitzer Prize among other accolades. The last recording oF the opera, also released by Albany Records, was From the early 1960s, and Featured the original New York City Opera cast, minus bass-baritone Norman Treigle. The production, directed by Jacque Trussel, was presented in March 2016 at Purchase College’s PerForming Arts Center and was later recorded in the Conservatory oF Music’s Recital Hall. This new recording of The Crucible (TROY 1656/57) features students and alumni oF the Conservatory of Music’s Department oF Opera PerFormance and Vocal Studies—a highly selective program that has won 13 top awards From the National Opera Association For its acclaimed productions, including one For this production. The recording also features Purchase Symphony Orchestra, conducted by Hugh Murphy. Maestro Murphy is a recent recipient oF the American Prize Competition’s Ernst Bacon Memorial Award for the Performance of American Music for his conducting of The Crucible.
    [Show full text]
  • Program Notes by MARTIN BOOKSPAN
    LIVE FROM LINCOLN CENTER March 24, 1999 8-10 PM New York City Opera: Lizzie Borden Program Notes by MARTIN BOOKSPAN "Lizzie Borden"- Music by Jack Beeson; libretto by Kenward Elmslie; based on a scenario by Richard Plant. World premiere given at New York City Opera, March 25, 1965. "Lizzie Borden took an ax, and gave her father forty whacks." This childhood rhyme may have passed from currency in the waning years of the twentieth century, but the event it memorialized was very much alive in the waning years of the nineteenth. Along with the likes of Paul Bunyan and Johnny Appleseed, Lizzie Borden of Fall River, Massachusetts, assumed legendary status in the American popular imagination. In some respects the situation seems to be a remarkable parallel to one with which we are all familiar, the O.J. Simpson affair. These are the facts: on August 4, 1892, the citizens of Fall River were shaken by the brutal murder of two of its most solid citizens, Andrew Borden and his wife, Abbie Gray Borden. The finger of suspicion soon pointed to Andrew Borden's thirty-three-year-old daughter, Elizabeth, known as Lizzie, an apparently demure and reserved gentlewoman. She testified at an inquest, but thereafter refused comment, even declining to testify in her own defense at the trial that ensued. The evidence arrayed against her seemed confused and even conflicting, and many in the community could not bring themselves to believe that she was guilty. Weak testimony in her favor was offered by her sister, Emma; in the final summation, these were the words of her chief defense attorney: "To find her guilty, you must believe she is a fiend.
    [Show full text]
  • Where to Go Camping
    There was a statement in an older version of the Boy Scout Handbook that said: “Have you ever dreamed of hiking the wilderness trails that were worn down under moccasins hundreds of years ago? Do you hear in your imagination the almost soundless dip, dip of Indian canoe paddles or the ring of the axe of an early pioneer hewing a home out of the American wilderness? Have you followed with you mind’s eye the covered wagon on the trek across our continent? Yes, it’s fun to be a Boy Scout! It’s fun to go hiking and camping with your best friends…..to swim, to dive, to paddle a canoe, to wield the axe…..to follow in the footsteps of the pioneers who led the way through the wilderness…..to stare into the glowing embers of the campfire and dream of the wonders of the lift that is in store for you…” This is the heart of Scouting, but we don’t always know the best place to go on these outings. How better can the Order of the Arrow fulfill a part of their responsibility of service to others than to make this camping guide available? A great guide to the best camping, boating, hiking and sightseeing both in and out of the Council, but, of course, one of the best places to do real camping is at one of the Council’s reservations. Richard A. Henson or Rodney Scout Reservation, both long term camping during the summer months, or weekends through the year, affords a maximum of program.
    [Show full text]
  • Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA
    223 Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA The epic heroine Penelope captured the Renaissance literary and artistic imagination, beginning with Petrarch and the recovery of Homer's poetry through its translation into Latin. Only a very small number of humanists in the 14'h century were able to read Homer in the Greek original, and Petrarch's friend Leontius Pilatus produced for him long-awaited Latin translations of the Iliad 1 and Odyssey in the 1360s • Profoundly moved by his ability to finally compre­ hend the two epics (albeit in translation), Petrarch composed a remarkable letter addressed to Homer in which he compares himself to Penelope: "Your Penelope cannot have waited longer nor with more eager expectation for her Ulysses than I did for you. At last, though, my hope was fading gradually away. Except for a few of the opening lines of certain books, from which there seemed to flash upon me the face of a friend whom I had been longing to behold, a momen­ tary glimpse, dim through the distance, or, rather, the sight of his streaming hair, as he vanished from my view- except for this no hint of a Latin Homer had come to me, and I had no hope of being able ever to see you face to face"'. The themes of anticipation and fulfillment, and longing and return that are associated with the figure of Penelope coincide with the rediscovery of ancient texts. To encounter Homer for the first time in a language with which one was 3 familiar was as much a personal as a literary experience • As Nancy Struever observes, Petrarch's Le Familiari, a collection of letters addressed to contemporary friends and ancient authors, values friendship and intimate exchange because 4 it leads to knowledge and affective reward • Books on their own (Le Familiari, XII, 6) constituted surrogate friends with whom Petrarch could correspond, con­ verse, exchange ideas, and share his affections.
