DOCSLIB.ORG

Bright Sheng Leonard Bernstein Distinguished University Professor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Bright Sheng Leonard Bernstein Distinguished University Professor of Composition, School of Music, Theater & Dance, University of Michigan Bright Sheng is a composer, conductor, and pianist. In April of 1999, Mr. Sheng received a special commission from the White House to create a new work for a state dinner, hosted by the president, honoring the Chinese Premiere Zhou Rongji. In October 2001, Bright Sheng was named a MacArthur Fellow with a cash prize of $500,000. Professor Sheng's music has been widely performed throughout the world by such prestigious groups as the New York Philharmonic Orchestra, Chicago Symphony, Cleveland Orchestra, Boston Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Minnesota Symphony, St. Louis Symphony, Los Angeles Chamber Symphony, New York Chamber Symphony, St. Paul Chamber Orchestra, Lyric Opera of Chicago, Houston Grand Opera, Santa Fe Opera, New York City Ballet, New York City Opera. San Francisco Ballet, Toronto Symphony Orchestra, Winnipeg Symphony, Vancouver Symphony Orchestra, Royal Concertgebouw Orchestra, Orchestra Sinfonica dell'Accademia Nazionale di Santa Cecilia, BBC Symphony Orchestra, Hamburg Radio Symphony, Royal Liverpool Philharmonic Orchestra, St. Petersburg Philharmonic, National Symphony of Russia, Warsaw Symphony, Danish National Radio Symphony, Frankfurt Radio Symphony, Dusseldorf Symphony Orchestra, Dortmund Philharmonic Orchestra, Bern Symphony Orchestra, Finnish Radio Symphony, Luxembourg Philharmonic, National Symphony of Spain, Orqesta Sinfonica de Bilbao, Gulbenkian Orchestra (Portugal), Slovenian Radio & TV Symphony, Tokyo Philharmonic Orchestra, Singapore Symphony Orchestra, Malaysian Philharmonic Orchestra, Seoul Philharmonic, and Shanghai Symphony Orchestra, Hong Kong Philharmonic Orchestra, China National Symphony, Orchestra of National Opera of Greece, among others; and with distinguished musicians including Leonard Bernstein, Christoph Eschenbach, Kurt Masur, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, David Zinman, Neeme Jarvi, David Robertson, Robert Spano, Marin Alsop, Eiji Oue, Bramwell Tovey, Jeffery Kahane, Thomas Dasgaard, Hugh Wolff, Arthur Fagen, Jahja Lin, Sakari Oramo, Muhai Tang, Carl St. Clair, Shui Lan, Yo Yo Ma, Emanuel Ax, Peter Serkin, Yefim Brofman, Evelyn Glennie, Lynn Harrell, Richard Stoltzman, Edgar Meyer, Truls Mork, Jane Eaglen, Elisabeth Futral, Joseph Kaiser, and Lauren Flanigan. Professor Sheng has appeared as solo pianist and conductor with the San Francisco Symphony, Detroit Symphony, Seattle Symphony Orchestra, Grand Rapids Symphony Orchestra, St. Petersburg Philharmonic Orchestra (Russia), Dortmund Philharmonic Orchestra (Germany), Hong Kong Philharmonic, Hong Kong Chinese Orchestra, and China National Symphony,among others, and has appeared at Carnegie Hall, Kennedy Center, and Lincoln Center for the Performing Arts, and the Tanglewood Music Center. He has also collaborated with such eminent ensembles and individuals as the Emerson Quartet, Takacs Quartet, Shanghai Quartet, St. Petersburg Quartet, Colin Graham (librettist and stage director), Jude Kelly (stage director), Ong Keng Sen (stage director), David Henry Hwang (playwright/librettist), Andrew Porter (librettist), Helgi Tomasson (choreographer), Peter Martins (choreographer), Christopher Wheeldon (choreographer), and Will Tuckett (choreographer). In addition to many national and international awards, Mr. Sheng has received fellowships and awards from the National Endowment for the Arts, American Academy and Institute of Arts and Letters, Guggenheim Foundation, Rockefeller Foundation, Naumberg Foundation, Copland Foundation, Michigan Arts Award and a Rackham fellowship and a fellowship from the Institute for the Humanities from the University of Michigan. Mr. Sheng's music is exclusively published by G. Schirmer, Inc. and records on the Sony Classical, Naxos, Telarc, Delos, Koch International, New World, and Grammofon AB BI labels. Among his important teachers were Leonard Bernstein, George Perle, Hugo Weisgall, Chou Wen-Chung, and Jack Beeson. Nomination of Professor Bright Sheng 盛宗亮 to membership in Committee of 100 By Tony Chan (Sept 7, 2014) My nomination: Bright Sheng is one of the most prominent and accomplished Chinese American musicians. There certainly are more well‐known Chinese American music performers on the global stage, but Sheng is not only a performer, but also an educator and innovator. His major accomplishments are summarized in the first paragraph of his Wikipedia entry below (MacArthur Fellowship, White House performance, etc). Speaking from first‐hand experience, I can attest that the program Intimacy of