Batboy: the Musical Romeo & Juliet

BatBoy: The Musical Directed by Woody Howard October 23rd @ 4:00pm; October 24th and 25th @7:30pm In the Alfred P. Gross Theatre Directed by Joseph Timko A Dream Play November 6th @4:00pm, by August Strindberg November 7th @3:30pm and 7:30pm, and November 8th @7:30pm in the Black Box Theatre Directed by Woody Howard Romeo & Juliet February 5th @3:30pm February 6th @7:30pm February 7th @7:30pm In the Alfred P. Gross Theatre All I Really Need to Know I Learned From Being a... Directed by Alexis McGuinness February 26th @11:55am February 27th @7:30pm ZOMBIE February 28th @7:30pm In the Alfred P. Gross Theatre The 2015 Dance Concert: GERSHWIN Directed by Alison Kolinski and Denise DiRenzo April 23rd @4:00pm April 24th and April 25th @7:30pm In Blue In the Alfred P. Gross Theatre the horace mann theatre company BatBoy: the musical A Dream Play Romeo & Juliet All I Really Need to Know I Learned From Being a ZOMBIE 2015 Dance Concert GERSHWIN in Blue “The Horace Mann Department of Theatre, Dance and Film Studies is committed to instructing students in growthful and beneficial habits of mind, body and spirit. We encourage collaborative skills, and foster patience, kindness, humor and empathy as valued tools for living a full and happy life.” A Note from our Department Chair, Alison Kolinski The 2014-15 Horace Mann Theatre and Dance Company season contains hypocrisy, forgiveness, revenge, jealousy, human suffering, illusion, romance, rivalry, rhapsody and the undead. Oh, and intrigue. Shall I go on? We begin in October with the infamous head- lines “Bat Child Found in Cave” from the front page of the Weekly World News supermarket tabloid. BatBoy the Musical tells the story of a half-human, half-bat who longs for acceptance only to face violence and hatred from the West Virginia hamlet where he was discovered. Although thematically serious, it brilliantly employs slapstick and irony. On the heels of BatBoy is Strindberg’s A Dream Play, presented in November. Agnes, the daughter of the god Indra, experiences human suffering and finds pity in her heart for the mere mortals. Is this all a dream or an illusion? February is a busy month with an UD tragedy and a MD dramedy. Romeo and Juliet needs no introduction. All I Really Need to Know I Learned From Being A Zombie might! Numerous vignettes entertain us with mus- ings on life, death and the undead, “what doesn’t kill you makes you more alive.” And finally our once in four years mainstage dance concert, Gershwin in Blue. We’ll take A Stairway to Paradise with Gershwin’s An American in Paris, Cuban Overture and much, much, more. Also this season... We hope you will support our student actors, dancers, technicians and designers by coming to see one or all five of our productions! We look forward to seeing you. Our 8th Annual Alumni Show: June 6th, 7th, & 8th @ 7:30pm BatBoy: the Musical A Dream Play Romeo and Juliet All I Really Need To Know I Learned From Being a ZOMBIE 2015 Dance Concert: "Gershwin in Blue" HM Summer Theatre Intensive E: [email protected] T: 718.432.4150.

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LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin.
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The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
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Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California.
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EMR 11846 Cuban Overture
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Gershwin and Copland SATURDAY, JANUARY 25, 2020 • 7:30 P.M
CLASSICAL THREE Gershwin and Copland SATURDAY, JANUARY 25, 2020 • 7:30 p.m. • MARK C. SMITH CONCERT HALL, VON BRAUN CENTER Sean Ritenauer, percussion Huntsville Symphony Orchestra • GREGORY VAJDA, Music Director & Conductor George Gershwin Cuban Overture (1898–1937) Andy Akiho Percussion Concerto (2019) (b. 1979) Prelude I II III Interlude IV Sean Ritenauer, percussion INTERMISSION Aaron Copland Symphony No. 3 (1900–1990) I. Molto moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato—Allegro risoluto Davidson Classical Series Concert Sponsor: IBERIABANK Guest Soloist Sponsor: HOWARD AND TROTH FAMILY FUND OF THE COMMUNITY FOUNDATION OF COLLIER COUNTY, FLORIDA Production Sponsor: DESE RESEARCH, INC. 62 • HSO SEASON 65 • FALL has performed with both the Carolina Crown and The Cadets drum and bugle corps, and is also an accom- Program Notes plished classical solo, chamber, and orchestral per- cussionist. A composition student of Julia Wolfe and of David Lang at Yale University, Akiho writes primarily for percussion instruments, seeking to provide players an GERSHWIN outlet for modern virtuosity while engaging audiences in novel ways. His Ricochet (2015), a concerto grosso in Cuban Overture which a ping pong match acts as a percussion ensem- ble, has become an internet sensation. The island nation of Cuba was the object of an Amer- ican obsession in the early twentieth century. Clubs, The Percussion Concerto was commissioned by the Or- restaurants, and hotels catering to affluent tourists lined egon Symphony Orchestra and premiered with soloist the streets of balmy Havana, where George Gershwin Colin Currie in October 2019. Akiho first heard Currie went on holiday in 1932.
