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Joana Carneiro Music Director
JOANA CARNEIRO MUSIC DIRECTOR Berkeley Symphony 17/18 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index Media Sponsor Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. October 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director Dear Friends, Happy New Season 17/18! I am delighted to be back in Berkeley after more than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life. -
Music You Know & Schubert
CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden. -
ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 Merican Composers Have Always Pushed Boundaries, As Americans Themselves Have a Pushed West
AMERICAN GRACE Piano music from Steven Mackey | John Adams ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 merican composers have always pushed boundaries, as Americans themselves have A pushed West. I feel strongly that John Adams and Steven Mackey are at the forefront of defining what it means to be an American pianist today. On a stunning summer’s day in 2007 in the inspiring Rocky Mountain valley of Aspen, I found myself as usual underground, in a windowless practice room. One of the magical things about Aspen is that the otherwise oppressive quality of such a room is transformed by the people who inhabit it. I was taking a practice break from Gershwin and Stravinsky, preparing for rehearsal with the orchestra, when Steve Mackey came off the stage from rehearsing his guitar concerto Tuck and Roll. I was seven months pregnant with my twin sons, and Steve and I immediately started to talk about both music and child-bearing, which his wife was soon to do as well. I relished our talk and was further enthralled by Steve’s sizzling guitar playing and magnetic compositional style. For the next months, I ravenously listened to his oeuvre, convincing me that he was the first composer I wanted to ask to write me a concerto. The process was amazing. Steve showed me bits now and again, listened to my recordings and live performances, asked about my hand size, even allowed me a say in the final dramatic turn of the piece. Every time a part of the score came my way, I was more excited to learn it and understand it. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
Harmonic Progression and Pitch-Centricity in John Adams Phrygian Gates
HARMONIC PROGRESSION AND PITCH-CENTRICITY IN JOHN ADAMS PHRYGIAN GATES Connor D’Netto A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Music with Honours in Musicology/Composition School of Music, The University of Queensland, November 2015. ii Statement of Originality I understand the University’s rules and policies on referencing and avoiding plagiarism. This thesis is my own work and contains nothing submitted for assessment elsewhere or for another course, at The University of Queensland or any other institution. I have appropriately and fairly accredited the work of others that I have drawn on in the writing of this thesis. I have undertaken the online Academic Integrity Tutorial: (https://www.uq.edu.au/integrity/Login.aspx?ReturnUrl=%25252fintegrity). Signature of student: Date: 09/11/15 Disciplinary action will be taken for students found signing a false statement regarding the above, or who are in breach of the UQ Policy and Procedure Library 3.60.04 Student Integrity and Misconduct 6 Guidelines for Students http://ppl.app.uq.edu.au/content/3.60.04-student- integrity-and-misconduct#Policy iii Abstract John Adams is one of the most frequently performed living composers in the realm of Western Art Music. As one of the foremost composers of minimalism, his solo piano work Phrygian Gates, to him, represents his initiation into this musical style, and as such, his “Opus one” (Hallelujah Junction 89). This work, representing a significant point in the development of Adams’ musical style, also represents a significant occurrence in the development in the Western-classical music: the emergence of tonality. -
N E W S R E L E A
