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The Elves' Forest. Uaxxee's Farm. Related events World War II. American Civil War. Great Depression. World War I. Influenza pandemic. Vietnam War. American Revolution. Japanese-American Internment. African-American Civil Rights Movement. Sinking of the Titanic. Zweiter Weltkrieg. Assassination of Abraham Lincoln. Orphan Train. Battle of Okinawa.

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Digging into yesterday; the discovery of ancient civilizations by Estelle Friedman. Edge of the Forest by Agnes Smith. First under the North Pole by William R. The Golden Impala by Pamela Ropner. Pinky Pye by Eleanor Estes. Pony for keeps by William Corbin McGraw. Simba of the White Mane by Jocelyn Arundel. Grave II. Tierce en taille et recit de chromhorne III. Fiate d'echo IV. Jeu doux et voix humaine V. Caprice Come, Thou Glorious Day of Promise Robert Manookin Concert Piece, Opus 52a Flor Peeters In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of top and bottom of recital hall note green Exit signs.

Kahane made his Carnegie Hall debut in in a special concert tribute to Artur Rubinstein. Since that time. New York's concert halls have welcomed him repeatedly as recitalist, and he has been heard as well in Chicago, Boston, San Francisco, Vancouver, Los Angeles and Atlanta. A much-sought-after collaborator, Mr. In Europe he will collaborate with the Academy of St. Martin in the Fields and with the Bournemouth Symphony at the Proms. In addition to his activities as a pianist, Jeffrey Kahane has begun a career as a conductor with highly praised performances at the Oregon Bach Festival.

Beginning in , Mr. The Boston Globe called it "an impressive debut recording" and critics nationwide have commented on its unique blend of extraordinary insight and joyous spontaneity. In the summer of Mr. Kahane is a graduate of the San Francisco Conservatory of Music. In the summer of , he was appointed professor of piano at the Eastman School of Music in Rochester, NY where he currently resides with his wife and two children, Gabriel and Anna. In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of top and bottom of recital hall note green Exit signs.

The Moon Mirrored in Spring, arr. IL Romance arr. Ho Luding III. Fishermen's Song at Dusk arr. Li Gue-Quan This piece was originally a Zheng solo adapted from an ancient tune. It depicts a scene at dusk when the sunset bathes the verdant sea. Romance arr. Gerhard Zeumer b. Allegro II.

Largo III. Pines near a Catacomb III. The Pines of the Janiculum IV. During the days when BerUoz' music was relegated to the fringes of the concert repertory, the conductor FeHx Weingartner was told by one pundit that it contained no melody. One day he decided to see for himself, so he hunted up the score for the Benvenuto Cellini Overture, and was delighted to find "five grand themes, all plastic, original, of admirable workmanship, varied in form, and rising gradually to a culminating point to finish with intense effect.

This instrumental prelude to the opera was greeted with "exaggerated applause," Berlioz recalled in his Memoirs , but the music that followed was disapproved and hissed "with admirable energy and unanimity. The opera was not performed again for fourteen years. When Berlioz first read the Autobiography of the Italian 16th-century sculptor-adventurer- goldsmith-military hero-lover-murderer Benvenuto Cellini in , he undoubtedly saw something of himself in that dashing Renaissance figure: both were independent free-spirits often at odds with the establishment over their iconoclastic artistic views; both were subject to excessive passions and the violent actions that arose from them; both were thrown into adventures that seemed bigger than life.

Of such stuff, Berlioz determined, was good opera made. The opera, however, never met with much favor, other than a certain popularity it enjoyed in Germany after Franz Liszt produced a revised version of the work at Weimar in The stirring Overture to the opera, though, has long been among the most -performed of Berlioz' compositions another of his great overtures, the Roman Carnival , was also based on themes from Benvenuto Cellini and its tunefulness, brilliant orchestration and youthful ebullience mark it as one of the best representations of his art.

A rousing fanfare introduction calls forth visions of the daring exploits of Cellini and the vivacious revelry of the Carnival season during which the opera is set. A slow interlude begins with the pizzicato low strings intoning a solemn theme later sung by the character of Pope Clement VII during a ceremony of absolution for sinners. It is combined with a long-limbed air from the Carnival scene in exquisite shadings of string and wind colorings.

The impetuous music of the introduction returns with an irresistible if not always predictable rhythmic vitality that builds to a climax before subsiding to make way for a lyrical second theme in flutes, oboe and clarinet derived from the love duet of Cellini and his betrothed, Teresa. In the following pages the functions of development and recapitulation are combined, with clear repetitions of earlier thematic material juxtaposed with elaborated versions of it.

Underlying all, however, is a vibrant spirit of dauntless enterprise. The large coda moves at an even faster tempo, and includes a broad statement by the brass Pope Clement's theme from the introduction. Tumultuous, tuneful, well-balanced, it meets the simple requirements of a curtain-raiser most effectively, while there is great technical subtlety and warmth of feeling for more demanding ears. He would have gotten no argument from Beethoven on that point. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven's Viennese pupils, the young composer realized that he had tapped the highest echelon of European society.

Beethoven gave instruction in both piano performance and composition to Rudolph, who had a genuine if limited talent for music. Questioned once whether Rudolph played really well, the diplomatic teacher answered with a hoarse chuckle, "When he is feeling just right. Rudolph, who eventually became Archbishop Cardinal of Austria and remained a life-long friend and patron of Beethoven, received the dedication of such important works as the Fourth and Fifth Piano Concertos, the "Lebewohl" and "Hammerklavier" Sonatas, the Op.

