LIVING in LIGHT Music by Heather Gilligan with Margot Rood, Soprano

Total Page:16

File Type:pdf, Size:1020Kb

LIVING in LIGHT Music by Heather Gilligan with Margot Rood, Soprano LIVING IN LIGHT Music by Heather Gilligan with Margot Rood, soprano Living In Light Booklet.indd 1 1/27/2017 11:18:44 AM Living in Light | for soprano & cello 1. Buried Love 4:09 2. I Shall Not Care 1:35 3. June Night 3:02 4. A Little While 2:37 Performed by Margot Rood & Patrick Owen Poetry by Sara Teasdale Garden Songs | for soprano, trumpet, & piano 5. Nurse’s Song 1:51 6. Garden of Love 3:10 7. My Pretty Rose Tree 1:28 Performed by Margot Rood, Seelan Manickam, & Damien Francoeur-Krzyzek Poetry by William Blake Mixed Metaphors | for soprano & piano 8. Blinded 2:27 9. Thirst 1:27 10. Living Alone 2:31 Performed by Margot Rood & Damien Francoeur-Krzyzek Poetry by Lisa DeSiro Winged Reflections | for soprano, saxophone, & piano 11. Utterance 4:01 12. Requiem 3:15 13. Paradise Point 3:42 Performed by Margot Rood, Kenneth Radnofsky, & Damien Francoeur-Krzyzek Poetry by Lisa DeSiro (1, 3) & Mimi White (2) Battlegrounds | for soprano & string quartet 14. carlos 4:15 15. Rebecca Lets Her Hair Down 3:39 16. Honey & Watermelons 3:34 17. Liberia Fever, 1877 3:40 Performed by Margot Rood & Apple Hill String Quartet Poetry by E. Ethelbert Miller Living In Light Booklet.indd 2 1/27/2017 11:18:44 AM Finer Points | for soprano & percussion 18. Resilience 3:26 19. Indolence 2:10 20. Perseverance 1:58 Performed by Margot Rood & Caleb Herron Poetry by Lisa DeSiro Music composed by Heather Gilligan. Recorded, edited, & mixed by Christopher Swist. Mastered by Scott Metcalfe. Recorded between February 6th, 2015 and January 6th, 2017 in Redfern Arts Center Alumni Recital Hall at Keene State College, Keene, NH. Featuring: Margot Rood, soprano Sponsored by Wesley Green Patrick Owen, cello Sponsored by Christian & Audrey Iwasko Damien Francoeur-Krzyzek, piano Sponsored by Connie Hunt Seelan Manickam, trumpet Sponsored by Peggy Gilligan & Peter Challan Kenneth Radnofsky, saxophone Sponsored by Eileen & Walter Ferguson Caleb Herron, percussion Sponsored by Gordon & Linda Ramsey Apple Hill String Quartet Elise Kuder, violin Colleen Jennings, violin Mike Kelley, viola Photo Credit: Lisa Czech Rupert Thompson, cello Heather Gilligan & Margot Rood Living In Light Booklet.indd 3 1/27/2017 11:18:46 AM With thanks and gratitude to Keene State College, the St. Botolph Foundation, & our major contributors: Anonymous (3), Bob & Kathy Rood, Vanessa & Robert Weatherly, Peter Challan, Suzanne McGough, Jeremy Beck, Carlos Neu, Melissa Herman, Sandra Howard, Joe Turbessi, Scott Jarrett, Wayne Fishell, Edmund Golaski, Kim Soby, Anthony Rosati, Deborah Hillegas, David Rood & Sharon Massa, Matthew Goinz, Janet Albarado, Fred & Karen Reichheld, Claire Myers, John Jupin, Kelli Harris, Margaret Lias, Jerry McLarty, Laurence Smith, Rick & Marlene Rose, David Snead, Gary Payne, Nancy Schallert, Paul Bockelman, Nancy Hammer, Mary Susman & Tom Herm, Patrick Lewis, Karen Galvin, Ana & Ryan Posner, John Klecha, Paul Trani, Nancy Canin Additional support: Anonymous (10), Lucy & Alex Fichter, Brittainy Holliday, Kathleen Jasinskas, Lisa DeSiro, John David Barton, Cory Klose, Pat Krol, Lauren Cook, Joshua Bornfield, Emma Shubin, Donald Milton III, Jack Wenner, Jude Fox, Susan Miron, Deborah Maxwell, Christine Thompson, Ian Howell, Shannon Canavin, Susanna Ogata, Jake Runestad, Sarah Brailey, Amanda Crider, Ryan Saunders, Sam Kriedenweis, Amanda Steinhoff, Emily Marvosh, Milind Shah, Sarah Moyer, Lutz Henckels, Ian Watson, Sean Selman, Ann Myers, Charley Blandy, Zachary Colby, Sonja Tengblad, Sylvia Ferrell-Jones, Stephen Taylor, Maura Glennon, Julie & Tim Urban, Stephanie Kacoyanis, Christina English, Monica Hatch, Ann Moss, Randy & VIcki Kling, Jason Neiman, Samuel Green, Jason McCool, Hannah Grube, Christopher Johnson, Graham Mitchell, Scott Ordway, Samantha Paquette, Douglas VanDeroef, Sarah Darling, William Lea, Alexandra