DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1976, Tanglewood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

**V *!# ^ ***. £&>$» •* 1*- • 1* I #?: &# *%# .5 For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger "Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz ' Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici ' Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel " Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence * Alfred Schneider, violin music education ' Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela ' Max Winder, violin Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon 'Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra 'Ralph Gomberg, oboe Max Miller 'Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute * Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice * Ralph Gomberg, oboe * Matthew Ruggiero, bassoon Eunice Alberts, contralto 'Harold Wright, clarinet 'Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto * Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor * Rolf Smedvig, trumpet John Coffey, trombone Ituba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano trombone Ituba Wilma Thompson, mezzo 'Member of the Boston Symphony Orchestra Boston University School of Music Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels. School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director IjiL ^jij ^&$rf Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Fifth Season 1975-76 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Dinah Daniels Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White Business Manager Development Director Assistant to the Manager Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor Programs copyright ® 1976 Boston Symphony Orchestra Inc. Contents: page page Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc. David O. Ives, Chairman Hazen H. Ayer, Vice Chairman Mrs. Arthur I. Strang, Secretary Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel Boston University Tanglewood Institute Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator Eleventh Season Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood. For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215. A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano. For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center, and these 1976 Tanglewood artists: Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild Baldwin Tanglewood In August, 1934, a group of- music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitzky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitzky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston Musica Viva, Collage, Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner. For information: As Koussevitzky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she
Recommended publications
  • Journal of the American Viola Society Volume 9 No.2/3, 1993

    Journal of the American Viola Society Volume 9 No.2/3, 1993

    JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf

    The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf

    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
  • Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription

    Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription

    &Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A.
  • 2016 Program Booklet

    2016 Program Booklet

    Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p.
  • Critical Success Factors in Cello Training – a Comparative Study

    Critical Success Factors in Cello Training – a Comparative Study

    Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London.
  • Boston Symphony Orchestra Concert Programs, Summer, 1976

    Boston Symphony Orchestra Concert Programs, Summer, 1976

    I M' n, v ~# ^ »>'* •«*^ ^T* > ^'^.._, KlLBu**%m*lJcML^teff-'il Btf^^flB IS^.'^I For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin Charles Kavaloski, French horn Karol Berger ' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin ' Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello * Thomas Ganger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence " Alfred Schneider, violin music education * Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola
  • Library of Congress Rule Interpretations for Aacr 2, Revision 2002

    Library of Congress Rule Interpretations for Aacr 2, Revision 2002

    LIBRARY OF CONGRESS RULE INTERPRETATIONS FOR AACR 2, REVISION 2002 Basic cumulation updated through Cataloging Service Bulletin No. 128 Compiled by Alan Boyd and Elaine Druesedow OBERLIN COLLEGE LIBRARY OBERLIN, OHIO January, 2012 [This page intentionally left blank] Chapter 1 General Rules for Description 1.0:CSB124 Decisions Before Cataloging Table of Contents What is Being Cataloged? Type of Issuance Monograph vs. Serial Situations Requiring Further Consideration 1) Electronic resources 2) Resources issued in loose-leaf format 3) Conference publications 4) Supplements 5) Republications 6) Printed travel guides 7) Certain other printed resources Edition or Copy of Monograph Change in Cataloging Decision: Monograph/Serial Change in Type of Issuance Initial Articles ____________________________________________________________________________________ What is Being Cataloged? This section represents LC/PCC practice. Before creating a bibliographic record, determine what is being cataloged. Answer these two questions: OBERLIN LCRI CUMULATED 1-2 rev. 12-10 1) What aspect of the bibliographic resource will the bibliographic record represent? a) A resource may not be part of a larger resource and so the bibliographic record can represent only that resource. b) A resource may be part of a larger resource (one part of a multipart item, one analytic of a monographic series, one of several separate resources on a Web site, etc.). The bibliographic record could represent the “smaller” or the “larger” resource. c) A resource may not be part of a larger resource but local cataloging policies may specify creating a bibliographic record for a made-up larger resource of materials that are not published, distributed, or produced together.1 2) What is the type of issuance of that aspect? a) See both the definitions from AACR2 appendix D and the diagram in “Type of Issuance” below.
  • View PDF Online

    View PDF Online

    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
  • Festival 30 June 7–21 2015

