New York Philharmonic Presents: The PhiliP Smi Th ColleCTioN

2y ago
16 Views
3 Downloads
2.64 MB
16 Pages
Last View : 18d ago
Last Download : 2m ago
Upload by : Maxton Kershaw
Transcription

New York Philharmonic Presents:The PhiliP smiThColleCTioNAlbum 3 The Concertos1

New York Philharmonic Presents:The PhiliP smiThColleCTioNin honor of Philip smith’s 36 years as trumpeter extraordinaireof america’s oldest symphony orchestraa Three album ColleCTioN:album one, Trumpet highlights, available on CD and Downloadalbums Two and Three, The Concertos, available as Downloads onlyFor Downloads go to nyphil.org/smithCollectionberT bialAlbum 3 The Concertos2

New York Philharmonic Presents:the PhiliP smithcollectioNAlbum 1 (cD AND DowNloAD) [76:37]trumPet highlightsGustav Mahler (1860-1911)Symphony No. 51 Movement 1, opening to measure 892 Movement 1, measure 152 to endAlan Gilbert, conductorApril 27-28, 2011, Avery Fisher HallGustav Mahler (1860-1911)3 Blumine, symphonic movementAlan Gilbert, conductorMay 7-9, 2009, Avery Fisher Hall3:017:326:48Modest MusorGsky (1839-1881)Orchestrated by Maurice ravel (1875-1937)Pictures at an Exhibition4 Promenade1:375 Samuel Goldenberg and Schmuyle2:26Alan Gilbert, conductorfor a February 23, 25, 28, 2012, Avery Fisher Hall2005.4New York Philharmonic PresentsAlbum 3 The ConcertosGeorGe Gershwin (1898-1937)An American in Paris6 Andantino, 5th measure of reh 45 to 477 Reh 57 to 678 Reh 96 to endAlan Gilbert, conductorDecember 31, 2009, Avery Fisher Hallaaron coPland (1900-1990)q Fanfare for the Common ManAlan Gilbert, conductorJuly 13, 2013, Great Lawn, Central Park0:512:512:09lew Pollack (1895-1946)9 “That’s a Plenty”1:53New York Philharmonic PrincipalBrass QuintetPhilip Smith and Matthew Muckey, trumpets,Philip Myers, horn, Joseph Alessi, trombone,Alan Baer, tubaDecember 13, 2009, Avery Fisher Hallleonard Bernstein (1918-1990)Three Dance Episodes from On the Town0 Lonely TownBramwell Tovey, conductorJuly 22, 2012, Gerald R. FordAmphitheater,Vail, CO3:073:32iGor stravinsky (1882-1971)Petrushka (1911 version)w Dance of the Ballerina, WaltzAlan Gilbert, conductorJune 27, 2013, Avery Fisher Hall4:06iGor stravinsky (1882-1971)Song of the Nightingale: Symphonic Poeme Fisherman’s Song, reh 68 to 71r Fisherman’s Song 96 to endLorin Maazel, conductorApril 25, 2007, Avery Fisher Hall1:021:39ottorino resPiGhi (1879-1936)Pines of Romet The Pines Near a CatacombAlan Gilbert, conductorSeptember 27, 2012, Avery Fisher Hall1:17Gustav Mahler (1860-1911)Symphony No. 3y Movement 3, 3rd measure of 13 to end 11:45Alan Gilbert, conductorSeptember 17-18, 22, 2009, Avery Fisher HallGustav Mahler (1860-1911)Symphony No. 9u Movement 3, 9th measure of 36 to23rd measure of 38Alan Gilbert, conductorJanuary 5, 7, 10, 2012, Avery Fisher Hallcharles ives (1874-1954)i The Unanswered QuestionAlan Gilbert, conductorJune 29-30, 2012, Park Avenue ArmoryGeorGe Frideric handel (1685-1759)Messiaho Air: The Trumpet Shall SoundAlan Gilbert, conductorJonathan Lemalu, bass-baritoneDecember 15-16, 2004, Riverside ChurchJohann seBastian Bach (1685-1750)Mass in B minor, BWV 232p Patrem omnipotentema Gloria in excelsisAlan Gilbert, conductorNew York Choral Artists,Joseph Flummerfelt, DirectorMarch 13-16, 2013, Avery Fisher Hallthe PhiliP smith collectioN2:435:564:291:575:5753