While Rudolph was still a boy of sixteen, however, his teacher wrote for him his very own composition, a piece that made a grand noise and showed off his piano skills in a most sympathetic setting. Beethoven's choice of piano, violin and cello for a concerto appears to be unique in the literature - "really something new," he wrote to his publisher.

There was a popular genre in the Classical era known as the sinfonia concertante for two or more soloists with orchestral accompaniment, a revamped model of the Baroque concerto grosso. Mozart and Haydn left lovely examples. The sinfonia concertante was especially favored in France, where the combination of violin and either viola or cello was most common.

Beethoven, powerfully under the influence of French music at the time the Eroica Symphony and Fidelio also date from , took over the form for two solo strings and added to it a piano part and - Behold! The adolescent Archduke had become a star. Beethoven liked his student, who seems to have been quite a nice young man. The composer tailored the piano part to Rudolph's skills so that it did not present extremely difficult technical demands but still showed off his abilities to good advantage.

The string parts, on the other hand, he filled with florid lines woven around the keyboard writing so that the soloists as a group come off as a dazzling band of virtuosos. To assure a good first performance, Beethoven called in two of the best players of the day to share the stage with Rudolph - Carl August Seidler on violin and Anton Kraft on cello. If the demands of the cello part on the range and technique of the soloist are any indication, Kraft, especially, seems to have warranted his reputation as a master performer.

Beethoven set himself a thorny compositional problem with his Triple Concerto: how to give each soloist sufficient exposure while keeping the work within manageable formal bounds. Absolute equality would demand that every theme be played four times - once by the orchestra and once by each of the three soloists. To solve the problem, he had to devise simple and compact themes comprising basic chord and scale patterns.

Consequently, the Concerto is not rich in the cantabile melodies he was able to employ elsewhere in his middle-period compositions. The interest is to be found elsewhere - in the work's contrasting sonorities, its interplay between soloists and orchestra and its formal cohesion. While it does not scale great emotional heights, it shows with what technical mastery Beethoven could command the purely technical aspects of this craft, and is a perfect exemplar of Friedrich Nietzsche's summation of his art: "Beethoven's music is music about music.

After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy triad played in the unexpected key of A Major rather than the more usual dominant tonality of G. It is through such original and, for , daring technical excursions that Beethoven widened the expressive possibilities of instrumental music.

Much of the remainder of the movement is given over to repetitions and figuration rather than to true motivic development. A sudden quickening of the tempo charges the concluding measures with flashing energy. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The movement is not too long, and soon leads into the finale without a break.

The closing movement is a strutting Rondo alia Polacca in the style of the Polish polonaise, which Chopin was to immortalize in his keyboard works. The cello again is the first to seize the dance-like theme, passing it on to the other participants in turn. There is an almost constant buzz of rhythmic filigree that gives this movement a happy propulsion which eventually erupts into a truly fine frenzy when the meter changes from triple to duple near the end. The triple meter and the rondo tune return to bring the Triple Concerto to a rousing conclusion. The Pines of Rome was composed in , and premiered on December 14, in Rome, conducted by Bernardino Molinari.

Coming from a family of professional musicians, Respighi inherited a rich talent as part of his birthright. His earliest lessons were with his father, but he progressed so rapidly that he began his professional training in violin, piano and composition at the age of thirteen.

As a young man, he was torn between ambitions to become a concert violinist and a composer, and for several years he led a dual life as performer and creator. He got a job as violist with the orchestra of the St. Petersburg Opera and took advantage of the time in Russia to study with Rimsky-Korsakov, whose brilliant orchestral technique was a lasting influence on him.

From St. Except for a brief stint back in Berlin in teaching piano at a private school, Respighi spent the years from in Italy, first as a performer, then as professor of composition and finally as head of the Saint Cecilia Academy in Rome. He left the Academy in to devote himself to composition and touring, and he made four trips to the United States over the next seven years. He died of a heart attack in at the age of The Fountains of Rome is the earliest of the Roman trilogy of symphonic poems by which Respighi is primarily represented in the world's concert halls.

The Pines of Rome followed in , Roman Festivals in It was also his first great public success, though his notoriety was not achieved without a certain difficulty. Toscanini had agreed to conduct the premiere of the Fountains , late in Germany and Italy were, of course, at war then, and there had been recent bombings of Italian towns that resulted in heavy casualties. Despite heated anti-German feelings, however, Toscanini refused to drop from his programs selections by that arc Teuton, Richard Wagner. When he began Siegfried's Funeral March on one November concert, grumbling arose in the audience, and finally erupted with a shout from the balcony: "This piece is for the Paduan dead.

Plans for the premiere of The Fountains of Rome were therefore delayed, and the work had to wait until the following March to be heard, in a concert conducted by Antonio Guarnieri. Respighi's wife, Elsa, reported that the premiere was not a success. Indeed, the composer, whose music had not yet found much favor, expected as much. Trying to make light of the possibility of failure, he warned one of his friends to "take your umbrella and galoshes" to the premiere of this modern-day "Water Music.

Respighi told his wife that he thought it strange no one had ever depicted the famous Roman fountains in music, that no one had ever made them sing, "for they are the very voice of the city," he said. This sparkling work paints colorful pictures of four of these famous landmarks as seen through the dawn-to-dusk cycle of a single day. Its musical style combines elements of Debussian Impressionism and Straussian vigor with Respighi's own brilliant sense of lyricism and orchestral color. Elsa noted that The Fountains of Rome was written "to satisfy a spiritual need.

It is in a way a synthesis of Respighi's feelings, thoughts and sensations during those first few months of life in Rome. It is the fountain of Trevi at mid-day. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal: across the radiant surface of the water there passes Neptune's chariot drawn by sea-horses, and followed by a train of sirens and tritons.