Creativity, (http://www.ic.shss.ust.hk/2014/eng/index.html) which he created at HKUST four years ago, has had a major impact not only at HKUST but also in the global world of young performers and composers. In this program, a group of performers are mixed in with a group of composers and they interact over a two week period to discuss and refine new music works, ending with two open concerts at HK’s main concert venues. Financial Times hailed the program as the "city's most innovative musical experience". He has a track record of engagement in activities to promote constructive relations between the US and Greater China and full participation of Chinese Americans in all aspects of life in the US. He performs, and his work is performed by top musicians, regularly in both the US and Great China (including HK). His music is western classical but includes many Chinese tradition and characteristics. Almost all of his recordings have titles with Chinese components. He highlights his own Chinese heritage and struggles during the Cultural Revolution (see http://brightsheng.com/index.html for his TedX‐UofM talk). In 1999, the White House commissioned Sheng to compose a piece to honor the Chinese Premier Zhu Rongji at a state dinner hosted by President Bill Clinton. His program Intimacy of Creativity at HKUST benefits the local community as well as introduce top US musicians to the HK music scene. I am certain, if he were to be elected a C100 member, that he’ll bring a much needed additional artistic dimension to C100 and also enhance C100’s mission of promoting better relations between the people of China and the US. His Chinese CV http://brightsheng.com/Press/shengbiochinese2013.pdf starts with this: “我是一个百分 之一百的中国人，也是一个百分之一百的美国人”‐ a perfect fit for C100! CV His professional homepage http://brightsheng.com/bio.html contains a lot of updated information about his biography, performances, articles, TedX talk, etc. Full CV: http://brightsheng.com/Press/CV‐13.pdf . From Wikipedia: Bright Sheng (surname Sheng, Chinese: 盛宗亮; pinyin: Shèng Zōngliàng; born December 6, 1955 in Shanghai, China) is a Chinese‐American composer, conductor, and pianist. He has lived in the United States since 1982 and is on faculty at the University of Michigan. In 1999, the White House commissioned Sheng to compose a piece to honor the Chinese Premier Zhu Rongji at a state dinner hosted by President Bill Clinton. In November 2001, Sheng received a MacArthur Fellowship. Sheng is the New York City Ballet's first composer‐in‐residence. Sheng's compositions have been performed by most major American orchestras, as well as many European and Asian orchestras, including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, Seattle Symphony Orchestra, Orchestre de Paris, Royal Concertgebouw Orchestra, Tokyo Philharmonic Orchestra, and the China National Symphony. Some of the most notable performers of Sheng's music have included Leonard Bernstein, Yo‐Yo Ma, Peter Serkin, Kurt Masur, Emanuel Ax, Leonard Slatkin, Robert Spano, David Zinman, and Neeme Järvi. Sheng's most notable teachers include Leonard Bernstein and Chou Wen‐Chung. From his webpage at the University of Michigan: Leonard Bernstein Distinguished University Professor of Composition University of Michigan, Ann Arbor [email protected] 734‐647‐9413 Office: 2216 Moore Bright Sheng is a composer, conductor, and pianist. In April of 1999, Mr. Sheng received a special commission from the White House to create a new work for a state dinner, hosted by the president, honoring the Chinese Premiere Zhou Rongji. In October 2001, Bright Sheng was named a MacArthur Fellow with a cash prize of $500,000. Professor Sheng's music has been widely performed throughout the world by such prestigious groups as the New York Philharmonic Orchestra, Chicago Symphony, Cleveland Orchestra, Boston Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Minnesota Symphony, St. Louis Symphony, Los Angeles Chamber Symphony, New York Chamber Symphony, St. Paul Chamber Orchestra, Lyric Opera of Chicago, Houston Grand Opera, Santa Fe Opera, New York City Ballet, New York City Opera. San Francisco Ballet, Toronto Symphony Orchestra, Winnipeg Symphony, Vancouver Symphony Orchestra, Royal Concertgebouw Orchestra, Orchestra Sinfonica dell'Accademia Nazionale di Santa Cecilia, BBC Symphony Orchestra, Hamburg Radio Symphony, Royal Liverpool Philharmonic Orchestra, St. Petersburg Philharmonic, National Symphony of Russia, Warsaw Symphony, Danish National Radio Symphony, Frankfurt Radio Symphony, Dusseldorf Symphony Orchestra, Dortmund Philharmonic Orchestra, Bern Symphony Orchestra, Finnish Radio Symphony, Luxembourg Philharmonic, National Symphony of Spain, Orqesta Sinfonica de Bilbao, Gulbenkian Orchestra (Portugal), Slovenian Radio
Recommended publications
  • Kurt Masur My Relationship to Beethoven