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Program Notes: Porgy & Bess
PROGRAM NOTES: PORGY & BESS World Premiere: August 20, 1882 The 5,000 bells of Moscow’s steeples — whose Most Recent HSO Performance: July 4, 2014 thunderous combined tintinnabulation was Instrumentation: 2 ﬂutes, 1 piccolo, 2 oboes, said to make conversation impossible — were English horn, 2 clarients, 2 bassoons, 4 horns, to chime in at the work’s climax. There is no 2 cornets, 2 trumpets, 3 trombones, tuba, record, however, that this grandiose performance timpani, triangle, tambourine, side drum, ever happened. Seemingly never having heard cymbals, bass drum, bells, cannon, SATB chorus, the work, Tchaikovsky wrote to the conductor and strings: violin I, violin I, viola, violoncello, Eduard Nápravník in 1881, “Last winter, at double bass Nikolai Rubinstein’s request, I composed a Festival Duration: 16’ Overture for the concerts of the exhibition, entitled 1812. Could you possibly arrange to PETER ILYICH TCHAIKOVSKY have this played? It is not of great value, and I (Born May 7, 1840 in Votkinsk, Russia; shall not be at all surprised or hurt if you consider died November 6, 1893 in St. Petersburg) the style of the music unsuitable to a symphony concert.” Nápravník gave the apparent premiere 1812, Overture Solennelle, on August 20, 1882 in Moscow. The Overture represents the conﬂict — Op. 49 (1880) militarily and musically — of Russia and France, and the eventual Russian “victory” over The Russian penchant for myth-making the invaders. It opens with a dark, brooding extends, of course, to her warfare. It is therefore setting of the Russian hymn God, Preserve Thy not surprising that Napoleon’s strategic People for violas and cellos.
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Inside the Guide the Guide
wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT THE MINIATURIST A new adaptation of Jessie Burton’s gripping bestseller BEGINS SUNDAY, SEPT. 9 at 8:00 PM September 2018 ALSO INSIDE WFMT’s series Introductions, showcasing aspiring young classical musicians, marks its 10th anniversary this year. We’ll celebrate with a special live concert with the Chicago Youth Symphony Orchestras and Chicago Children’s Choir at Pritzker Pavilion in Millennium Park. From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Renée Crown Public Media Center This year, WFMT’s weekly series Introductions, showcasing aspiring young classical 5400 North Saint Louis Avenue Chicago, Illinois 60625 musicians, marks its 10th anniversary. Fittingly, WFMT will mark the occasion with a special live concert – Chicago’s first Youth Arts Showcase – as part of the citywide Year of Main Switchboard Creative Youth celebration. Join us on air and online on Saturday morning, September 22 (773) 583-5000 Member and Viewer Services as WFMT’s Michael San Gabino welcomes the Chicago Youth Symphony Orchestras and (773) 509-1111 x 6 Chicago Children’s Choir to Pritzker Pavilion in Millennium Park. Websites On WTTW, we observe Hispanic Heritage Month with a variety of relevant content, some wttw.com wfmt.com of it new and local (see page 7). Golden Age Amsterdam comes alive in a new miniseries adaptation of Jessie Burton’s bestselling novel The Miniaturist. Poldark, The Durrells in Publisher Corfu, and 800 Words are back with new seasons along with another Anne of Green Gables Anne Gleason Art Director special; Ken Burns focuses his lens on the Mayo Clinic, and Jamestown, which first premiered Tom Peth on wttw.com, comes to WTTW11 from the creators of Downton Abbey.