Tucker Slap, Emily Isaacson, Eric Rice, Penny Lazarus, Dolores Toepel, Sean Vogt, Stephen Lord, Greg Brown, Jeremy Van Buskirk, Kathy Clyne, Seth Gilman, Margaret Willison, Tony & Diane Rood, Beth Trudeau, Merrick & Crissy Nelson, Renee Renfus, Daniel & Mary Koppel, Audrey Miller, Maggie Jarchow, Alana Kelley, Vincent Turregano, Kirsten Volness, Sara Guttenberg, Matthew McKenzie, Kathleen Krause, Paul Salerni, Michael Conti, Griffin Candey, Sara Bielanski, Emily Lau, Kent Anderson, Steve Bradshaw, Clare McNamara, Kaz Kallin, Liz Eschen, Pete Fullenwider, Karly Sacco, Fiona Gillespie PERFORMER BIOS Heather Gilligan’s music has been described as honest, direct, and compassionate while exploring emotions from humor to anguish. Recent successes include premieres of her choral, wind band, and orchestral music at the New York Choral Festival at Carnegie Hall and the Washington D.C. International Music Festival at the John F. Kennedy Center for the Performing Arts, and performances by American Modern Ensemble, East Winds Quintet, Lorelei Ensemble, Boston’s WordSong Project, and Arneis String Quartet. Her works have been published by World Projects Publishing and by the SCI Journal of Music Scores. Heather is Associate Professor of Music at Keene State College where she teaches composition & theory and serves as chair of the Music Department. She is a member of the Boston Composers Coalition, a group of seven composers dedicated to the creation, performance, education, and dissemination of new American music. She received her DMA in Composition from Boston University and her MM from the Longy School of Music. She holds a BS in Photo Credit: Lisa Czech Chemistry from Lehigh University. www.heathergilligan.com Living In Light Booklet.indd 4 1/27/2017 11:18:46 AM Soprano Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire. Recent solo appearances include those with Cleveland Orchestra, Boston Symphony Orchestra, New World Symphony, Handel and Haydn Society, Seraphic Fire, Lorelei Ensemble, A Far Cry, Boston Modern Orchestra Project, Rhode Island Philharmonic, Blue Heron, Cape Symphony, and Bach Collegium San Diego, and onstage with Boston Early Music Festival, Monadnock Music, and St. Petersburg Opera. Margot is a founding member of the Michigan Recital Project which features commissions by emerging composers. She has been invited by composers at Columbia University, University of Pennsylvania, McGill University, and Keene State College for performances and masterclasses. Margot is the recipient of prestigious awards including the St. Botolph Emerging Artist Award, the Lorraine Hunt Lieberson Fellowship at Emmanuel Music, and 3rd place in the American Prize Competition (Oratorio/Art Song division). She holds degrees from University of Michigan and McGill University. www.MargotRood.com Cellist Patrick Owen is in high demand as a recitalist, chamber musician and orchestral player in New England. He is a member of the Ellipsis Trio of Cambridge, MA. As an Photo Credit: Yori Daviyas orchestral musician, Patrick has worked as Assistant Principal Cellist for Charlotte Symphony Orchestra as well as Assistant Principal and Principal Cellist of Colorado Music Festival Orchestra in Boulder, CO. He is a frequent guest performer with the Boston Philharmonic, BMOP, Boston Lyric Opera and Rhode Island Philharmonic. Patrick worked closely with Anthony De Ritis on his composition Sheng for solo cello and electronics. Other recent premieres include works by William Thomas McKinley and DJ Sparr. Patrick holds a Bachelor of Music Degree from the Eastman School of Music, a Master of Music degree from the Juilliard School and a Doctorate in Musical Arts from Boston University. He has held teaching positions at South Shore Conservatory and Northeastern University. Collaborative pianist Damien Francoeur-Krzyzek has served on the faculty of New England Conservatory since 2007. A passionate devotee of instrumental and vocal chamber music, he has made frequent appearances