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The procession then vanishes while faint trumpet blasts resound in the distance. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night. The centuries- old trees which dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.

His wife, Elsa, recalled in the short biography of her husband that he had asked her in to sing some songs from her days of childhood play in the Villa Borghese. She was wonderfully surprised when they emerged four years later in the first section of The Pines of Rome. The Pines of Rome is one of the great showpieces in the orchestral repertory, containing the variety of musical pictures typically associated with the symphonic poem.

At least two of these are among the most memorable moments in the concert literature. One occurs in the Impressionistic third section, The Pines of the Janiculum. Though a terror of musical balance and mechanical mishap, this simple bird call is truly breath-taking: it seems as though a window of the concert hall had quietly opened on a halcyon spring night, and scented breezes were imparting some ineffable, gentle bliss.

The second masterstroke is the mighty crescendo which comprises the fmal section, The Pines of the Appian Way. Despite the claims of meretriciousness and theatricality occasionally thrown at this music, only the most jaded listener could fail to be thrilled by the titanic wave of sound that issues from these stirring measures. Respighi supplied the following synopsis of the four continuous sections of The Pines of Rome as a preface to the score: "1.

Suddenly the scene changes to From the depths rises a chant which re-echoes solemnly, like a hymn, and is then mysteriously silenced. The full moon reveals the profile of the pines of Gianicolo's Hill. A nightingale sings. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of innumerable steps. To the poet's fantasy appears a vision of past glories; trumpets blare, and the army of the Consul advances brilliantly in the grandeur of a newly risen sun toward the Sacred Way, mounting triumph the Capitoline Hill.

It is interesting that so many kinds of folklore originate from such a small spot of the world. Tonight's show will give you a sample of its musical tradition. Trencin Pozri miua [Look here my love] orig. Klemovec Eyes black eyes orig. Krivany village in [Twisting dance songs] Eastern Slovakia Raslavicke melodie orig.

Raslavice [Tunes from Raslavice] National minorities in Slovakia Hungarian, Gypsy and Romanian Melodies In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of top and bottom of recital hall note green Exit signs. Lanham Music: Antonio Vivaldi Tonight! Strauss, R. Sherrod, P. Sherrod, Sr. Spencel, C. Berlin, J.

Kern, A. Schwartz, C. Allen Mark R. Department Chairman Phyllis C. Jacobson College Dean EbnoS. Barrus, conductor Concerto No. He is making his national touring debut. He must like it. For the past six years he has appeared in The Guinness Book of World Records for cigar box balancing boxes! He now performs in Chicago-area theatres and is one half of the comedy team. The Lazzi Brothers. Crewdson, and his family. She holds a B. Stefunnie T. Clown is making her theatrical debut in Barnum. A native Chicagoan, Stefunnie holds degrees from Ringling Bros. A former radio Public Service Director and Morning News producer, Stefunnie performs as a jazz vocalist and mouth violinist.

James also studied with Lou Conte Dance Studio for over a year. New Paltz Summer Repertory. Rebecca received her M. David would like to dedicate this performance to his family in New England and his surrogate family and friends in Chicago. Nancy Jane completed a year of graduate work at the University of Illinois and holds a B. For inspiration she looks to Gene Kelly, Judy Garland and all 6 a. Besides performing, Maria enjoys a good movie, any kind of ice cream and observing other people's kids from a distance.

Victoria is a graduate of Northwestern University where she received her M. Her other credits include. By day, Janet is the feature film agent at Harrise Davidson in Chicago. In her spare time she lives with her fiance Michael Dickson. The two plan to tie the knot in Costa Rica in October. She is grateful for the wonderful friendships and collaborations with Victoria Bussert and Russ Borksi. Chicago credits include the world premiere of Charles Strouse's Future of the American Musical Theatre and mid- west premiere of his Nightingale.

He is presently writing an exciting new musical with his collaborator George Gorham. Dan will be moving back to New York this fall. The superlative quality of Pegasus' productions has earned the company a total of 40 Joseph Jefferson "Jeff citation awards for excellence in Chicago theatre. In , and again in , Pegasus won 10 citations, the most ever presented to a theatre company in a single season.

In , along with the "Jeff sweep" Pegasus was also awarded the rarely given Special Awards Citation for its efforts in reaching under-served audiences. The Pegasus season was one of the most successful ever. Into the Woods, a first collaboration with Big League Theatricals of New York, toured cities in over 40 states across the country. The smash hit local premiere of Neil Simon's Broadway Bound was so successful it transferred to the larger Briar Street Theatre for an extended run. Sylvia's Real Good Advice became the biggest hit in the history of the theatre and is still running at the Organic Theatre.

Her work at the Upstairs became the subject of a Harvard Business School case study. This year she helped in the renovation and re-opening of the legendary Goldenrod Showboat in St. He won a Tony for his previous Broadway musical. On The Twentieth Century, which also toured the U. In addition to his numerous awards, he has been honored with six Grammy nominations, five Tony nominations and is the recipient of a Drama Desk Award and Cue's Golden Apple. He is President of Notable Music Co. He won Tony nominations as both composer and co-producer for Barnum. Chosen by Musical America as "Outstanding Young Artists of " and prize winners in the Fischoff National Chamber Music Competition, The Prism Quartet is rapidly fulfilling its goal to bring the saxophone quartet as a legitimate chamber ensemble from obscurity to the concert hall.

