Searches

Samuel Barber ◽  
2020 ◽  
pp. 384-408
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Chamber Music ◽  
Symphony Orchestra ◽  
Mixed Chorus ◽  
Woodwind Quintet ◽  
Inner Voice ◽  
Boston Symphony Orchestra

In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to listen to his inner voice and follow his instincts. As a result, his Roman-inspired pieces were performed throughout Europe. In America, a commission from the Detroit Chamber Music Society led to Barber’s composing the woodwind quintet Summer Music, a collaboration with the New York Woodwind Quintet.

Great Oboists on Music and Musicianship

2020 ◽  
Author(s):  
Michele L. Fiala ◽  
Martin Schuring
Keyword(s):  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
Instrumental Music ◽  
Chamber Orchestra ◽  
Symphony Orchestra ◽  
Warm Up ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Relationship Of

This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, developing finger technique, and creating a useful warm-up routine. The oboists discuss their ideals in reed making, articulation, and vibrato. They also share stories from their lives and careers. The oboists and English hornists profiled from North America are Pedro Diaz, Elaine Douvas, and Nathan Hughes (Metropolitan Opera Orchestra); John Ferrillo (Boston Symphony Orchestra); Carolyn Hove (Los Angeles Philharmonic); Richard Killmer (Eastman School); Nancy Ambrose King (University of Michigan); Frank Rosenwein and Robert Walters (Cleveland Orchestra); Humbert Lucarelli (soloist); Grover Schiltz (formerly Chicago Symphony); Eugene Izotov (San Francisco Symphony, originally from Russia); Allan Vogel (Los Angeles Chamber Orchestra retired); David Weiss (formerly Los Angeles Philharmonic); Randall Wolfgang (New York City Ballet and formerly Orpheus Chamber Orchestra); Alex Klein (Brazil, formerly Chicago Symphony and currently Calgary, Canada); and Sarah Jeffrey, Toronto Symphony Orchestra. The performers based in Europe are Neil Black, Nicholas Daniel, and Gordon Hunt (England); Maurice Bourgue and David Walter (France); Thomas Indermühle (Switzerland); László Hadady (Hungary and France); and Omar Zoboli (Italy). From Australia is Diana Doherty of the Sydney Symphony Orchestra.

Violin Forum: Intonation and Speed

1986 ◽  
Vol 36 (4) ◽  
pp. 70-71
Author(s):  
Theodor H. Podnos
Keyword(s):  
New York ◽  
Formal Education ◽  
Symphony Orchestra ◽  
Columbia University ◽  
New York Philharmonic ◽  
Boston University ◽  
Boston Symphony Orchestra ◽  
Long Time ◽  
The Subject

Theodor Podnos has authored four articles and two books on the subject of intonation. He has twenty-five compositions to his credit and has lectured in Ireland and at Columbia University. Mr. Podnos received his formal education at Peabody and Curtis Institutes, Boston University, and with Richard Burgin, long-time concertmaster of the Boston Symphony Orchestra. He has played as concertmaster under Serge Koussevitzky at Tanglewood and Paul Whiteman in New York. In 1984 he retired as a member of the first violin section of the New York Philharmonic, with which he was associated for nineteen years.

Noise

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
New York ◽  
Symphony Orchestra ◽  
The United States ◽  
Musical Genre ◽  
Boston Symphony Orchestra ◽  
Pros And Cons ◽  
Jazz Band ◽  
Fritz Kreisler ◽  
The Moment

As the revelation of the Zimmermann telegram pushed the United States closer to war, jazz continued to grow in popularity. The Creole Band and Original Dixieland Jazz Band played simultaneous engagements in New York, and numerous journalists reported on the new musical genre. Fritz Kreisler played to loyal audiences of German Americans, while Karl Muck continued to emphasize Austro-German music in his Boston Symphony Orchestra concerts. Patron Henry Lee Higginson weighed the pros and cons of renewing Muck’s contract in light of the conductor’s frankly expressed loyalty to Germany. Walter Damrosch seized the moment by prominently featuring “The Star-Spangled Banner” in his concerts with the New York Symphony, which embarked on a ten-week national tour in mid-March.