Album 2 (DowNloAD oNlY)the coNcertos[75:16]henri toMasi (1901-1971)Concerto for Trumpet and Orchestra1 Allegro and Cadenza6:522 Nocturne: Andante4:263 Finale: Allegro3:01Zubin Mehta, conductorNovember 8-10, 13, 1979, Avery Fisher Hallantonio vivaldi (1678-1741)Concerto in C major for Two Trumpets,Strings, and Basso Continuo, RV 5374 Allegro2:495 Largo1:056 Allegro3:25Zubin Mehta, conductorWynton Marsalis, trumpetNovember 21-23, 26, 1985, Avery Fisher HallJohann Melchior Molter (1696-1765)Concerto No. 2 for Trumpet and Orchestrain D major7 [Allegro]4:028 [Adagio]5:339 [Allegro]2:18Zubin Mehta, conductorApril 24-26, 1986, Avery Fisher HallAlbum 3 (DowNloAD oNlY)the coNcertosJosePh turrin (b. 1947)0 Concerto for Trumpet and Orchestra(In One Movement)Erich Leinsdorf, conductorApril 27-29, 1989, Avery Fisher HallFranz JosePh haydn (1732-1809)Trumpet Concerto in E-flat major,Hob.VIIe:1q Allegrow Andantee Finale. AllegroZubin Mehta, conductorJanuary 11, 1990, Avery Fisher Hall15:005:513:134:30Jacques hétu (1938-2010)Concerto for Trumpet and Small Orchestra,Op. 43r Allegro — Moderato4:30t Lento5:26y Allegro vivace3:15Kurt Masur, conductorMay 14, 19, 1992, Avery Fisher Hall[75:24]alexander arutiunian (1920-2012)Concerto for Trumpet and Orchestra(Cadenza by Joseph Turrin)1 Andante — Allegro energico —Meno mosso — Allegro (Tempo I)played without pause15:00Kurt Masur, conductorFebruary 9-11, 14, 1995, Avery Fisher HallsieGFried Matthus (b. 1934)Concerto for Two for Trumpet, Trombone,and Orchestra8 Molto cantabile — Con brio —Con anima — Tempo ad libitum —Con fuocoKurt Masur, conductorJoseph Alessi, tromboneMay 7-8, 2003, Avery Fisher Hallcharles chaynes (b. 1925)Concerto for Trumpet and Chamber Orchestra2 Moderato3:573 Adagio, molto espressivo4:474 Allegro giocoso3:00Kurt Masur, conductorFebruary 1-3, 1996, Avery Fisher Hallellen taaFFe zwilich (b. 1939)9 American Concerto for Trumpetand OrchestraBramwell Tovey, conductorApril 6-8, 2006, Avery Fisher Halleino taMBerG (1930-2010)Trumpet Concerto5 Andante — Allegro6 Lento — Anamato —Lento ma non troppo7 Allegro moltoNeeme Järvi, conductorFebruary 27-28, 1997, Avery Fisher on6New York Philharmonic PresentsAlbum 3 The Concertosthe PhiliP smith collectioN74

the singing trumpetof phil smith“O8new York philharmonic presentsAlbum 3 The Concertoschris leePhil and Music Director Alan Gilberton tour in Belgrade, 2010f course his command ofthe instrument and abilityto deliver glorious performances night after night are legendary,”says Philharmonic Music Director AlanGilbert, “but it is his humility, deephumanity, and warmth as a person thathave made him truly a model colleague:someone we all learn from on a dailybasis, and who is a great inspiration bothon stage and off.”Known for his clarity, precision and“God-breathed tone,” longtime NewYork Philharmonic Principal TrumpetPhilip Smith is equally known as a “really nice guy.” Tributes from his Orchestracolleagues refer to him as “a musician’smusician” with a “cool head and calmleadership,” a “mensch” with “professional dignity,” “the best of humanity,” and“a kind and gentle soul” who is always“supportive and constant.”Smith first learned how to playcornet from his father, cornet virtuoso Derek Smith. The younger Smithcontinued to record and tour with hisfather’s Salvation Army New York StaffBand through his early college years.the philip smith collection95