Formed in , The Prism Quartet has had no personnel changes and is the longest standing saxophone quartet performing with all four founding members. The Prism Quartet is the first group of its kind to perform electronic chamber music in addition to the saxophone quartet repertoire. These instruments are capable of producing virtually any synthesized sound. Shaped by the performer's breath and capable of tremendous nuance, they lend electronic music an uncharacteristic expressiveness and warmth. Prism is playing an important role in establishing the wind controller as a significant component to wind music worldwide.

Winner of the National Young Artist Competition of Midland-Odessa, he has performed throughout Europe with the International Ensemble of Saxophones and is a chairman of the wind and percussion department at the Center for Creative Studies in Detroit, and has served on the faculty of the National Music Camp, Interlochen. Whitcombe made his professional debut with the Rochester Philharmonic at the age of seventeen as the First Prize winner of the orchestra's Young Artist Competition.

Whitcombe tours as a soloist with orchestra and most recently appeared with the New York Chamber Ensemble. He is in residence for six weeks annually at the Cape May Music Festival. Whitcome resides in New York City. Matthew Levy, tenor saxophone, a native of Philadelphia, holds three degrees from the University of Michigan where he studied composition with William Bolcom, Fred Lerdahl and William Albright, and saxophone with Donald Sinta.

An active composer. Levy has written numerous workds, both electronic and acoustic, for Prism. The New York Times hailed as "energetic and enlivening" Mr. Levy's recent New York premiere of Nicholas C. Thome's "Aria Improvisations" for solo tenor saxophone. Levy may be heard on the soon to be released "homeland" LP by new age keyboardist Michael Hoppe. Miller is active in contemporary music performance and has worked abroad with Karlheinz Stockhausen in the critically acclaimed production and premiere of Samstag aus Licht, just released on Deutsche Grammophon Records.

Recently, Mr. A native of Connecticut, Mr. Box , Ann Arbor, MI Tonight's performance is sponsored in part by a grant from the Western States Arts Federation. I L'istesso tempo Var. II Con anima Var. IV A la Chopin Var. Whitcombe Mr. Rivier was neither a revolutionary nor a reactionary which made him a favorite among organizers of festivals and radio. Taking "modern" dissonant harmony and counterpoint for granted as the obvious and natural idiom for 20th century concert music, he never doubted the continuity of tradition: Tried and true compositional forms and a "natural", brilliant approach to instrumental and vocal virtuosity.

These are the unmistakable characteristics of Rivier. Grave and Presto is no exception. The opening is reminiscent of a baroque overture although with a contemporary and lush musical vocabulary. A misterioso section employing large intervals leads to a final statement of the opening only to launch into rhythmically driving presto. Here is where Rivier displays his approach to virtuosity.

Constructed in rondo form, the recurring themes are followed by rich harmonic sections that truly showcase the sonorous nature of the instrument. The final statement, leading to a furious cadence, is one of the most exciting in the saxophone quartet repertoire. Wind Rose - Warren Benson The title, Wind Rose, originally suggested a kind of gift from the members of a touring quartet to their far eastern audiences; a fiower because fiowers seemed so important in Asian and pacific ceremonies - a rounded design, windblown, sometimes prickly, arousing the senses.

It sounded right to me for a work quite unlike any I knew in Serendipity reigned when, in Webster's, I found one, a real Wind Rose: "A diagram that shows for a particular place, in frequency and intensity of wind from different places" The last to join the Balakirev circle Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov , he is best remembered as a teacher who influenced many contemporaries and students including Debussy and Shostakovich.

Glazounow worked well with the government after the Revolution, but within the Leningrad Conservatory he was attacked for being too conservative. His earlier music was important if for no other reasons than that STravinsky and Prokoviev rebelled against it after learning much from it; that pupils like Shostakovich imitated it, then integrated those elements with what they had learned from the rebels; and that Shoenberg recommended it as a formal model for study.

In , he went to Austria to judge a competition, never to return. In he settled in Paris after travels in Europe and the United States where he died in Written in , the Quartet for Four Saxophones is one of Glazounow's last works. Like so many of the saxophone quartets of the day this piece was dedicated to the Quartuor de Saxophones de la Garde Republicaine. The first movement, allegro piu mosso. The sonata- form movement unfolds effortlessly.

Its exposition is reflective of Brahms and closes with Tchaikovsky. After a development and an unproblematic recapitulation, a brief, whirling coda brings the movement to a close. The Tchaikovskian note is sounded immediately in the andante theme itself and the chorale-like variations purposely evoke Schumann and Chopin respectively. The movement closes with a virtuosic scherzo, encompassing staccato passages and polyrhythmic figures. The finale reveals the composer's Parisian residency.

Here, Russian lyricism becomes infused with French spirits. The movement ends in a festive, rhythmic flurry. Each wind controller assumes the roll of a separate instrument in a rock band: electric bass, drums, keyboard, and guitar. The composer has written: "This is an especially fun piece for the group to play. I don't know if there's a saxophonist alive who hasn't at least once felt the urge to pick up an electric guitar and start 'wailing', if only in the privacy of his own bedroom and in front of a full length mirror.

He wrote sonatas and concerti exclusively and belonged to the vanguard of Italian instrumental composers of the late Baroque. In re-orchestrating this work for the Yamaha WX wind controller, PRISM member Timothy Miller describes the process of designing the various electronic sounds: "Our intention is to experiment with the more acoustic sounding possibilities of our synthesizers and samplers. These sounds are in no way meant to imitate, but to infer the different colors of various Baroque chamber ensembles: a string orchestra, a brass quartet, a woodwind quartet, a pipe organ, and a brass quartet with continuo.

