Baltimore Symphony Orchestra Receives Grant from the National Endowment for the Arts

By -

$100,000 grant will support the BSO’s 2011-2012 season programming and touring

Yesterday the National Endowment for the Arts honored the Baltimore Symphony Orchestra with a grant of $100,000 to support the Orchestra’s upcoming November East coast tour and Spring 2012 West coast tour. Tour repertoire and educational activities all showcase the Orchestra’s 2011-2012 season programming theme that celebrates women as leaders. The BSO is one of 1,145 not-for-profit national, regional, state and local arts organizations recommended for a grant as part of the federal agency’s second round of fiscal year 2011 grants. In total, the Arts Endowment will distribute more than $88 million to support projects nationwide, with $100,000 being the largest grant awarded in this funding cycle.

In the 2011-2012 season, the fifth under BSO Music Director Marin Alsop’s direction, the BSO will bring its reinvigorated artistic vision and community outreach ethos to audiences on the East and West Coasts. Excluding select Carnegie Hall and Kennedy Center engagements, this will mark the Orchestra’s first tour under Marin Alsop and the most recent West coast tour since the last tour in 1988. The 2011-2012 season is a year-long celebration of “Women as Leaders,” highlighting programs that feature works by female composers and that honor or depict women in varying roles throughout history, from religious martyr to humanitarian activist.

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