    Kurt Masur My Relationship to Beethoven

    Kurt Masur My Relationship to Beethoven Schriftenreihe Bulletin of the German Historical Institute Washington, D.C., Band 39 (Fall 2006) Herausgegeben vom Deutschen Historischen Institut Washington, D.C. Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. FEATURES MY RELATIONSHIP TO BEETHOVEN Seventh Gerd Bucerius Lecture, Washington DC, May 31, 2006 Kurt Masur Music Director, Orchestre National de France Principal Conductor, London Philharmonic The Bucerius Lecture Series, endowed in memory of the publisher Gerd Bucerius, honors individuals who have made important contributions to the development of civil society. This year’s lecture honored the conductor Kurt Masur, Gewand- hauskapellmeister of the renowned Gewandhaus Orchestra in Leipzig from 1970 to 1996, who played an important role in the peaceful revolution of 1989 in East Germany. Kurt Masur spoke about his long engagement with the composer Ludwig van Beethoven, offering many spontaneous asides and anecdotes, and even occasionally breaking into song. He then answered audience questionsat length. Since no printed text can capture this remarkable performance, we only print selected excerpts here. A video recording of the lecture will be available on DVD. If you would like a free copy of this DVD, please send an email to [email protected] by January 31, 2007.
  • Pizzazz on the Podium

    Pizzazz on the Podium

    Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too.
  • Johnsonk@Nyphil.Org CHRISTOPH ESCHENBACH to CO

    [email protected] CHRISTOPH ESCHENBACH to CO

    FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai.
  • Samuel Ramey

    Samuel Ramey

    welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
  • Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello

    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.
  • Prince Igor Knyaz Igor Page 1 of 3 Opera Assn