Ultimately, the timbres produced must be compatible with the expressive potential of the WX Otherwise, the music would suffer a sort of 'Switched On Bach' fate. While in Greece in , Benson witnessed the poverty and hardship that the people living along the Aeolian Sea endured. Originally scored for wind ensemble and solo alto saxophone and recently re- orchestrated by PRISM, Aeolian Song is a lament to those for whom Benson felt such anguish.

The first movement. Suicide Notes from the tomb of the unknown composer , opens in a distant, clustery haze. As phrases begin to undulate and sonorities thicken, the movement takes on a form of musical melodrama in which neo-romantic gestures gradually dominate the texture. The second movement. Low Blow, suggests an element of, if not vulgarity, than perhaps the unrestrained, unrefined passions of free-blowing jazz.

Marked by a great deal of interplay and spontaneity, the movement exploitH myriad performance techniques common to the jazz saxophone, including wild "falls", percussive slap-tonguing and growling. The compositional style is one which effectively combinas "blues" harmonic patterns, "funk" rhythms, "rag-time" accompanimental figures, and "rock and roll" melodic ideas. Jacobson Harold R. Handley Costume Coordinator Rory R. In recent years it has enjoyed great popularity and has become an outstanding box-office draw in operatic tradition. Act 1 begins with Alfredo who comes to visit and court his former sweetheart, Rosalinda, who is now married to Eisenstein.

Adele, the maid, has gotten a letter telling her about a party that evening, and she tries to get the evening off "to be with her sick aunt. He is angry because his term has been extended from five to eight days. Falke arrives and secretly tells Eisenstein about Prince Orlofsky's ball that evening and how many women will be there, and Eisenstein decides to report to jail in the morning. Falke reminds Eisenstein of the trick that had been played years ago, as Falke was left in a bat costume to walk home from a park bench, and Eisenstein laughs. He dresses for "jail" in fonnal clothes, and leaves with Falke.

Rosalinda gives Adele the night off, and she entertains the returning Alfred, who changes into Eisenstein 's lounging wear and drinks with her at the table. Frank, the prison warden, comes and finds the two together and takes "Eisenstein" to jail. Falke convinces Rosalinda to go to the ball in disguise. Act 2 takes place at the ball, where Adele shows up in Rosalinda's dress with her sister Sally, the actress; and Eisenstein arrives as "Marquis Renard. Falke presents a group of Wagnerian women to sing as part of the entertainment. He then begins the "Revenge of the Bat" charade, during which Eisenstein flirts with the ladies and ultimately begins to woo his own wife, who is disguised as the masked Hungarian countess.

The prince does enjoy the spectacle and laugh at the situation. Act 3 takes place at the jail, where the disgruntled Alfred has been serving Eisenstein's prison term. Frank and Frosch are suffering from drink; they and the lawyer. Blind, are all required to put the pieces back together to end the story and tie up the loose ends and disclose all true identities and alibis. Rosalinda and Eisenstein are reunited, and Dr. Falke has a good laugh as he realizes that his elaborate ruse did indeed even the score and gain his own "revenge" for himself, "the bat," or Die Fledermaus.

Blackinton, trumpet W. Neal Woolworth, trumpet Gaylen A. Hatton, horn Daniel F. Bachelder, trombone R. Muy Linda II. Pavan III. When exiting, please proceed In an orderly fashion to a safe area away from the building. Cassey, R. Please identify the exit closest to your location. Pastorale 9. Tribute to Aaron Copland In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of top and bottom of recital hall note green Exit signs.

Allegro animato III. Lento IV. Tema con variazioni II. Of all halls the most outstanding. Adorned by the skills of many men. Echoing this day with the songs of women; We wish you well, we praise you: Prosper from generation to generation! Make the strings weep and lament, sadly stricken, until a hot tear moistens this cheek of mine! Rima, high -towering torrent, how turbulent you are! On the bank I lament loudly for you, my love!

Waves rush, waves pour, thunder on the shore towards me; on the Rima's bank let me forever weep for her! Wirft drei blanke Silbergulden auf das Cimbal, dass es kingt. A swarthy lad leads into the dance his lovely blue-eyed girl, kicks his heels boldly- -and the ctardas tune begins. He kisses and embraces his little dove, whirls her, leads her, shouts and leaps!

He throws three bright silver florins on the cimbal to make it ring. Chuck Cassey Irving Berlin arr. Norman Gilbert arr. John Clements arr. Valerie Bushnan. Brown Valerie Bushman Carol A. Ericksen Nicky Erickson Kristen R. Madsen Recital Hall Program Notes Since its formation in , the Cavani Quartet, winner of the prestigious Naumburg Chamber Music Award, has quickly risen to the forefront among string quartets and has become recognized as one of America's premiere chamber ensembles. In addition to the Naumburg, the Cavani Quartet received first place in the Cleveland Quartet and Carmel competitions, as well as prises and awards in a variety of other competitions.

Selected by Musical America for its "Young Artists of " roster, and awarded special recognition in from the Governor of Ohio for its outstanding achievements, the Cavani Quartet has been critically hailed for its combination of extraordinary musicianship, energy and technical brilliance. The Washington Post reported after a performance at the Corcoran Gallery, "This quartet succeeds like few others in communicating the fun of music-making, the sheer joy of balancing timbres and weaving sound. It was a stellar performance.

After its New York debut in , the Quartet returned in when it presented a highly successful Alice Tully Hall recital under the auspices of the Naumburg Foundation. In past seasons, the Cavani has collaborated with soprano Benita Valente in concert and a recording of Chausson's Chanson Perpetuelle and de Falla's Psyche for Pantheon records. Members of the faculty of the Cleveland Institute of Music since , serving as Quartet-in- Residence, the Cavani Quartet has been awarded Chamber Music America grants for three consecutive years.