10new York philharmonic presentsAlbum 3 The Concertosmodern works and commissions (by thelikes of Ellen Taaffe Zwilich and JosephTurrin) throughout the years. He hasperformed with the Philharmonic undermore than 200 conductors, including in188 cities in 53 countries while on tour.In addition to his New YorkPhilharmonic duties, Philip Smithperformed frequently with brass bandgroups around the world. Not leastamong his commitments were his Gospel ensemble, Resounding Praise, andhis collaborations with his wife, vocalistSheila Smith. Upon his retirement fromthe Philharmonic in 2014, Smith joinedthe faculty at the University of Georgia’sHugh Hodgson School of Music as theWilliam F. and Pamela P. Prokasy Professor in the Arts.Smith is an exemplary musicianwhose humble personality has beenshaped by his musical upbringingand whose religious belief is likewisereflected in his hymn-like trumpet playing. The orchestral excerpts on the CDchris leeOnly at The Juilliard School wouldSmith begin to study the symphonictrumpet repertoire that would lead himto the Philharmonic. To this day, Smith’stone retains the celebrated vocal qualitythat he had first developed by listeningto his father play in the Salvation Army’sbrass band.Smith studied at Juilliard from 1970to 1975 under Edward Tuertel and thePhilharmonic’s Principal Trumpet William Vacchiano. Following a productivethree years in the Chicago SymphonyOrchestra as Fourth Trumpet underhis mentor and Principal Bud Herseth,Smith returned to New York in 1978to join the New York Philharmonic.He served as Co-Principal for ten years,sharing the title with John Ware, andthen became Principal Trumpet, ThePaula Levin Chair, from 1988 to 2014.As a frequent soloist with the Philharmonic, Smith championed underappreciated Baroque concertos (such asJohann Melchior Molter’s) along withNew York Philharmonic trumpet section 2009: Ethan Bensdorf, Thomas Smith, Mathew Muckey, and Phil Smithand the complete concertos available asdownloads feature Smith’s “singing tone”that Philharmonic patrons have treasuredfor more than 35 years. As Smith himselfhas said: “If I think about my dad, whatI heard from him in his playing, from histeaching and what continued with EdTuertel, his bel canto teaching style, andwhat I heard in Herseth, what’s alwaysimpressed me coming out of my experience as a Christian is the one simplething that I would say to any youngkid: ‘Sing, sing!’ Let song be the guide,because all the technical things will befixed if it all comes out sounding songful, if it’s sounding beautiful.”the philip smith collection116

Program NotesThe COnCerTOsAlbums 2 And 3 (download Only at nyphil.org/smithCollection)Henri tomasi (1901-71)COnCerTO fOr TrumpeT AndOrChesTrAt“The Trumpet Shall Sound” fromHandel’s Messiah, 1980.12new York philharmonic presentsAlbum 3 The Concertosomasi’s Concerto for Trumpet andOrchestra was premiered by theOrchestre National in Paris on April 7,1949. Smith later performed the Tomasiconcerto for his 1979 Philharmonic solodebut. Critics were enthralled. The NewYork Times declared that the “dewyeyed and fuzzy-cheeked” young soloist“represented what one can hope is thenew wave of Philharmonic youth.” Theneoclassical concerto is divided intothree movements, described below:I. Allegro and Cadenza.A short prefatory section introducesthe main materials: a fanfare vacillatingbetween mock-heroic and wistful, anda blues-like muted-trumpet melodyaccompanied by a repeated series of fourchords. A variant of the trumpet melodythen appears as a second subject in lushtutti harmonization. The movement’squiet conclusion, with alternating chordsby muted strings (C major) and mutedThe philip smiTh COlleCTiOn137