    Prince Igor Knyaz Igor Page 1 of 3 Opera Assn

    San Francisco Civic 1996-1997 Prince Igor Knyaz Igor Page 1 of 3 Opera Assn. Auditorium Prince Igor (in Russian) Opera in five acts by Alexander Borodin Libretto by Alexander Borodin, after a scenario by Stasov Based on a 12th-century Russian epic "Song of the Army of Prince Igor" (See Notes) Conductor CAST Alexander Anissimov Igor Svyatoslavich, Prince of Seversk Sergei Leiferkus Production Galitsky, Prince of Galich, brother of Princess Yaroslavna Jeffrey Wells Francesca Zambello Vladimir Igorevich, Igor's son by his first marriage Mark Baker Designer Musicians: Skula Vladimir Ognovenko Zack Brown Musicians: Yeroshka Konstantin Pluzhnikov Lighting Designer Gary Rideout (9/10,13,15,21) Thomas J. Munn Yaroslavna, Igor's second wife Lauren Flanigan Sound Designer Yaroslavna's Nurse Catherine Cook Roger Gans Konchakovna, daughter of Khan Konchak Elena Zaremba Chorus Director Ovlur, a Christian Polovtsian Dennis Petersen Ian Robertson Konchak, Polovtsian Khan Paata Burchuladze Choreographer Solo dancers Teimuraz Koridze Alphonse Poulin Badri Esatia Musical Preparation Susanna Lemberskaya Bryndon Hassman *Role debut †U.S. opera debut Peter Grunberg PLACE AND TIME: The Russian city of Putivl; a Polovtsian Ian Robertson encampment on the Russian Steppes Svetlana Gorzhevskaya Supertitles Christopher Bergen Prompter Jonathan Khuner Assistant Stage Director Paula Williams Assistant Stage Director Yefim Maizel Stage Manager Jerry Sherk Fight Consultant Larry Henderson Friday, September 6 1996, at 6:30 PM PART I Tuesday, September 10 1996, at 8:00
  • Program Notes by MARTIN BOOKSPAN

    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.
  • Publications for Wanli Ouyang 2021 2020

    Publications for Wanli Ouyang 2021 2020

    Publications for Wanli Ouyang 2021 Chen, Z., Ouyang, W., Liu, T., Tao, D. (2021). A Shape Li, Y., Wang, Q., Zhang, J., Hu, L., Ouyang, W. (2021). The Transformation-based Dataset Augmentation Framework for theoretical research of generative adversarial networks: an Pedestrian Detection. International Journal of Computer overview. Neurocomputing, 435, 26-41. <a Vision, 129(4), 1121-1138. <a href="http://dx.doi.org/10.1016/j.neucom.2020.12.114">[More href="http://dx.doi.org/10.1007/s11263-020-01412-0">[More Information]</a> Information]</a> Pang, J., Chen, K., Li, Q., Xu, Z., Feng, H., Shi, J., Ouyang, W., Lu, G., Zhang, X., Ouyang, W., Chen, L., Gao, Z., Xu, D. Lin, D. (2021). Towards Balanced Learning for Instance (2021). An End-to-End Learning Framework for Video Recognition. International Journal of Computer Vision, 129(5), Compression. IEEE Transactions on Pattern Analysis and 1376-1393. <a href="http://dx.doi.org/10.1007/s11263-021- Machine Intelligence, 43(10), 3292-3308. <a 01434-2">[More Information]</a> href="http://dx.doi.org/10.1109/TPAMI.2020.2988453">[More Information]</a> 2020 Zhang, Z., Xu, D., Ouyang, W., Zhou, L. (2021). Dense Video Gu, J., Wang, Z., Ouyang, W., Zhang, W., Li, J., Zhuo, L. Captioning using Graph-based Sentence Summarization. IEEE (2020). 3D hand pose estimation with disentangled cross-modal Transactions on Multimedia, 18, 1807. <a latent space. 2020 IEEE Winter Conference on Applications of href="http://dx.doi.org/10.1109/TMM.2020.3003592">[More Computer Vision (WACV 2020), Piscataway: Institute of Information]</a> Electrical and Electronics Engineers (IEEE).
  • National Museum of American Jewish History, Leonard Bernstein

    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.
  • Xm Radio to Broadcast New Series of Baltimore Symphony Orchestra Concerts in 2007-2008 Season