N E W S R E L E A S E CONTACT: Katherine Blodgett Director of Public/Media Relations phone: 215.893.1939 e-mail: [email protected] FOR IMMEDIATE RELEASE DATE: March 2, 2009 CHIEF CONDUCTOR AND ARTISTIC ADVISER CHARLES DUTOIT LEADS THE PHILADELPHIA ORCHESTRA IN A PROGRAM CELEBRATING THE INFLUENCE OF AFRICAN- AMERICAN CULTURE ON CLASSICAL MUSIC George Walker’s 1996 Pulitzer Prize-winning Lilacs receives its first Philadelphia Orchestra performances with tenor Russell Thomas as featured soloist Bass-baritone Eric Owens performs Mahler’s Songs of a Wayfarer in tribute to Philadelphia-native Marian Anderson Two works inspired by African-American music—Milhaud’s The Creation of the World and Dvo řák’s Symphony No. 9 in E minor (“From the New World”)—complete the program March 17 concert at Carnegie Hall part of HONOR! A CELEBRATION OF THE AFRICAN AMERICAN CULTURAL LEGACY , a Carnegie Hall festival curated by renowned soprano Jessye Norman (Philadelphia , March 2, 2009)—Philadelphia Orchestra Chief Conductor and Artistic Adviser Charles Dutoit leads the Orchestra in three concerts in Verizon Hall at the Kimmel Center celebrating the influence of African-American culture on classical music (March 12-14). The program features Milhaud’s jazz-inspired The Creation of the World ; George Walker’s 1996 Pulitzer Prize-winning work Lilacs for voice and orchestra, with tenor Russell Thomas as soloist in its first Philadelphia Orchestra performances; Mahler’s Songs of a Wayfarer , a work for which the late, great contralto Marian Anderson was known, with Philadelphia-native bass-baritone Eric Owens as soloist; and Dvořák’s Symphony No. -
Harmonic Vocabulary in the Music of John Adams: a Hierarchical Approach Author(S): Timothy A
Yale University Department of Music Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach Author(s): Timothy A. Johnson Source: Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), pp. 117-156 Published by: Duke University Press on behalf of the Yale University Department of Music Stable URL: http://www.jstor.org/stable/843946 Accessed: 06-07-2017 19:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Department of Music, Duke University Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of Music Theory This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:50:30 UTC All use subject to http://about.jstor.org/terms HARMONIC VOCABULARY IN THE MUSIC OF JOHN ADAMS: A HIERARCHICAL APPROACH Timothy A. Johnson Overview Following the minimalist tradition, much of John Adams's' music consists of long passages employing a single set of pitch classes (pcs) usually encompassed by one diatonic set.2 In many of these passages the pcs form a single diatonic triad or seventh chord with no additional pcs. In other passages textural and registral formations imply a single triad or seventh chord, but additional pcs obscure this chord to some degree. -
JOHN ADAMS WIRD 70 SWR2 Jetztmusik, 6. 2. 2017, 23:03 – 24:00
JOHN ADAMS WIRD 70 SWR2 JetztMusik, 6. 2. 2017, 23:03 – 24:00 Autor: Bernd Feuchtner Anmoderation (Redaktion) MUSIK Harmonielehre Part I (1985) Track 1 ab 13:00 4’10 San Francisco Symphony, Edo de Waart (1985) Nonesuch 7559-79115-2 Mit dem Orchesterstück Harmonielehre erlebte der amerikanische Komponist John Adams 1985 seinen Durchbruch – hier hatte er endgültig seinen Stil gefunden, mit dem er noch heute identifiziert wird. Die eigene Identität zu finden war gar nicht so einfach für den Harvard-Studenten, der bei dem Schönberg-Schüler Leon Kirchner studierte. Deshalb kommt der Titel Harmonielehre nicht von ungefähr – er bezieht sich tatsächlich auf Schönbergs Lehrbuch, das dieser 1911 Gustav Mahler gewidmet hatte, bevor er sich in das Gebiet der Atonalität wagte. Der junge John Adams hatte jedoch wenig Neigung, sich weiter im Ghetto der Zwölftöner zu bewegen, und auch die Cage-Schule, so anregend sie war, lag nicht auf dem Weg seiner Sehnsucht. Der führte ihn nach Kalifornien, wo er vor allem mit elektronischer Musik experimentierte und eine Menge interessanter Typen kennenlernte, darunter auch viele Protagonisten der Minimal Music. Die Musik von La Monte Young, Terry Riley, Steve Reich, Philip Glass zog ihn an, aber auch Poeten wie Allen Ginsberg und William Burroughs. Der erste eigene Schritt auf das neue Terrain der Minimal Music, den John Adams noch heute anerkennt, war 1973 Christian Zeal and Activity, ein Ensemblestück, in das Schleifen aus einer Radiopredigt eingewoben sind, so wie Steve Reich das 1964 in It’s gonna rain oder Gavin Bryars 1971 in Jesus’ blood never failed me getan hatten. MUSIK Christian Zeal and Activity (1973) Track 2 ab 5:50 bis 8:45 2’55 San Francisco Symphony, Edo de Waart (1986) Nonesuch 7559-79144-2 Ein langsamer protestantischer Hymnus, versetzt mit den Loops einer Predigt über die Wunderheilung des Mannes mit der verdorrten Hand aus dem Markus-Evangelium, aufgenommen aus dem Radio. -