Building upon its Cleveland residency, the Quartet also performs numerous activities throughout the city advocating music in education, such as its program with African- American performance poet, Mwatabu Okantah, titled "Collage: Poetry and Music" brought to city high schools; a quartet apprenticeship program; adult chamber music workshops; and children's concerts for elementary and middle school audiences including programs for students with handicaps and special needs.

The Quartet formerly held a residency at the University of California, Riverside. In the Quartet was awarded a two-year residency at the Eastman School of Music as winner of the Cleveland Quartet competition. Along with traditional string quartet literature, the Cavani Quartet includes in its repertoire works by American composers it has commissioned and premiered.

New York, New York. Box , New York, NY, Residency Program performances supported by E. Michael Paul Foundation. Program String Quartet in B-flat Major, op. Assez vif et bien rythme. Andantino, doucement expressif. Tres modere; Tres mouvemente. Sponsored in part by the Utah Arts Council Performing Arts Tour In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of top and bottom of recital hall note green Exit signs.

Recipient of many awards and prizes Ms. A student of Donald Weilerstein at the Eastman School her duties as a teaching assistant included seminars, demonstrations and private coaching of student ensembles. Erika Eckert - viola, has been soloist with numerous orchestras in central Ohio as winner of the Columbus Symphony Orchestra's Young Artist Competitions. Among her awards she was the winner of the prestigious Geraldine B. While at Cincinnati she was principal violist and soloist with the Cincinnati Philharmonia Orchestra in its Carnegie Hall debut under conductor, Gerhardt Samuel.

Emily Crocker Katharine K. Davis Michael Barbatudi Olatunji arr. Petersen Mark D. When exiting, pleiise proceed in an orderly fashion to a safe area away from the building. Steven Sloane, Resident Conductor of the Frankfurt Opera, has quickly established himself as a prominent and versatile conductor.

Equally skilled in the world of opera, oratorio and symphonic music, he has been highly praised for his performances of 20th century music. He also made his third appearance with the Cologne Radio Symphony. He is regularly invited to conduct the leading Israeli music festivals and records frequently for Israeli radio and television. In Maestro Sloane founded the L'Esprit Chamber Orchestra in Los Angeles which under his direction has become a critically acclaimed ensemble, highly lauded for its recordings of 20th century music and innovative concert programs.

David Buechner, the highest ranking American prizewinner at the Tchaikovsky International Piano Competition, is an artist of startling achievement. His long list of awards dates back to his student days at the Juilliard School, where he received an unprecedented total of six major scholarships. Overseas, Mr. Most recently Mr. In the Laurel label issued Buechner's recording of all-Czech works.

The next project for Connoisseur will focus on works by the Spanish composer Joaquin Turina. Buechner plays a Yamaha piano. Allegro Larghetto III. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionate Johannes Brahms In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of the concert hall note green Exit signs. Its overture, itself a stable part of orchestral repertoire, introduces the opera with a gaiety and vitality that compare to few others.

Composed while Rossini was in his early 20s, "The Barber of Seville" was based on a play by the both loved and hated French author, Caron de Beaumarchais Mozart's "Marriage of Figaro" was based on another Beaumarchais play about the same man and was hissed at its first performance. The opera tells a predictable, yet fun, tale. Figaro, the gallant man that he is, agrees to help his friend. Count Almaviva, win the heart of the beautiful Rosina.

Her father does not approve of the relationship and tries expeditiously to arrange a more appropriate marriage. Figaro and the Count are able to deceive Rosina's father long enough to carry her away to be with her true love, the Count. Rosina's father consoles her intended fiance with her dowry instead of her hand.

The brisk and vivacious little overture sets the mood for the play so wonderfully that, according to Milton Cross, it is perhaps wisest to forget that Rossini originally wrote it for several other operas, two of them tragedies. It begins with a slow introductory section in which the principal melody is in violins against piEsicato strings and ends with four chords. The main section begins with a saucy theme for strings doubled by piccolo. A second appealing melody appears later on, first in the oboe and clarinet, then in the horn.

The exposition ends with a characteristic Rossini crescendo. The two main themes are repeated and the overture ends with a merry coda. Unlike some of Rossini's other operas, both the overture and the opera of "The Barber of Seville" have survived. But exquisite opera overtures like "The Italian Woman in Algiers", "The Thieving Magpie", and "Semiramide" prove that Rossini knew how to get an audience's attention, even if he did not always know how to keep it. Concerto No. Premiered on March 4, in Vienna, with the composer as soloist. He had gone to that city a decade earlier in hopes of gaining enough fame as a free-lance composer and pianist and occasional impresario and violist to gain a permanent position at court.

Things generally went well for the first five years or so. He gave many public concerts, received numerous comnissions, and even landed a minor job as chamber music composer to the court. This last, however, paid a mere pittance - less than half of the small sum paid to his predecessor in the position, Christoph Gluck. The desired place at court never materialiEed.

Moeart's musical language became richer and deeper during those years, and it was not long before it failed to be appreciated by the fickle Viennese, who were far more interested in tunes and titillations than in a challenging new artistic style. His popularity declined rapidly. The genre of the piano conrerto was central to Moeart's public image during his first five Viennese years, since it presented him as both composer and pianist in the concerts he promoted for his own benefit.

After , when he no longer enjoyed sufficient public esteem to give a concert on his own, the need for concertos vanished, and he composed only two examples for piano during his last five years. The earlier of these K. Since Moeart's sister-in-law, Aloysia Lange, also participated in the concert as a singer, it is not impossible that she helped arrange this bit of work for him.