horns (G-flat major), is harmonicallyambiguous and has a coloristically misterioso atmosphere.III. Finale: Allegro.Following a sham-furioso introduction, acheerful trumpet two-step that is sometimes caught wittily wrong-footed createsa distinctly populist boulevard atmosphere. At length, a more serious note issounded by the full orchestra: a fervent,songful episode in broader tempo. Theconcerto ends with a brilliant accelerando.14new York philharmonic presentsAlbum 3 The Concertosantonio Vivaldi penned more thanfive hundred concertos, of whichsome three hundred and fifty are forsolo instrument with orchestra. Thispiece was originally written for clarinotrumpets, i.e., “Baroque trumpets” withneither valves nor keys that might enablethe player to rapidly and efficiently alterthe length of tubing through which thecolumn of air is made to vibrate. As aresult, the Baroque trumpet is limitedto sounding only the notes that occurnaturally as higher partials of the systemof overtones inherent in its lowest note.These limitations also led Vivaldi toomit a solo part for the second movement of his work. This middle movement lasts only six measures, and allowsthe orchestra to explore a chromaticharmonic progression that would havebeen out of reach for the Baroque trum-berT biAlII. Nocturne: Andante.The slow movement opens with alullaby-like theme in the muted trumpetevocatively accompanied by slow harparpeggios in a tenuous suspended cymbal haze. The full orchestra continues thelullaby in the central section, followedby a luminous muted episode thatculminates in a passage for flute andceleste. The opening music, now withoutcymbal, returns for a peaceful close.antonio Vivaldi (1678-1741)COnCerTO in C mAjOr fOr TwOTrumpeTs, sTrings, And bAssOCOnTinuO, rV 537Smith with former Music Director Zubin Mehta performing the Tomasi Trumpet Concert, November, 1979pets of Vivaldi’s time. The two soloistsin this work play only 11 different notesbetween them, sometimes in simpleharmonies (principally thirds and sixths)and sometimes in close imitation.Smith has performed Vivaldi’sTrumpet Concerto with a numberof distinguished duet partners at thePhilharmonic, including former Associate Principal Trumpet George Coble;Smith’s Chicago mentor, the indomitable “Bud” Herseth; and the legendaryjazz trumpeter Wynton Marsalis.Johann melchior molter (1696-1765)COnCerTO nO. 2 in d mAjOrfOr TrumpeT And OrChesTrAJohann Melchior Molter was a restless musical innovator. In an age ofclearly-defined national musical styles,Molter experimented frequently withItalian, German, and French idioms toexplore the outer reaches of musicalacoustics. He tinkered with the newestinstruments of his day in his “concertinos” with ingenious combinations ofThe philip smiTh COlleCTiOn158

sTephAnie bergerComposer Joseph Turrin, Smith, and Winton Marsalis after a performance of Turrin’s Gershwin arrangementTwo Gershwin Portraits, July, 199816new York philharmonic presentsAlbum 3 The Concertosplayers on strings, winds, and brass.This concerto is no exception.Baroque trumpets could not play a fullscale in their lower register, which poseda particular problem for the orchestra’sslow movements. Some composers hadtheir soloists rest altogether for theseinterludes, as Vivaldi did in his Concertofor Two Trumpets that appears on thisalbum. The audacious Molter broke withthis tradition with his own slow movement for trumpet in B minor. While theBaroque trumpet could not play the Babove middle C, Molter’s clever writingskirts the home key of B minor as muchas possible to eliminate the conflict.Molter’s experiments adapted hisartistic ideas to the practical limitationsof the instruments of his day. Molter’ssparkling writing for the trumpet requiredabsolutely top-flight virtuosity from thevalveless-trumpet players of his era. Evenwith today’s more tractable instruments,the piece still requires a soloist who canperform with uncommon agility and grace.Joseph turrin (b. 1947)COnCerTO fOr TrumpeT AndOrChesTrAJoseph Turrin has had a varied careeras a composer, arranger, musicaldirector, conductor and pianist. His earlymusical work with Phil Smith has ledto a number of collaborations with thestar-studded troika of Smith, Turrin, andthe New York Philharmonic.Turrin’s first Philharmonic commission was the Trumpet Concerto (1982,revised 1988), which the composerdescribes as “tonal but dissonant.” Sincethe concerto’s première, the Philharmonic has performed Turrin’s JazzalogueNo. 1 (1997), Two Gershwin Portraits(Summer 1998), Fandango (July 2002),and arrangements of West Side Story andvarious holiday carols for the HolidayBrass series at Avery Fisher Hall.Joseph Turrin has provided the following commentary for his piece:My Trumpet Concerto, which wasThe philip smiTh COlleCTiOn179