    Festival 30 June 7–21 2015

    CHESAPEAKE CHAMBER MUSIC FESTIVAL 30 JUNE 7–21 2015 EASTON CENTREVILLE ST. MICHAELS ROYAL OAK OXFORD VISIT US AT ONE OF OUR 10 OFFICE LOCATIONS: 115 BAY STREET, EASTON 410.763.9096 27999 OXFORD ROAD, OXFORD 410.822.1415 220 N. MORRIS STREET, OXFORD 410.226.0111 24 N. WASHINGTON STREET, EASTON 410.770.9255 31 GOLDSBOROUGH STREET, EASTON 410.822.6665 211 N. TALBOT STREET, ST. MICHAELS 410.745.0415 205 S. TALBOT STREET, ST. MICHAELS 410.745.0417 116 N. TALBOT STREET, ST. MICHAELS 410.745.0720 Imagine… WITH McHALE YOU CAN. TILGHMAN ON THE CHESAPEAKE 410.886.2300 SINGLE SOURCE McHALE LANDSCAPE DESIGN mchalelandscape.com DESIGN LANDSCAPE MASONRY CARPENTRY MAINTENANCE CONSTRUCTION 305 CRUSADER ROAD, CAMBRIDGE 410.228.0800 + BUILD MAIN OFFICE: 301.599.8300 ■ EASTON: 410.770.9449 WWW.BENSONANDMANGOLD.COM ANNAPOLIS: 410.990.0894 ■ MCLEAN: 703.760.8600 2 = This is the work of The TABLE OF CONTENTS President’s Welcome .................................................................................................................................7 Chamber Music Artistic Director Profiles .............................................................................................9 Artist Profiles .....................................................................................................................................11–21 Artist Showcase I | Trinity Cathedral: June 7..................................................................................23 Artist Showcase II | Academy Art Museum: June 9 ......................................................................25
  • Elysian Camerata Press Kit (PDF)

    Elysian Camerata Press Kit (PDF)

    Elysian Camerata In trying to find a name for this ensemble that we felt would be true to our self-image, we looked at words and ideas that would express how deeply we love this music. The term ‘elysian’ means literally ‘heavenly’. We could find no other word that so singularly and so completely expresses how we feel about our work. About us . Whether it be an intimate duo for violin and cello, a dramatic piano quintet or a grand string sextet, Elysian Camerata has built an enormous repertoire, along with its outstand- ing reputation, encompassing chamber music of all styles and ensemble sizes. For more than a decade the Elysians have shared their musical insight with countless audiences throughout Pennsylvania and beyond. Ever mindful of the composer’s original intent, these skilled musicians infuse their own passion and inspiration into the genius within the music to create some of the most exciting and musically provocative performances in the Phila- delphia area. Music from the early Baroque to recently composed and commissioned works are all part of the diverse fare that one can expect to find on an Elysian program. The Camerata’s core instrumentation of two violins, two violas, cello and piano serve as the basis from which it regroups into various sizes and types of ensembles. On occasion they invite guest artists of other instrumentation to join them in concert. The members of Elysian Camerata, all independently established musicians in Philadelphia and its environs, are involved in performance and teaching with numerous area ensembles and institutions. Their individual careers have involved them with most of the area's major ensembles and music schools.
  • Garrick Ohlsson

    Garrick Ohlsson

    bernard haitink conductor emeritus seiji ozawa music director laureate 2013–2014 Season | Week 14 andris nelsons music director designate season sponsors Table of Contents | Week 14 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 27 this week’s program Notes on the Program 28 The Program in Brief… 29 Richard Wagner 35 Witold Lutos´lawski 43 Dmitri Shostakovich 51 To Read and Hear More… Guest Artists 57 Andris Poga 59 Garrick Ohlsson 62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on january 24 is given by harlow robinson of northeastern university. program copyright ©2014 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO principal bassoon Richard Svoboda by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L.
  • Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St

    Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St

    Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St. Louis St. Louis, Missouri PRESENTER & COMPOSER BIOS updated October 25, 2014 Abeles, Harold F. Dr. Harold Abeles is a Professor of Music and Music Education at Teachers College, Columbia University, where he also serves as Co-Director of the Center for Arts Education Research. He has contributed numerous articles, chapters and books to the field of music education. He is the co-author of the Foundations of Music Education and the co-editor, with Professor Lori Custodero, of Critical Issues in Music Education: Contemporary Theory and Practice. Recent chapters by him have appeared in the Handbook of Music Psychology and the New Handbook of Research on Music Teaching and Learning. He was the founding editor of The Music Researchers Exchange, an international music research newsletter begun in 1974. He served as a member of the Executive Committee of the Society for Research in Music Education and has served on the editorial boards of several journals including the Journal of Research in Music Education, Psychomusicology, Dialogue in Instrumental Music Education, Update, and Arts Education Policy Review. His research has focused on a variety of topics including, the evaluation of community-based arts organizations, the assessment of instrumental instruction, the sex- stereotyping of music instruments, the evaluation of applied music instructors, the evaluation of ensemble directors, technology-based music instruction, and verbal communication in studio instruction. Adler, Ayden With a background as a performer, writer, teacher, and administrator, Ayden Adler serves as Senior Vice President and Dean at the New World Symphony, America’s Orchestral Academy.