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Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................
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Sousa and Gershwin®! Contents
A JOURNAL FOR THE CONTEMPORARY WIND BAND ISSUE 5 SPRING 2001 SOUSA AND GERSHWIN®! CONTENTS Defining the Wind Band Sound This issue ofWindWorks will celebrate two of America's most beloved composers and by Donald Hunsberger .. ............ .... .......... ...... ..... page 2 peiformers: John Philip Sousa and George Gershwin. While Sousa and his contemporary, John Philjp Sousa: His Marches Victor Herbert, developed many of their theatrical writing skills from earlier successes of Strauss, Gilbert and Sullivan, Offenbach, De Koven, and Lehm; Gershwin's Tin Pan Alley musicals were built upon the operettas ofSousa and Herbert. Both Sousa and Gershwin wrote W I N D LIBRA RY and peiformedfor the enlightenment of the public, but each also had his own experience and Cuban Overture background in developing classical repertoire. by George Gershwin ............... ..... ..... .. .... ... ...... page 10 "The" Gershwin concert opener! The Sousa saga is di vided into two parts, with his marches under scrutiny in this issue, and his original suites and fantasias for band examined in Issue 6, Fall, 200I. In addition, a most important book, John Philip Sousa, American Phenomenon by Paul E. Bierley, is being re Second Rhapsody for Piano and released concurrently with this journal publication. Bierley's biography of Sousa is one of Wind Ensemble several of his research books on Sousa and his music, and is a primmy source for research by George Gershwin ........................................ page ll on this American giant at the tum of the century. An outstanding contribution to the solo piano and wind band repertoire. When the centennial of George Gershwin's birth occurred in 1998, the DHWL began a series of publications of Gershwin compositions to provide interesting programming options ON T H E BOOKSHEL F for contempormy wind conductors.
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GERSHWIN Jon Nakamatsu Piano Rochester Piano Concerto in F Philharmonic Rhapsody in Blue Orchestra Cuban Overture Jeff Tyzik Conductor
GEORGE GERSHWIN JON NAKAMATSU piano ROCHESTER PIANO CONCERTO IN F PHILHARMONIC RHAPSODY IN BLUE ORCHESTRA CUBAN OVERTURE JEFF TYZIK conductor ACKNOWLEDGMENTS Cover: Empire State Building, photograph by Nat Herz (1920–64) / Bridgeman Art Library Publisher: WB Music Corp. The Rochester Philharmonic Orchestra gratefully acknowledges Alfred L. Davis and Dr. Jacques and Mrs. Dawn Lipson for their generous support of this recording project. Steinway piano donated in honor of pianist Jon Nakamatsu, a special friend of the RPO / Piano Technician: Marvin Rus All texts and translations © harmonia mundi usa © 2007 harmonia mundi usa 1117 Chestnut Street, Burbank, California 91506 Recorded July 2006 at the Eastman Theatre, Eastman School of Music, Rochester, New York Executive Producer: Robina G. Young Sessions Producer, Recording Engineer & Editor: Brad Michel DSD Engineer/Co-Engineer: Chris Barrett Recorded, edited & mastered in DSD 1 GERSHWIN / Jon Nakamatsu / Rochester Philharmonic Orchestra HMU 807441 © harmonia mundi THE MUSIC OF GEORGE GERSHWIN Labels mean nothing at all. Good music is good music, even if you call it ‘oysters.’ — George Gershwin ershwin’s music really is hard to label. With a creative In 1922 he contributed a one-act opera, Blue Monday, GEORGE GERSHWIN range that won him successes both on Broadway to a Broadway revue. It was pulled unceremoniously b. September 26, 1898, Brooklyn, New York G and in Carnegie Hall, it could scarcely be otherwise after a single performance. One of the few people who d. July 11, 1937, Hollywood, California for this pioneer “crossover” artist. But why try to pigeonhole were impressed by it was bandleader Paul Whiteman, the such brilliance? Better simply to enjoy it.
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CD 1 Anton Bruckner (1824 - 1896) Symphony No.7 in E Major Radio-Symphonie Orchester Berlin
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American Originals
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