Levine, James, (born 23 June 1943), American conductor and pianist; Music Director: Metropolitan Opera, New York, 1976–2016, now Emeritus (Principal Conductor, 1973–2011; Artistic Director, 1986–2004); Boston Symphony Orchestra, 2004–11

2007 ◽  
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Artistic Director

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.

John Ferrillo

2020 ◽  
pp. 57-67
Author(s):  
Michele Fiala
Keyword(s):  
Symphony Orchestra ◽  
Early Career ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Curtis Institute Of Music ◽  
Relationship Of ◽  
The Relationship

John Ferrillo joined the Boston Symphony Orchestra as principal oboe in 2001. From 1986 to 2001, he was principal oboe of the Metropolitan Opera Orchestra. In this chapter, he discusses his early career, auditions, breathing for wind playing, and the relationship of teaching and playing. He also reminisces about his experiences at the Curtis Institute of Music with John de Lancie and about his most memorable performances.

scholarly journals Mrs. J.B. Carmichael and the Edmonton Civic Opera Society, 1935-1971

2013 ◽  
Vol 17 (2) ◽  
pp. 30-48
Author(s):  
Wesley Berg ◽  
Gerry Paulson
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Music Students ◽  
University Of Alberta ◽  
The University ◽  
Artistic Director

Born in Indiana and trained as a singer, violinist, and conductor in Chicago and New York, Beatrice van Loon travelled to Edmonton, Alberta, in the fall of 1920 as the leader of an all-female ensemble. She married a local dentist and as Mrs. J.B. Carmichael played in the Edmonton Symphony Orchestra and conducted an orchestra at the University of Alberta until 1934. She founded the Edmonton Civic Opera Society in 1935 and worked as its artistic director until her death in 1964. For more than four decades she gave unstintingly of herself to audiences and music students in her adopted city.

Implosions

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
Rhode Island ◽  
Turning Point ◽  
Symphony Orchestra ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Fritz Kreisler

The refusal of the Boston Symphony Orchestra management to program “The Star-Spangled Banner” in Providence, Rhode Island, on 30 October led to nationwide outrage against Karl Muck in early November. Anti-German sentiment ran high as concerts by Muck’s orchestra were cancelled in Baltimore and concerts by Fritz Kreisler were banned in Pittsburgh. The Metropolitan Opera dropped all German operas from its repertoire. Both Walter Damrosch and Ernestine Schumann-Heink went to great lengths to prove their patriotism, but Schumann-Heink broke under the strain and withdrew from the stage for six weeks. The Fifteenth Regiment had orders to ship out to France but was delayed twice in November. This month was a significant turning point in American attitudes, as jazz became increasingly popular and European music and musicians were viewed with suspicion and disdain.

Alex Klein

2020 ◽  
pp. 163-176
Author(s):  
Michele Fiala
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Focal Dystonia ◽  
International Competition ◽  
Santa Catarina ◽  
Music Festival ◽  
Chicago Symphony Orchestra ◽  
Artistic Director

Brazilian oboist Alex Klein won a 2002 Grammy Award for Best Instrumental Soloist with Orchestra and first prize at the International Competition in Geneva, the New York International Oboe Competition, and the Fernand Gillet International Competition. From 1995 to 2004, Klein was principal oboist of the Chicago Symphony Orchestra, a position he left after struggles with focal dystonia. He is currently artistic director of the Santa Catarina Music Festival (“FEMUSC”) in Brazil, principal oboe of the Calgary Philharmonic Orchestra in Canada, and oboe instructor at DePaul University. In this interview, Klein talks about his start in music, his teaching, and the combination of solo and orchestral performing in his career. He describes his brand of “musical activism” and his mindset while playing. He offers ideas for developing technique and shares his difficulties with focal dystonia. Klein offers advice on the use of air and vibrato and shares memorable experiences.

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.

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.

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.

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