on the Jordan Hall stage with faculty colleagues from the string, woodwind and voice departments. In 2014, he joined oboist John Ferrillo and bassoonist Richard Svoboda in the premiere of Andrew List’s Journey Toward the Eternal Flame as part of the Boston Woodwind Society’s Double Reed Day at NEC, and rejoined these same colleagues for a performance of the Poulenc Trio at the Tanglewood Music Festival in the summer of 2015. Damien made his German debut alongside saxophonist Kenneth Radnofsky and violinist Elmira Darvarova in a program of David Amram’s chamber music at the Zentrum für Kunst und Medientechnologie in Karlsruhe. A frequent recitalist, Damien recently joined soprano Margot Rood at Longy School of Music in a recital of art song by living American composers. A native of Canada, Seelan Manickam, trumpet, received his BMus. at the University of Victoria and completed graduate work in trumpet performance at The Boston Conservatory. As a soloist, he has appeared with the Boston Chamber Orchestra, Cambridge Choral Society, South Coast Community Chorale, The University of Massachusetts Orchestra, Clarion University Wind Ensemble and The Firelands Symphony Orchestra. A founding member of the award winning Bala Brass Quintet, Seelan has toured the globe appearing in Japan, Canada, Thailand and the US. An advocate of music education, Seelan has given master classes and clinics at the nation’s top conservatories and schools, most recently appearing at Drexel University and Kutztown University. Seelan is on the faculty of Keene State College where he teaches trumpet and is the Director of the KSC Brass Choir. Seelan plays on Adams trumpets. Living In Light Booklet.indd
Recommended publications
  • Kenneth Radnofsky KENNETH RADNOFSKY, Born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476
    Kenneth Radnofsky KENNETH RADNOFSKY, born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476. Phone: 781-646-5748; e:mail [email protected], website: www.KenRadnofsky.com ADMINISTRATIVE EXPERIENCE Executive Director and Founder, World-Wide Concurrent Premieres 1991-Present and Commissioning Fund, Inc. Responsible for fund raising for commissions of Schuller, Colgrass, Harbison, Wyner Theofanidis, Ticheli and Bell), plus over 40 commissioned works (1981-) including Gunther Schuller, David Amram, Donald Martino, Milton Babbitt; with private donations and NEA Consortium Grants Interim Chair, Woodwind Division, The Boston Conservatory 2004-2005 Associate Director, Community Music Center of Boston 1997-2000 Responsible for all educational and daily activities of Community Music School of over 600 in-house students, an original Settlement School in Boston’s South End Artistic Director, Sounds in Concert Inc., Cape Cod 1984-1994 (Artistic Consultation, including engaging artists, programming) Contractor, Orchestra Manager, Waterville Valley Bridge Orchestra 1989, 1990 Artist Member, Board of Directors, Affiliate Artists Inc. 1986-88 Director, Great Woods Summer Saxophone Seminar 1985-87 Editor, Winds Quarterly Magazine (Responsible for all aspects of production, including layout, design, paste-up, publicity, engaging writers, editing and writing.) 1980 EDUCATION BM cum laude University of Houston (Studies with Jeffrey Lerner) MM with honors New England Conservatory (Studies with Joseph Allard) COLLEGE TEACHING EXPERIENCE Present: Longy School of Music (2002) Prof. of Saxophone (10 hours), New England Conservatory (1976- ) Professor of Saxophone and Chamber Music (8.5 hours) and Boston Conservatory (1984-88, 1992- ) Professor of Saxophone, Chamber Music and Director of Weekly Wind Seminars, Interim WW Chair (2004-2005) (15 hours) Past: Hartt School of Music, U.
    [Show full text]
  • Program Notes Hosted by the Score Board 7:00
    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
    ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus.
    [Show full text]
  • 0912 BOX Program Notes
    THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina.
