American Symphony Orchestra Announces its 2010-11 Season as It Returns to Carnegie Hall, the Group's Original Home

By -

Under founder Leopold Stokowski, the American Symphony Orchestra performed its debut season at Carnegie Hall in 1962. The ASO returns to its original home with the 2010-11 season, a six-concert series that kicks off in Stern Auditorium/Perelman Stage on October 6. The orchestra's 48th season opens with a characteristically distinctive program revolving around James Joyce and his iconic influence (with the ASO giving the U.S. premiere of Mátyás Seiber's cantata Ulysses) and his musical inspirations (including George Antheil's futurist Ballet Mécanique). This season will also see Leon Botstein conduct – in his 18th season as ASO music director – Albéric Magnard's 1909 opera Bérénice and the U.S. premiere of Paul Dessau's Passover choral work Haggadah shel Pesach. The ASO series at Carnegie Hall will also include thematic programs titled "Music and the Bible", "Before and After the Spanish Civil War", and "American Harmonies: The Music of Walter Piston".

Lauded for what the New York Times has called “justly acclaimed thematic programming,” the ASO presents concerts covering a wide range of undeservedly neglected repertoire, including many U.S. premieres, some challenging and others accessible, by composers both familiar and virtually unknown. New York magazine called the ASO’s seasons “one of the best-programmed series in the city,” while The New Yorker declared, “Leon Botstein goes where other conductors fear to tread.” As he has done for several seasons, Leon Botstein will continue to give pre-concert lectures himself, free for ticket-holders at Carnegie Hall.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more