    [Show full text]
  • 1895. Mille Huit Cent Quatre-Vingt-Quinze, 31 | 2000, « Abel Gance, Nouveaux Regards » [En Ligne], Mis En Ligne Le 06 Mars 2006, Consulté Le 13 Août 2020
    1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 31 | 2000 Abel Gance, nouveaux regards Laurent Véray (dir.) Édition électronique URL : http://journals.openedition.org/1895/51 DOI : 10.4000/1895.51 ISBN : 978-2-8218-1038-9 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 octobre 2000 ISBN : 2-913758-07-X ISSN : 0769-0959 Référence électronique Laurent Véray (dir.), 1895. Mille huit cent quatre-vingt-quinze, 31 | 2000, « Abel Gance, nouveaux regards » [En ligne], mis en ligne le 06 mars 2006, consulté le 13 août 2020. URL : http:// journals.openedition.org/1895/51 ; DOI : https://doi.org/10.4000/1895.51 Ce document a été généré automatiquement le 13 août 2020. © AFRHC 1 SOMMAIRE Approches transversales Mensonge romantique et vérité cinématographique Abel Gance et le « langage du silence » Christophe Gauthier Abel Gance, cinéaste à l’œuvre cicatricielle Laurent Véray Boîter avec toute l’humanité Ou la filmographie gancienne et son golem Sylvie Dallet Abel Gance, auteur et ses films alimentaires Roger Icart L’utopie gancienne Gérard Leblanc Etudes particulières Le celluloïd et le papier Les livres tirés des films d’Abel Gance Alain Carou Les grandes espérances Abel Gance, la Société des Nations et le cinéma européen à la fin des années vingt Dimitri Vezyroglou Abel Gance vu par huit cinéastes des années vingt Bernard Bastide La Polyvision, espoir oublié d’un cinéma nouveau Jean-Jacques Meusy Autour de Napoléon : l’emprunt russe Traduit du russe par Antoine Cattin Rachid Ianguirov Gance/Eisenstein, un imaginaire, un espace-temps Christian-Marc Bosséno et Myriam Tsikounas Transcrire pour composer : le Beethoven d’Abel Gance Philippe Roger Une certaine idée des grands hommes… Abel Gance et de Gaulle Bruno Bertheuil Étude sur une longue copie teintée de La Roue Roger Icart La troisième restauration de Napoléon Kevin Brownlow 1895.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1946
    TANGLEWOOD— LENOX, MASSACHUSETTS THE Berkshire Music Center SERGE KOUSSEVITZKY, Director presents " ! cc PETER GRIMES" 11 by BENJAMIN BRITTEN Tuesday Evening, August 6 Wednesday Evening, August 7 Friday Evening, August 9 IP •*• 1946 W' !.«.w,a'i STEINWiV Since the time of Liszt, the Steinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa El man and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — they cannot afford otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST., BOSTON Jerome F. Murphy, President • Also Worcester and Springfield THEATRE-CONCERT HALL TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) Berkshire Music Center . SERGE KOUSSEVITZKY, Director Season 1946 Program Bulletin with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, InC. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N, Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens Henry W. Dwight Lester Roberts George W. Edman Whitney S.
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • Good Chemistry James J
    Columbia College Fall 2012 TODAY Good Chemistry James J. Valentini Transitions from Longtime Professor to Dean of the College your Contents columbia connection. COVER STORY FEATURES The perfect midtown location: 40 The Home • Network with Columbia alumni Front • Attend exciting events and programs Ai-jen Poo ’96 gives domes- • Dine with a client tic workers a voice. • Conduct business meetings BY NATHALIE ALONSO ’08 • Take advantage of overnight rooms and so much more. 28 Stand and Deliver Joel Klein ’67’s extraordi- nary career as an attorney, educator and reformer. BY CHRIS BURRELL 18 Good Chemistry James J. Valentini transitions from longtime professor of chemistry to Dean of the College. Meet him in this Q&A with CCT Editor Alex Sachare ’71. 34 The Open Mind of Richard Heffner ’46 APPLY FOR The venerable PBS host MEMBERSHIP TODAY! provides a forum for guests 15 WEST 43 STREET to examine, question and NEW YORK, NY 10036 disagree. TEL: 212.719.0380 BY THOMAS VIncIGUERRA ’85, in residence at The Princeton Club ’86J, ’90 GSAS of New York www.columbiaclub.org COVER: LESLIE JEAN-BART ’76, ’77J; BACK COVER: COLIN SULLIVAN ’11 WITHIN THE FAMILY DEPARTMENTS ALUMNI NEWS Déjà Vu All Over Again or 49 Message from the CCAA President The Start of Something New? Kyra Tirana Barry ’87 on the successful inaugural summer of alumni- ete Mangurian is the 10th head football coach since there, the methods to achieve that goal. The goal will happen if sponsored internships. I came to Columbia as a freshman in 1967. (Yes, we you do the other things along the way.” were “freshmen” then, not “first-years,” and we even Still, there’s no substitute for the goal, what Mangurian calls 50 Bookshelf wore beanies during Orientation — but that’s a story the “W word.” for another time.) Since then, Columbia has compiled “The bottom line is winning,” he said.
    [Show full text]
  • A History of the French in London Liberty, Equality, Opportunity
    A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.
    [Show full text]
  • John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
    2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll.
    [Show full text]