    [Show full text]
  • Boston University Symphony Orchestra
    BOSTON UNIVERSITY SYMPHONY ORCHESTRA Wednesday, October 2, 2019 Tsai Performance Center BOSTON UNIVERSITY Founded in 1839, Boston University is an internationally recognized institution of higher education and research. With more than 33,000 students, it is the fourth-largest independent university in the United States. BU consists of 16 schools and colleges, along with a number of multi-disciplinary centers and institutes integral to the University’s research and teaching mission. In 2012, BU joined the Association of American Universities (AAU), a consortium of 62 leading research universities in the United States and Canada. BOSTON UNIVERSITY COLLEGE OF FINE ARTS Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in Music, Theatre, and Visual Arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master relevant 21st century skills. CFA offers a wide array of undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/ cfa. BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC Founded in 1872, Boston University College of Fine Arts School of Music combines the intimacy and intensity of traditional conservatory-style training with a broad liberal arts education at the undergraduate level, and elective coursework at the graduate level. The school offers degrees in performance, conducting, composition and theory, musicology, music education, and historical performance, as well as artist and performance diplomas and a certificate program in its Opera Institute.
    [Show full text]
  • FILM WEEK at the PHILHARMONIC Alec Baldwin, the ART of the SCORE Artistic Advisor
    UPDATED April 29, 2016 CHRONOLOGICAL LISTING 2015–16 SEASON THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor ON THE WATERFRONT Avery Fisher Hall at Lincoln Center Friday, September 18, 2015, 7:30 p.m. David Newman, conductor Robert Osborne, special guest BERNSTEIN On the Waterfront (World Premiere–live score with complete film) THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor THE GODFATHER Avery Fisher Hall at Lincoln Center Saturday, September 19, 2015, 8:00 p.m. Monday, September 21, 2015, 7:30 p.m. Justin Freer*, conductor Paul Sorvino, special guest (September 19) ROTA The Godfather (New York Premiere–live score with complete film) * denotes New York Philharmonic debut 2 ALAN GILBERT CONDUCTS: OPENING GALA CONCERT WITH LANG LANG David Geffen Hall at Lincoln Center Thursday, September 24, 2015, 7:30 p.m. Live From Lincoln Center Alan Gilbert, conductor Lang Lang, piano GRIEG Piano Concerto BEETHOVEN Symphony No. 7 ALAN GILBERT CONDUCTS: COMPOSER-IN-RESIDENCE ESA-PEKKA SALONEN’S LA VARIATIONS David Geffen Hall at Lincoln Center Friday, September 25, 2015, 8:00 p.m. Saturday, September 26, 2015, 8:00 p.m. Alan Gilbert, conductor Esa-Pekka SALONEN LA Variations R. STRAUSS Ein Heldenleben Frank Huang, violin ALAN GILBERT CONDUCTS: BRAHMS WITH EMANUEL AX David Geffen Hall at Lincoln Center Wednesday, September 30, 2015, 7:30 p.m. Alan Gilbert, conductor Emanuel Ax, piano BEETHOVEN Symphony No. 7 BRAHMS Piano Concerto No. 2 3 ALAN GILBERT CONDUCTS: WORLD PREMIERE BY MARC NEIKRUG David Geffen Hall at Lincoln Center Thursday, October 1, 2015, 7:30 p.m.
    [Show full text]
  • Boston University Wind Ensemble
    BOSTON UNIVERSITY WIND ENSEMBLE Tuesday, October 8, 2019 Tsai Performance Center BOSTON UNIVERSITY Founded in 1839, Boston University is an internationally recognized institution of higher education and research. With more than 33,000 students, it is the fourth-largest independent university in the United States. BU consists of 16 schools and colleges, along with a number of multi-disciplinary centers and institutes integral to the University’s research and teaching mission. In 2012, BU joined the Association of American Universities (AAU), a consortium of 62 leading research universities in the United States and Canada. BOSTON UNIVERSITY COLLEGE OF FINE ARTS Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in Music, Theatre, and Visual Arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master relevant 21st century skills. CFA offers a wide array of undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/ cfa. BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC Founded in 1872, Boston University College of Fine Arts School of Music combines the intimacy and intensity of traditional conservatory-style training with a broad liberal arts education at the undergraduate level, and elective coursework at the graduate level. The school offers degrees in performance, conducting, composition and theory, musicology, music education, and historical performance, as well as artist and performance diplomas and a certificate program in its Opera Institute.