written for Philip Smith, explores thecomplete range of dramatic and virtuosic trumpet technique. The score isin one movement divided into threesections, cast loosely in ABA form The Book of Revelations from theNew Testament of the Bible is richin trumpet imagery. The passage thatbest seemed to sum up the dramaticyet mystical qualities of the trumpet,and which appears on the openingpage of the score, reads as follows: “ and the first voice which I heard wasas it were of a trumpet talking withme; which said, Come up hither, andI will show thee things which mustbe hereafter.” [Revelation 4:1]Franz Joseph Haydn (1732-1809)TrumpeT COnCerTO in e-flAT mAjOr,hOb. Viie:1Joseph Haydn was semiretired when hewrote his Trumpet Concerto in 1796.He had spent three decades, beginning in18new York philharmonic presentsAlbum 3 The Concertos1761, laboring assiduously in the serviceof the exorbitantly wealthy EsterházyCourt and, in the process, becoming themost revered composer in Europe. However, in late 1790 Haydn’s chief patrondied and was succeeded by a youngerprince who did not much care for music.The new prince granted the composer a pension of 1,000 florins a year,and, although he kept Haydn on staff ashis music director, he made it clear thatno particular duties—or even his attendance—would be required. Suddenly,Haydn was free to do what he wanted.During the 1790s he undertook two extended residencies in London (for whichvisits he composed his last 12 symphonies) and then returned to his home inVienna, where he devoted himself to thetwo genres that by then lay closest to hisheart: string quartets and sacred music.Haydn’s Trumpet Concerto dates fromthese years of fullest maturity.Smith performed the Haydn Trumpet Concerto frequently with the NewYork Philharmonic, notably on the 1989Asia Tour with Zubin Mehta. Smith alsoperformed this concerto at a numberof Young People’s Concerts with thePhilharmonic. The Haydn concerto’samiable nature makes it an ideal demonstration piece for concerts like these; itshows that the orchestral trumpet, whileoccasionally bombastic, is also an instrument with endless lyrical possibilities.Jacques Hétu (1938-2010)COnCerTO fOr TrumpeT And smAllOrChesTrA, Op. 43glenn Gould spoke highly of hisfellow Canadian musician JacquesHétu. The famous pianist remarked thatHétu combined a “singularly euphonicapproach to twelve-tone material” withmusic of an “unabashedly theatricalinclination.” Hétu’s idiosyncratic style isanother paradox: inventively neo-Classical in organization but neo-Romanticin its musical expression. In 1978, hewrote: “The essential is not to try to finda completely novel way of organizingsounds but rather to find one’s own wayof perceiving music. To me, true originality is more authentic than eccentric.”Jacques Hétu has provided the following commentary on his TrumpetConcerto:The work is a happy and uncomplicated piece, without any great dramaticmoments. The rapid sections exploitthe natural and brilliant colors of thetrumpet; the intense and expressivecolors of the muted instrument areheard in the slow movement. The firstmovement is divided into three sections: an Allegro, followed by a slowersection, Moderato, in turn followed by ashort cadenza leading to the abbreviated repeat of the Allegro.The slow movement, Lento, a kindof nocturne, starts with a string introduction before a lyrical muted-trumpet entrance. The trumpet melody, acThe philip smiTh COlleCTiOn1910

companied at first only by the strings,gradually enters into a dialogue withthe three woodwind instruments.The finale [Allegro vivace] conforms to a standard scherzo movement, with the clarinet featuring animportant role in the trio section.Each movement has only onetheme, the favored melodic intervalbeing the major third.alexander arutiunian (1920-2012)(Cadenza by Joseph turrin)COnCerTO fOr TrumpeT AndOrChesTrAalexander Arutiunian was born inErevan, Armenia, in 1920, the yearin which that country became part ofthe Union of Soviet Socialist Republics. Perhaps the best-known Armeniancomposer since Aram Khachaturian,Arutiunian has written a wide variety ofpieces for both instrumental and vocalforces, many of them based on folk song.20new York philharmonic presentsAlbum 3 The ConcertosThe Trumpet Concerto (1950) is anexhilarating single-movement composition that offers the soloist both ampletechnical challenge and an opportunityto display his or her lyrical gifts. Thereis some succulent chromatic melodyof the kind that has only been possiblein the lower reaches of the trumpet’srange since the experimental fittingof keys to the instrument toward theend of the eighteenth century and thedecisive introduction of valves early inthe nineteenth. In the slower middlesection of the concerto, the color paletteis extended by the use of the mute.Music critic Bill Zakariasen (TheWestsider, Feb. 23-March 1, 1995) offers thefollowing account of Smith’s performance:The music evokes caravans traversingthe hills of Armenia as fetchingly asanything from Arutiunian’s compatriot Khatchaturian, and the piece surelygives the Philharmonic’s stellar trumpeter Philip Smith a great showcase,not only for his virtuosity but also forletting him show that the trumpet canbe a lovely lyrical instrument as wellas a martial one.Charles Chaynes (b. 1925)COnCerTO fOr TrumpeT AndChAmber OrChesTrACharles Chaynes began his musicalstudies as a violinist in Toulousebefore moving to Paris to study composition with Darius Milhaud. Afterreceiving the prestigious Prix de Rome,Chaynes began his work as director ofprogramming for France-Musique. Helater became the chief of music serviceat Radio-France in 1975, a position thathe continued to hold throughout hiscareer as a composer.The Concerto for Trumpet andChamber Orchestra evinces Chaynes’allegiance to a leading style of the mid1950s, a “chromatic tonality” in whicha harmonic center is often obscuredby bitonality or a free adaptation ofdodecaphony. The complex and dissonant concerto stresses chords full ofsemitones, sometimes reducing themto virtual tone clusters. Melodic lines,particularly those of the solo trumpet,frequently unroll as segments of thechromatic scale, though the composertends to complicate these passages byskipping over a chromatic note here andthere. (This keeps both the players andthe listeners on their toes.)The solo part’s subtle virtuosicdemands are much feared by trumpeters.And yet, a lyric spirit pervades sectionsof this piece, as in the main theme ofthe first movement, a semitone-ladenpassage first annunciated quietly by themuted trumpet following an attentiongrabbing introduction. The meter isfluid throughout the concerto; to takebut one example, the finale (Allegrogiocoso) alternates between measures oftwo, three, four, and five beats in quicksuccession.The philip smiTh COlleCTiOn2111