    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.
  • Nonabelian Hodge Theory in Positive Characteristic Via Exponential Twisting Guitang Lan, Mao Sheng and Kang Zuo

    Nonabelian Hodge Theory in Positive Characteristic Via Exponential Twisting Guitang Lan, Mao Sheng and Kang Zuo

    Math. Res. Lett. Volume 22, Number 3, 859–879, 2015 Nonabelian Hodge theory in positive characteristic via exponential twisting Guitang Lan, Mao Sheng and Kang Zuo Let k be a perfect field of positive characteristic and X a smooth algebraic variety over k which is W2-liftable. We show that the exponent twisiting of the classical Cartier descent gives an equiva- lence of categories between the category of nilpotent Higgs sheaves of exponent ≤ p over X/k and the category of nilpotent flat sheaves of exponent ≤ p over X/k, by showing that it is equivalent up to sign to the inverse Cartier and Cartier transforms for these nilpo- tent objects constructed in the nonabelian Hodge theory in positive characteristic by Ogus-Vologodsky [10]. In view of the crucial role that Deligne-Illusie’s lemma has ever played in their algebraic proof of E1-degeneration of the Hodge to de Rham spectral sequence and Kodaira vanishing theorem in abelian Hodge theory, it may not be overly surprising that again this lemma plays a significant role via the concept of Higgs-de Rham flow [8] in establishing a p- adic Simpson correspondence in the nonabelian Hodge theory and Langer’s algebraic proof of Bogomolov inequality for semistable Higgs bundles and Miyaoka-Yau inequality [9]. 1. Introduction Let k be a perfect field of positive characteristic and X a smooth algebraic variety over k. We have the following commutative diagram of Frobenii F π X X/k - X - X - ? ? σ Spec k - Spec k, This work is supported by the SFB/TR 45 ‘Periods, Moduli Spaces and Arith- metic of Algebraic Varieties’ of the DFG.
  • Verona Quartet Winner, 2015 Concert Artists Guild Competition

    Verona Quartet Winner, 2015 Concert Artists Guild Competition

    Verona Quartet Winner, 2015 Concert Artists Guild Competition Uncensored Dmitri Shostakovich: Quartet No. 9 in E Flat Major – 26 mins Bright Sheng: String Quartet No. 4 - Silent Temple - 17 mins —Intermission— Ludwig van Beethoven: String Quartet No. 13 in B flat Major, Op. 130 (with Grosse Fugue) – 40 mins The censorship of expression remains a motif throughout history, sometimes stemming from a seemingly innocuous desire for progress, other times borne out of malicious intent. Uncensored highlights the works of three composers whose lives were touched by the issue of censorship: Dmitri Shostakovich, whose creative output was constantly held hostage to the watchful eyes of the Soviet authorities; Bright Sheng, who, moved by the ravages of the Cultural Revolution on an abandoned temple in Northwest China, penned his Fourth String Quartet; and Ludwig van Beethoven, who at his publisher’s urging, removed from his Op. 130 String Quartet what is now undeniably one of his greatest masterpieces - the Grosse Fugue. Roots Program A (with piano) Gabriela Lena-Frank: Leyendas: An Andean Walkabout (21 min) - based on Andean Folk Music Amy Beach: Quartet for Strings Op. 89 in One Movement (13 min) - based on Inuit folk music Jessie Montgomery: Strum (8 min) - based on American Folk Music —Intermission— Grazyna Bacewicz: Piano Quintet No. 1 (25mins) - based on Polish folk music Program B (one hour program, string quartet only) Reena Esmail: String Quartet (Ragamala) (18 mins) - derived from Indian classical music Jessie Montgomery: Strum (8 min) - based on American folk music Amy Beach: Quartet for Strings Op. 89 in One Movement (13 min) - based on Alaskan Inuit folk music Gabriela Lena-Frank: Leyendas: An Andean Walkabout (21 min) - based on Andean folk music NB: This program is possible to present without intermission.