By early , Moeart was in a difficult situation. He was deeply in debt, his health was deteriorating, and his prospects were bleak. To get a little money in hand, he churned out a whole string of dances for various balls during the winter months, but these trifles could just as well have been written by Wraniteky or Koeeluch or Dittersdorf for any other now- forgotten composer of the time. When Emanuel Schikaneder popped up in the spring with the suggestion for a musical play based on a mystical, quasi-oriental subject of the sort then immensely popular in Vienna, Moeart thought this might be a lucrative venture.

He was right, but he did not live long enough to profit by the success of "The Magic Flute" later in the year. This Concerto was another of the projects of this sad time. The B-flat Concerto was the first work completed in Moeart's last year, and commentators have always been tempted by the maudlin autobiographical possibilities this coincidence offers. It will never be known if Moeart realised he would not see another Christmas while he was writing this piece. He was troubled enough at the time to admit in a letter that "life has lost its attraction.

It may be that he was just beginning to enter a new creative phase during those last months. This quality, however, is a musical characteristic, not an autobiographical confession. Of all the great masters, Moeart separated his music the farthest from his life, and to discover a premonition of death in this B-flat Concerto would impute to Moeart not just an evolving artistic style, but an entire change of aesthetic philosophy. That is not impossible, but it is unlikely. To what extent this beautiful work is "valedictory" is left to each listener.

The Concerto is cast in the traditional three movements. As is generally true with the works of Moeart, there is an abundance of melodies. In his book on Moeart's piano concertos, Denis Forman divided th t melodies in this work into two styles: one "Elegiac," the other, "Courtly dance," and marvels that such contrasting types could be combined into so pleasing a whole.

Adding another thought about the synthesis of styles found in this Concerto, Edward Downes wrote, "Completed between "Cosi fan tutte" and "The Magic Flute", it combines the sensuous grace of the former with the spirituality of the latter. Already in this opening "tutti" appear the expressive chromatic leadings, quick exchanges of major and minor tonalities, and unexpected harmonic deflections that lend this Concerto its Romantic quality. This characteristic is enhanced with the entry of the soloist, who elaborates upon the themes of the introduction.

The central section, which begins in the remote key of B Minor, is one of Mosart's most subtle and imaginative developments in its exploration of the expressive possibilities of the themes. The recapitulation is begun by the orchestra alone, but the piano soon joins to further examine the themes. With its daring harmonic adventures and multiplicity of moods, this movement stands quivering on the brink of musical Romanticism. It is such music that encourages speculation as to the course Moeart's music would have taken had he lived beyond his 35th year. The alow second movement is in a large three-part A-B-A form.

It has a gentle, almost ethereal quality that CM. Girdlestone characterieed, somewhat cryptically, as "Franciscan mildness. The fmale is a sonata-rondo, with several extensive areas of thematic development. The hunting-horn theme heard at the beginning of the movement also served as the melody for a song Moeart composed the week after fmishing this Concerto on January 5th: "Sehnsucht nach dem Frilhling" "Longing for Spring". Though this fmale does not explore the darker harmonic byways of the preceding movements, neither does it exhibit the carefree rejoicing of earlier concertos.

In its careful balance of emotions, it is a fitting close to this last, and perhaps most thoughtful, of Moeart 's concertos for his beloved instrument. Symphony No. Premiered on October 25, in Neiningen, conducted by the composer. In the popular image of Brahms, he appears as a patriarch: full, grey beard, rosy cheeks, sparkling eyes. He grew the beard in his late forties as, some say, a compensation for his late physical maturity - he was in his twenties before his voice changed and he needed to shave - and it seemed to be an external admission that Brahms had allowed himself to become an old man.

The ideas did not seem to flow so freely during those years, and he even put his publisher on notice to expect nothing more. Thankfully, the ideas did come, as they would for more than another decade, and he soon completed the superb Third Symphony. The philosophical introspection continued, however, and was reflected in many of his works.

The SEcond Piano Concerto of is almost autumnal in its mellow ripeness; this Fourth Symphony is music of deep thoughtfulness that leads "into the realms where joy and sorrow are hushed, and humanity bows before that which is eternal," wrote the eminent German musical scholar August KretESchmar.

One of Brahms' immediate interests during the composition of the Fourth Symphony was Greek drama. He was greatly moved by the tragedies of Sophocles in the German translations of Professor Wendt, and many commentators have seen the combination of the epic and the melancholy in this Symphony as a reflection of the works of that ancient playwright. Certainly the choice of E Minor as the tonality of the work is an indication of its tragic nature.

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This is a rare tonality in the symphonic world, and with so few precedents such a work as Haydn's in that key No. Repeatedly accused of being forbiddingly metaphysical or overly serious, the Fourth Symphony was not easily accepted by audiences. The crux of the problem was the stony grandeur of the finale, which undeniably confirms the tragedy of the work. The normal psychological function for a symphonic fmale is to be an uplifting affirmation of the continuity of human experience.

The classic models are Beethoven's Fifth and Ninth Symphonies, and Tovey pointed out that in all that master's works, only three have minor tonality endings. Even that great prophet of Weltschmere, Gustav Mahler, ended only his Sixth Symphony on a pessimistic note.

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So, in this closing Symphony, it would seem that Brahms grappled with his own innermost feelings and found a hard-fought acceptance of his mortality. The outward sign of his perceived great age, his magnificent beard, found its counter part in tone in this grand Symphony, perhaps the greatest work in the fcrm since those of Schubert and even Beethoven.