Aspects of Closure in the Music of John Adams by Catherine Pellegrino
Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared. -
AS Level Performance Studies Topic Exploration Pack (John Adams)
Performance Studies A LEVEL Performance Studies: John Adams Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents John Adams Teacher Resource Pack ............................................................................................. 4 Background ..................................................................................................................................... 5 Adams’ Works ................................................................................................................................. 5 Fingerprints of Adams’ Style ........................................................................................................... 7 Influences ...................................................................................................................................... -
04-12Adams.Pdf
London Symphony Orchestra Living Music Sunday 4 December 2016 7pm Barbican Hall JOHN ADAMS AT 70 John Adams El Niño Interval after Part One London’s Symphony Orchestra John Adams conductor Joélle Harvey soprano Jennifer Johnson Cano mezzo-soprano Davóne Tines bass-baritone Daniel Bubeck, Brian Cummings, Nathan Medley counter-tenors London Symphony Chorus London Youth Choir Simon Halsey chorus director Concert finishes approx 9.30pm 2 Welcome 4 December 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert where we are CHRISTMAS OFFERS FROM LSO LIVE delighted to be joined by one of America’s most influential musicians, John Adams, in the first of our Throughout December LSO Live will be running concerts celebrating his 70th birthday. This evening exclusive Christmas offers, including discounted he conducts El Niño, his own oratorio based on the box sets, special bundles and free UK shipping on nativity story, written for the new millennium. It is orders over £30. New offers will be announced on always a pleasure to work with John Adams on his 9 December, so keep checking the LSO Live website own music, and we are excited to be performing to take advantage of the latest discounts. this work for the first time here at the Barbican, before taking it on tour to Paris. lsolive.lso.co.uk On stage John Adams is joined by vocal soloists Joélle Harvey, Jennifer Johnson Cano, Davóne Tines, SOUND UNBOUND 2017: Daniel Bubeck, Brian Cummings and Nathan Medley, THE BARBICAN CLASSICAL WEEKENDER all of whom are making their LSO debuts this evening. -
Only the Sound Remains (U.S
Saturday, November 17, 2018 at 7:30 pm Sunday, November 18, 2018 at 5:00 pm Pre-performance discussion with Kaija Saariaho, Peter Sellars, and Ara Guzelimian on Sunday, November 18 at 3:45 pm in the Agnes Varis and Karl Leichtman Studio Only the Sound Remains (U.S. premiere) An opera by Kaija Saariaho Directed by Peter Sellars This performance is approximately two hours and 20 minutes long, including a 20-minute intermission. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Rose Theater Please make certain all your electronic devices Jazz at Lincoln Center’s Frederick P. Rose Hall are switched off. WhiteLightFestival.org The White Light Festival 2018 is made possible by Join the conversation: #WhiteLightFestival The Shubert Foundation, The Katzenberger Foundation, Inc., Laura Pels International Foundation for Theater, The Joelson Foundation, The Harkness Foundation for Dance, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center Public support is provided by New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center A co-production of Dutch National Opera, Amsterdam, Finnish National Opera, Opera National de Paris, Teatro Real, and Canadian Opera Company. As one of the original co-commissioners of Kaija Saariaho’s Only the Sound Remains , the Canadian Opera Company is proud to support the North American premiere of this work at Lincoln Center’s White Light Festival In collaboration with GRAME, Lyon By arrangement with G.