    [Show full text]
  • Saxes and Horns Prog#BADD7D.Cwk
    T h i r t y - S e c o n d S e a s o n 2 0 0 9 - 2 0 1 0 ALEA III Theodore Antoniou, Music Director Contemporary Music Ensemble in residence at ALEA III Boston University Saxes and Horns TSAI Performance Center April 28, 2010, 7:30 pm Sponsored by Boston University. BOARD OF DIRECTORS BOARD OF ADVISORS President George Demeter Mario Davidovsky Hans Werner Henze Chairman Milko Kelemen André de Quadros Oliver Knussen Krzystof Penderecki Treasurer Gunther Schuller Samuel Headrick Roman Totenberg Electra Cardona Constantinos Orphanides Consul General of Greece Catherine Economou - Demeter Vice Consul of Greece Wilbur Fullbright Konstantinos Kapetanakis Marilyn Kapetanakis Marjorie Merryman Panos Voukydis PRODUCTION ALEA III STAFF Alex Kalogeras Sunggone Hwang, Office Manager 10 Country Lane David Janssen, Concert Coordinator Sharon, MA 02067 Andrew Smith, Librarian (781) 793-8902 [email protected] OFFICE 855 Commonwealth Avenue Boston, MA 02215 (617) 353-3340 www.aleaiii.com This season is funded by Boston University, the Greek Ministry of Culture, the George Demeter Realty and individual contributions. ALEA III Theodore Antoniou, Music Director Saxes and Horns Wednesday, April 28, 2010, 7:30 p.m. Tsai Performance Center, Boston Eric Hewitt, conductor PROGRAM Saksti Georgia Spiropoulos Tsuyoshi Honjo, tenor saxophone Gabriel Solomon, sound engineer Perpetuum Mobile Gunther Schuller Janie Berg, Keyondra Price, Samantha Benson and Jeremy Moon, horns Justin Worley, tuba Duo Sonata for Two Baritone Saxophones Sofia Gubaidulina Jared Sims, baritone
    [Show full text]
  • GAO, XIN, D.M.A. Project China: a Resource of Contemporary Saxophone Music Written by Chinese-Born Composers
    GAO, XIN, D.M.A. Project China: A Resource of Contemporary Saxophone Music Written by Chinese-born Composers. (2016) Directed by Dr. Steven Stusek. 122 pp. In recent years, performances of newly composed Chinese music have become more common at national and international saxophone conventions. However, saxophone works by Chinese composers are still rare, and this body of work is largely unfamiliar to Western saxophonists. Moreover, no specialized and compiled reference material exists about these works, making them difficult to find. Chinese saxophone music deserves a higher level of Western exposure both for its high quality and for the skillful use of contemporary saxophone techniques its composers have utilized to express traditional Chinese musical elements. This document is a bibliographic resource that includes contemporary saxophone music written by living Chinese-born composers from 1952 until 2015. The Londeix guide to the saxophone repertoire, 1844–2012 by Jean-Marie Londeix and Bruce Ronkin is used as a model to make it convenient for readers to browse for contemporary Chinese saxophone works. Each entry contains available information, including dedication, program notes, instrumentation, level of difficulty and publication information. My resources for collecting the repertoire and its information include the Londeix guide, programs from major saxophone conferences, and personal networking with the composers. In addition, the essays on selected works offer a stylistic overview of contemporary Chinese saxophone music, giving a basic introduction to readers regarding various compositional styles that exist in this genre, as well as performance suggestions. The ultimate aim of this study is to promote contemporary saxophone music written by Chinese-born composers and to bring these composers and their works to a higher level of Western exposure.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1998
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, MUSIC DIRECTOR 9 9 8 HOLSTEN GALLERIES 5V,V DALE CHIHULY New Works Elm Street, Stockbridge, MA 01262 (Next to Post Office) (413) 298-3044 fax: (413) 298-3275 www.holstengalleries.com Celebrating twenty years in our newly renovated and expanded gallery space Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Seventeenth Season, 1997-98 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Treasurer Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Mrs. Edith L. Dabney, Vice-Chairman Ray Stata, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Julian T. Houston Robert P. O' Block Gabriella Beranek Deborah B. Davis Edna S. Kalman ex-officio James F. Cleary Nina L. Doggett George Krupp Vincent O'Reilly John F. Cogan, Jr. Charles K. Gifford, Mrs. August R. Meyer Peter C. Read Julian Cohen ex-officio Richard P. Morse Hannah H. Schneider William F. Connell AvramJ. Goldberg Mrs. Robert B. Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Newman DeCelles, ex-officio Life Trustees Vernon R. Alden Archie C. Epps Mrs. George I. Richard Smith David B. Arnold, Jr. Mrs. John H. Kaplan Sidney Stoneman George H. Kidder J. P. Barger Fitzpatrick John Hoyt Stookey Leo L. Beranek Dean W. Freed Irving W. Rabb John L. Thorndike Abram T. Collier Mrs. John L. Mrs. George Lee Gran din Sargent Nelson J. Darling, Jr. Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Daniel R.
    [Show full text]
  • January 2001
    21ST CENTURY MUSIC JANUARY 2001 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2001 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]