It is fitting that the Fourth Symphony was on the program for the final appearance Brahms made before his beloved Vienna.

Hans Richt sr scheduled the piece for the Vienna Philharmonic's concert of March 7, , and invited Brahms to attend. Brahms was already mortally ill with the liver cancer that would end his life in less than a month, but he struggled from his bed to a box in the Musikvereinsaal for the con:ert. Each movement of his Symphony brought a shattering response from the audience. Florence May, Brahms' loving biographer, described the touching scene: "Tears ran down his cheeks as he stood there, shrunken in form, with lined countenance, strained expression, white hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell.

Another outburst of applause and yet another; one more acknowledgment from the master; and Brahms and his Vienna had parted forever. The first movement opens almost in mid-thought, as though the mood of sad melancholy pervading this opening theme had existed forever and Brahms had simply borrowed a portion of it to present musically. The movement is founded upon the tiny two-note motive short-long heard immediately at the beginning.

Tracing this little germ cell demonstrates not only Brahms' enormous compositional skills but also the broad emotional range that he could draw from pure musical expression. To introduce the necessary contrasts into this sonata- allegro form, other themes are presented, including a broadly lyrical one for horns and cellos and a fragmented fanfare. The movement grows with a wondrous, dark majesty to its closing pages which, to Tovey, "bear comparison with the greatest climaxes in classical music, not excluding Beethoven.

Though the tonality is nominally E Major, the movement opens with a stark melody, pregnant with grief, in the ancient Phyrigian mode. The mood brightens, but the introspective sorrow of the beginning is never far away. Though in sonatina form sonata without development , the movement has none of the airy sweetness of so many of MoEart's andantes cast in that form, but possesses rather an overriding sense of comfortable tears washing away great loss.

To Phillip Spitta, this was the greatest slow movement in all of the symphonic literature. The third movement is the closest Brahms came to a true schereo in any of his symphonies. Though such a dance-like movement may appear antithetical to the tragic nature of the Symphony, this schereo is actually a necessary contrast within the work's total structure since it serves to heighten the pathos of the surrounding movements, especially the granitic splendor of the fmale.

Brahms, as always, took great care with the deployment of his orchestral resources, and he emphasised the singular brightness of this movement by calling for the silvery tingle of the triangle - its only appearance anywhere in his symphonies. The Hnale is a passacaglia - a series of variations on a short, recurring melody.

The passacaglia was a compositional technique highly favored by Baroque composers which fell into disuse with the changed requirements of the music of the Classical era. It had never been used in a symphony before this one, and it reflects both Brahms' interest in the music of earlier eras and his faith in the inexorable expressive powers of the old formal types.

The theme, to which Brahms added a single chromatic note, was taken from Bach's Cantata No. Pedantry was not Brahms' point here, but it is essential to understanding his style to realise that he was familiar with this old music from his own study and as an editor for several fledgling musicological series and could draw whatever resources from it he needed to vivify his works. There are some thirty continuous variations in the fmale, though it is less important to follow them individually than to feel the massive strength given to the movement by this technique.

The opening chorale-like statement, in which trombones are heard for the first time in the Symphony, recurs twice as a further supporting pillar in the unification of the movement. Yet Brahms never lost sight of the central aesthetic of the Symphony, and his friend Elisabeth von Hersogenberg wrote to him, with no little wonder, "Who can resist an emotion strong enough to penetrate all that skillful elaboration?

It is an awesome heart-searching experience, a mighty assertion of the spirit of man. Peterson, conductor Emperata Overture Claude T. Adagio Mesto III. Warren Barker Variations on a Korean Folk Song John Barnes Chance In the event it becomes necessary to evacuate the building because of an emergency, exits are provided at the following locations: North and south ends of the concert hall note green Exit signs. Projects range in scope from simple arranging tasks to simulated composition assignments typical of today's professional music world.

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Students will present live or recorded samples of their work and explain pertinent background information. Mozart and Prokofiev Centenary Retrospective The year is an important commemorative year in music. It marks the th anniversary of Wolfgang Amadeus Mozart's death and the th inniversary of Sergei Prokofiev's birth. The compositional traits of these two composers are as divergent as the centuries and countries which separate them.

Although they complement each other, tonight's juxtaposition of significant works highlights their stylistic range and diversity. Mozart wrote in a refined, classical Viennese style, with an emphasis on form and beauty of line. Prokofiev inherited certain classical traits, such as form, yet imbues his music with twentieth-century dissonance representative of turbulmt times in the Soviet Union. Mozart wrote his A Minor Rondo in With its pronounced chromaticism and the almost Chopinesque elegance and plststicity of its melodic line, it is one of his most individual and prophetic compositions.

Its mood of melancholy, pathos, and poignancy is quite unprecedented in a literature where a rondo is something to be cheerfully rattled off. Mozart's last piano sonata, K. It was to have been the first of six "easy"! Though it is cheerful, it could by no means fit the prescription of "easy".

The first movement makes great play of close imitations between the two hands, their contradictory accents complicating already demanding fingerwork. The slow movement is very romantic in its mood and one can't escape the feeling of sadness and resignation which seems to permeate its every measure. The whirling accompaniments to the tune of the last movement lead one to suppose that the princess is either forgotten or being unduly flattered.

Romeo and Juliet was the seventh of Prokofiev's nine ballets. He completed the orchestration in and fashioned ten movements into a piano suite the following year. The entire score is unified by an ingenious system of leitmotivs through which the composer conveys characters, actions, detailed subtle commentary, and even psychological nuances of Shakespeare's tragedy.