eino tamberg (1930-2010)TrumpeT COnCerTOtChris leeSmith and Joseph Alessi performing Matthus’ Concerto For Two, May, 200322new York philharmonic presentsAlbum 3 The Concertoshe Estonian composer Eino Tamberg wrote music for a wide varietyof genres, including music for stage andfilm as well as ballets, operas, and symphonic music. His orchestral works areespecially distinguished by their colorfulorchestration and careful handling andbalance of textures.Tamberg’s Trumpet Concerto iscertainly not a twelve-tone piece, but itdoes show a fascination with the harmonic tensions inherent in the intervalof the semitone (the distance separatingany consecutive notes of the chromaticscale). Throughout the piece, motifs andthemes are built around slight semitonedisplacements, yielding a constant senseof fluctuation between major and minormode and, occasionally, of bitonality. Thiscompositional “premise” is announced atthe outset as the unaccompanied trumpetplays and repeats the semitone of G andA-flat (though with an octave separating them), and then allows the harmonictension to push the A-flat up by anothersemitone to A as the theme unfolds.Again in the finale, a solo clarinetshares a theme with the second violins,leaving the listener wondering whetherD or E-flat (a semitone away) is thephrase’s anchor. “D,” says the timpani;“E-flat,” insist the double basses; andthe bassoons, refusing to commit, pumpout a figure comprising the two notesin alternation. The often bristling Allegro molto eventually yields to a quicksuccession of varying characters in theconcerto’s concluding pages before, as inthe earlier movement, the work finallyfades to nothingness.siegfried matthus (b. 1934)COnCerTO fOr TwO fOr TrumpeT,TrOmbOne, And OrChesTrAsiegfried Matthus completed hisConcerto for Two in Berlin on FebruThe philip smiTh COlleCTiOn2312