Taking the German Muse out of Music: The Chronicle and US Musical Opinion in World War I

2020 ◽  
Vol 14 (2) ◽  
pp. 141-175
Author(s):  
E. DOUGLAS BOMBERGER
Keyword(s):  
New York ◽  
World War I ◽  
Symphony Orchestra ◽  
The United States ◽  
Arts Organizations ◽  
World War ◽  
The Public ◽  
News Stories ◽  
Boston Symphony Orchestra ◽  
First Time

AbstractThe case of conductor Karl Muck and the Boston Symphony Orchestra during World War I is notorious for its combination of nationalist patriotism and opposition to international influence on US concert organizations. Although it seemed on the surface to be a spontaneous uprising against a foreign musician who refused to play “The Star-Spangled Banner,” the public outcry against Muck was part of a larger campaign orchestrated by a shadowy propaganda magazine named The Chronicle, published in New York from March 1917 to November 1918. This journal was marketed to the United States’ wealthy elite and was available to subscribers by invitation only. By strategic publication of fake news stories and xenophobic opinion pieces, editor Richard Fletcher spread fear and suspicion through the most rarefied strata of US society. The journal was instrumental in blacklisting suspicious arts organizations and fomenting prejudice against enemy aliens. This article examines for the first time the role of this magazine in the banning of German-language operas at the Met, the internment of Muck, and the near-elimination of German repertoire from US orchestral programs.

Middle Years

Samuel Barber ◽  
2020 ◽  
pp. 282-343
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Prose Poem ◽  
Piano Sonata ◽  
James Agee ◽  
American Composers ◽  
Boston Symphony Orchestra ◽  
Cello Concerto ◽  
Impending Death ◽  
Annual Award

After his discharge from the Army, Barber continued work with the Office of War Information but was able to work at home. He received a commission from John Nicholas Brown for a Cello Concerto for the Boston Symphony Orchestra, conducted by Serge Koussevitzky. Written to include the strengths and predilections of cellist Raya Garbousova, the concerto is considered one of the most challenging contemporary works of the genre and won Barber the Fifth Annual Award of the Music Critics Circle of New York. Reputedly one of the most promising American composers of his time, Barber also composed music for Martha Graham’s ballet about Medea, Cave of the Heart. In 1947, under the shadow of his father’s deteriorating health and Louise Homer’s impending death, Barber composed his most “American work,” Knoxville: Summer of 1915, for voice and orchestra. It is set to a nostalgic prose-poem by James Agee and was premiered by the Boston Symphony with Eleanor Steber as soloist. Following this, Barber composed a piano sonata for Vladimir Horowitz, a work that had the most stunning impact on the American musical world.

Middle America

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
New York ◽  
Puerto Rico ◽  
Symphony Orchestra ◽  
The United States ◽  
New Music ◽  
Boston Symphony Orchestra ◽  
Middle America ◽  
The Times

Within weeks of the release of the ODJB’s “Livery Stable Blues” on 15 April, jazz became a household word across the United States. The frantic, unbridled sound of the new music seemed to suit the spirit of the times ideally. In the midst of a copyright dispute with Victor, the ODJB recorded for Columbia. Walter Damrosch’s New York Symphony Orchestra toured from coast to coast, and Karl Muck brought the Boston Symphony Orchestra season to an end amid rumors of his loyalty to Germany. New restrictions on enemy aliens threatened to impact musical performers and presenters. James Reese Europe gathered woodwind players on a whirlwind trip to Puerto Rico, then took his Fifteenth Infantry Regiment Band to train and rehearse at Peekskill, New York.

Preparation

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
South Carolina ◽  
Copyright Protection ◽  
Symphony Orchestra ◽  
Sheet Music ◽  
Racial Harassment ◽  
Boston Symphony Orchestra ◽  
Jazz Band ◽  
Philadelphia Orchestra ◽  
The Right

The Fifteenth Regiment’s disciplined response to racial harassment during a two-week stay at Camp Wadsworth, in Spartanburg, South Carolina, earned it the right to be among the first units ordered to France. Nick LaRocca represented the Original Dixieland Jazz Band in a Chicago lawsuit to stop the unauthorized publication of the sheet music to “Livery Stable Blues” by former bandmate “Yellow” Nunez, but the judge ruled that all blues were the same and therefore not subject to copyright protection. The Victor Talking Machine Company, using the Boston Symphony Orchestra and the Philadelphia Orchestra, made the first recordings employing the full symphony orchestra. The concert seasons of orchestras across the country opened amid intense scrutiny of their repertoire choices and patriotism.

Anna Clyne The Seamstress, Barbican Hall, London; Anna Clyne This Lunar Beauty, Wigmore Hall, London

Tempo ◽  
2016 ◽  
Vol 70 (277) ◽  
pp. 89-90
Author(s):  
Robert Stein
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Violin Concerto ◽  
Chicago Symphony Orchestra

‘Old mythologies’ have been important for some time to Anna Clyne, and they come into play again in two of her most recent works: the violin concerto The Seamstress and her brief Auden setting, This Lunar Beauty, for soprano and ensemble. The young British composer (b. 1980) has for many years been a resident of New York; she studied with Julia Wolfe in Manhattan and since 2010 has been the composer in association with the Chicago Symphony Orchestra.

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