ary 3, 2002. The composer dedicatedthe Philharmonic commission “to myfriend Kurt Masur on his 75th birthday;for Philip Smith and Joseph Alessi.”Matthus and Masur have been friendsand musical partners since 1964. AsMatthus himself relates, (translation byC.W. Kraft):“[I composed] a cadenza conceived as asports competition, in which each playshis instrument in an attempt to outdohis partner. The increasingly exuberantinstrumental jests are interrupted by twoimpressive tutti chords in the orchestra,and it is these chords that move thesoloists to a final virtuoso section.” TheConcerto for Two is truly a Philharmonic(“music-loving”) composition, animatedby the bonds of friendship that existbetween the composer, the conductor,and the two performers.Upon completing my studies, Ientrusted him [Masur], then a youngconductor at the Komische Oper inBerlin, with my composition Es wirdein großer Stern in meinen Schoß fallen [Since then,] our friendship has alellen taaffe Zwilich (b. 1939)ways endured, through thick and thin, AmeriCAn COnCerTO, fOr TrumpeTin good times and in hard times my And OrChesTrAworks have been heard throughoutthe world under his baton.llen Taaffe Zwilich catapulted tofame in 1983 when she became theThe Concerto for Two exploits Smith’s first woman ever to win the Pulitzerand Alessi’s rapport by turning a conPrize in Music. The honor was accordedfor Zwilich’s Symphony No. 1, whichcerto into a two-player competition.Opportunities for improvisation abound. the American Composers Orchestra hadOn the third movement, Matthus writes: introduced the preceding year under thee24new York philharmonic presentsAlbum 3 The ConcertosSmith on tour warming up at the outdoor HerodesAtticus Theater, Athens, 1988baton of Gunther Schuller. The PulitzerPrize decisively repositioned Zwilichfrom being an active but strugglingcomposer to being a star. Since then,the composer has written a number ofinstrumental compositions for leading orchestras across the United States,including two commissions at the Phil-harmonic: Symbolon for Orchestra (1988)and the Symphony No. 3 (1993). Whileher early music was comprised of craggy,atonal works, the death of Zwilich’shusband in 1979 led the composer tocreate more expressive and euphoniousworks. The American Concerto, composedin 1994, is in this second, lyrical mode ofcomposition.Zwilich chose to title her AmericanConcerto in honor of two renownedAmerican brass players. Zwilich writesthat her first dedicatee, Doc Severinsen,exemplifies “the distinctive and virilestyle of American brass playing.” Thesecond dedicatee, of course, is PhilipSmith. Both trumpeters are versed in anumber of genres: Severinsen in jazz andpop, and Smith in symphonic classicalmusic and Salvation Army hymnody.The American Concerto audaciously combines many genres within a single pieceas a tribute to the heterogeneous musicalstyles that strengthen the Americantrumpeting tradition.The philip smiTh COlleCTiOn2513

Phil’s oRchestRa1978-2014FiRst VioliNsGlenn Dicterow, ConcertmasterRodney Friend, Concertmaster(1976-1980)Sheryl Staples, PrincipalAssociate ConcertmasterMichelle Kim, AssistantConcertmasterFrank Gullino, AssociateConcertmaster (1942–1979)Kenneth Gordon, AssistantConcertmaster (1961-2007)Enrico Di Cecco (1961-2013)Carol WebbYoko TakebeNew York Philharmonic trumpet section 1978: Carmine Fornarotto, Vincent Penzarella, Phil Smith, and John Ware26New York Philharmonic PresentsAlbum 3 The ConcertosBjoern Andreasson (1949-1987)Gabriel Banat (1970-1993)Emanuel Boder (1978-2006)Minyoung Chang (2006-2011)Quan GeHae-Young HamLisa GiHae KimKuan Cheng LuNewton MansfieldKerry McDermottAlfio Micci (1949–1980)William Nowinski (1943-1983)Theodor Podnos (1965-1984)Anna RabinovaCharles Rex, AssociateConcertmaster (1980-1999)Leon Rudin (1946–1979)Gino Sambuco (1967-2003)Allan Schiller (1964-1999)Fiona SimonRichard Simon (1965-1998)Max Weiner (1946-1994)Oscar Weizner (1962-2003)Donald Whyte (1972-2000)Sharon YamadaElizabeth ZeltserYulia ZiskelsecoND VioliNsMarc Ginsberg, PrincipalLisa Eunsu Kim, AssociatePrincipalSoohyun KwonDuoming BaDenise Ayres (1982-1985)William Barbini (1970-1983)Eugene Bergen (1962-1986)Matitiahu Braun (1969-2006)Luigi Carlini (1955–1980)Marilyn DubowMartin EshelmanMichael Gilbert (1970-2001)the PhiliP smith collectioN2714

Judith GinsbergNathan Goldstein (1964-2002)Myung-Hi Kim (1977-2010)Marina Kruglikov (1980-1987)Hanna Lachert (1972-2012)Hyunju LeeGary Levinson (1988-2002)Jacques Margolies (1964-2002)Joo Young OhOscar Ravina (1965-2004)Daniel ReedCarlo Renzulli (1957-1982)Bernard Robbins (1964-1983)Mark SchmoocklerNa SunVladimir TsypinShanshan YaoWilliam Carboni (1959-1983)Katherine GreeneDawn HannayVivek KamathGilad Karni (1992-1997)Peter KenoteBarry Lehr (1972-2011)Ralph Mendelson (1953–1979)Kenneth MirkinJudith NelsonLarry Newland (1960–1980)Henry Nigrine (1957-1989)Rémi PelletierRobert RinehartRaymond Sabinsky (1943-1983)Basil Vendryes (1984-1985)Robert Weinrebe (1949-1983)ViolasCynthia Phelps, PrincipalPaul Neubauer, Principal(1984-1989)Sol Greitzer, Principal(1953-1984)Leonard Davis, Principal(1949-1991)Rebecca Young,Associate PrincipalIrene Breslaw, Assistant PrincipalDorian RencecellosCarter Brey, PrincipalLorne Munroe, Principal(1964-1996)Eileen Moon, AssociatePrincipalHai-Ye Ni, Associate Principal(1999-2007)Alan Stepansky, AssociatePrincipal (1989-1999)Gerald K. Appleman, AssociatePrincipal (1966-1998)Nathan Stutch, AssociatePrincipal (1946-1989)Eugene Becker (1957-1989)28New York Philharmonic PresentsAlbum 3 The ConcertosEric BartlettMaria KitsopoulosBernardo Altmann (1952-1996)Evangeline Benedetti(1967-2011)Lorin Bernsohn (1958-2000)Paul Clement (1963-1995)Nancy Donaruma (1976-2007)Elizabeth DysonAlexei Yupanqui GonzalesValentin Hirsu (1976-2009)Patrick JeeSumire KudoAvram A. Lavin (1963-2004)Thomas Liberti (1966-1996)Asher Richman (1957-1993)Brinton Smith (2002-2006)Qiang TuNathan VickeryRu-Pei YehWei YuBassesEugene Levinson, Principal(1984-2011)Jon Deak, Associate Principal(1968-2009)Satoshi Okamoto, ActingPrincipalMax Zeugner, Acting PrincipalOrin O’BrienWilliam BlossomWalter Botti (1952-2002)Randall ButlerJames V. Candido (1966-1999)David J. GrossmanBlake HinsonLew Nort

Henri tomasi (1901-71) COnCerTO fOr Trumpe T And OrChesTrA t omasi’s Concerto for Trumpet and Orchestra was premiered by the Orchestre National in Paris on April 7, 1949. Smith later performed the Tomasi concerto for his 1979 Philharmonic solo debut. Critics were enthralled. The New York Times declared that the “dewy-

Related Documents:

May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)

Silat is a combative art of self-defense and survival rooted from Matay archipelago. It was traced at thé early of Langkasuka Kingdom (2nd century CE) till thé reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with thé appearance of a fine physical and spiritual .

On an exceptional basis, Member States may request UNESCO to provide thé candidates with access to thé platform so they can complète thé form by themselves. Thèse requests must be addressed to esd rize unesco. or by 15 A ril 2021 UNESCO will provide thé nomineewith accessto thé platform via their émail address.

̶The leading indicator of employee engagement is based on the quality of the relationship between employee and supervisor Empower your managers! ̶Help them understand the impact on the organization ̶Share important changes, plan options, tasks, and deadlines ̶Provide key messages and talking points ̶Prepare them to answer employee questions

Dr. Sunita Bharatwal** Dr. Pawan Garga*** Abstract Customer satisfaction is derived from thè functionalities and values, a product or Service can provide. The current study aims to segregate thè dimensions of ordine Service quality and gather insights on its impact on web shopping. The trends of purchases have

New York Buffalo 14210 New York Buffalo 14211 New York Buffalo 14212 New York Buffalo 14215 New York Buffalo 14217 New York Buffalo 14218 New York Buffalo 14222 New York Buffalo 14227 New York Burlington Flats 13315 New York Calcium 13616 New York Canajoharie 13317 New York Canaseraga 14822 New York Candor 13743 New York Cape Vincent 13618 New York Carthage 13619 New York Castleton 12033 New .

Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được

MARCH 1973/FIFTY CENTS o 1 u ar CC,, tonics INCLUDING Electronics World UNDERSTANDING NEW FM TUNER SPECS CRYSTALS FOR CB BUILD: 1;: .Á Low Cóst Digital Clock ','Thé Light.Probé *Stage Lighting for thé Amateur s. Po ROCK\ MUSIC AND NOISE POLLUTION HOW WE HEAR THE WAY WE DO TEST REPORTS: - Dynacó FM -51 . ti Whárfedale W60E Speaker System' .