John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the BostonSymphonyOrchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the BostonSymphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his BostonSymphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s twenty-fifth anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s fortieth anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.
The BostonSymphony Association of Volunteers offers free walking tours of the Tanglewood campus. The tours last approximately one hour and include visits to the Koussevitzky Music Shed, Ozawa Hall, other music facilities, the Visitor Center history rooms, and more. Experienced volunteer guides discuss the historical background of Tanglewood, the BostonSymphonyOrchestra, and the Tanglewood Music Center. Reservations are not required. Tours begin at the Visitor Center at the Tanglewood Manor House. In case of inclement weather, tours will meet informally under cover. Private group tours for a minimum of 25 people may be arranged (at least two weeks in advance) for a fee. For more information, call the Office of Volunteer Services at 617-638-9394 or email email@example.com.
Mrs. Ellen Habitzruther received her Bachelor of Music Degree in Performance from the Eastman School of Music in Rochester, New York. She studied for several summers at Tanglewood, home of the BostonSymphonyOrchestra. She was awarded a Ford Foundation grant to study at Wichita State University where she received her Master of Music Degree. While in Wichita she performed with the Wichita SymphonyOrchestra and the Wichita State Graduate String Quartet. Mrs. Habitzruther was selected as concerto competition winner and soloed with the Wichita State University Orchestra. Mrs. Habitzruther is retired from the Lynchburg City Schools as a string specialist. She has taught at Randolph-Macon Woman’s College and the Virginia School of the Arts. In 1994, Mrs. Habitzruther was honored by the YWCA Academy of Women for
between revenue and costs. This phenomenon is widely known as “cost disease.” As
Baumol succinctly explained in a (1996) interview with the Forum of the SymphonyOrchestra Institute’s Harmony magazine,
A Haydn symphony written to be performed by 30 musicians will require 15 person-hours of human labor for an ‘authentic’ performance, no less than it did at the end of the 18th century. But elsewhere in the economy it takes less and less labor every year to produce a product . . . Thus, orchestra costs are condemned to rise every year, cumulatively, at a rate faster than the average of the economy’s prices; in other words, faster than the rate of inflation.” 21
The first movement, ‘Babi Yar’, towers over the rest of the symphony by virtue of its sheer moral and musical force. After
the sombre opening, Shostakovich uses different musical registers to represent other voices; in the violent depiction of the pogrom, for example, even though the interlocutor is a small boy, the music speaks in the thuggish tones of the attackers, briefly referencing the well- known Russian folk song ‘Akh moi seni’ in the brass, but aggressively, as though to show how the apparent innocent voice of national culture can become violent and corrupted when turned against those deemed unwelcome. In the Anne Frank verses, though, Shostakovich speaks directly through her assumed voice, childlike and lyrical. The searing lines closing the poem call forth some of the most harrowing music Shostakovich ever wrote, recalling the tragic epic of Lady
The group of respondents in the current study was representative of the whole occupational group in Den- mark regarding participation by gender and by instru- ment group, two variables known for all members of the occupational group. Symphony orchestras are very simi- lar worldwide with approximately the same instrumenta- tion, the same hierarchical organization in the instrument groups, and the same way in which the instruments are played. The results are therefore indica- tive of the level of musculoskeletal problems of this occupational group world-wide, including the likelihood of a higher occurrence of musculoskeletal symptoms amongst female musicians. That the population of symphonyorchestra musicians in this study was charac- terized by fewer and younger women than men was not caused by a drop-out of women from the orchestras but reflects what has largely been a male dominated profes- sion in Denmark until about two decades ago, and which it still is in many countries.
T he teacher’s guide to Classical Music: A Matter of Style is organized around the Atlanta SymphonyOrchestra concert your students will hear at Symphony Hall. For each music selection on the program you will find a copy of the student materials for that piece, and, on the facing page, strategies for presenting the student material and extending the lesson. Each lesson is correlated with Share the Music (McGraw-Hill) textbook series and with the Georgia Quality Core Curriculum. Supplementary activities for visual art, language arts, social studies, mathematics and science appear in the back of the book.
The CSO launches its 2015-16 Masterworks season with the beloved and electrifying Carmina Burana. This compelling choral spectacular has been quoted and imitated on countless movie soundtracks and television commercials galore, and celebrates the basic pleasures of life— springtime, food, wine, and love! The Orchestra will also pay tribute to one of Columbus’ own, composer Donald Harris, with his 2003 composition for orchestra, A Lyric Fanfare.
The American Ballet Caravan disbanded before they could perform Estancia, and the ballet had to wait a decade for its premiere in August 1952 in Buenos Aires. But as soon as he had completed the ballet score, Ginastera drew a suite of four dances from it, and this suite – premiered by the orchestra of the Teatro Colón on May 12, 1943 – has always been one of his most popular works.
overblown and heavily indebted to serious composers. . . . As a conductor, Williams is a determined student of the metronome school, using mechanical arm gestures, occasionally injecting scooping movements with both hands and apparently, when really engaged, pumping both arms alternately as if climbing a ladder. . . . The Pacific Symphony played as if it were one big characterless studio ensemble. No one, from soloist to whole orchestra, marred the placid surface with vitality, interpretation or real expression. . . . Nonetheless, many in the audience seemed to adore Williams. Little pockets of fans gave him the now–Pavlovian standing ovation. 50
concert survey out to audiences, and then using this to recruit participants for the semi-structured interviews. The survey was built around pressing questions in the marketing team, such as how audiences found out about concerts, who they attended with and whether they enjoyed the performance. In addressing more urgent research questions in the marketing team, the surveys raised the priority of my research in the allocation of resources. ‘Piggy-backing’ on the marketing team’s research needs therefore gave me the access to their audiences that I needed in order to be able to explore engagement holistically and investigate ideas of cultural hierarchy. After respondents had volunteered their contact details in the survey, I was able to contact them as an academic researcher, detaching myself somewhat from the orchestra. In doing so, I could establish some critical distance from the organisation throughout the series of interviews which gave me the freedom to explore topics away from the pressures of business decisions. I devised the interview questions around my research questions, prompted by reviewing previous literature and understanding the CBSO’s working practice, and was also free to mould the interviews around what was distinct, interesting and unusual in participants’ accounts of concert-going using grounded theory ‘lite’ (discussed below, Braun & Clarke, 2006; Charmaz, 2004; Starks & Trinidad, 2007; Strauss & Corbin, 2008). Combining surveys with interviews therefore created a two-stage project, the first of which focussed on the organisation’s aims, the second focussed on building new means of understanding audiences for academic and commercial researchers alike. Designing the research as a combination of surveys and interviews therefore fulfilled the dual purpose of this project by providing actionable information to the CBSO and contributing new knowledge to the understanding of audiences. The surveys provided immediate findings for the marketing team, meanwhile the interviews produced results over a much longer time-span. I was keen, however, that the interviews would not confirm the idea that academics are only interested in deep thinking and not researching in this ‘real world’. As I conducted the interviews, I therefore discussed findings informally with marketing staff, wrote emergent
111 MOZART Divertimento for String Trio in E flat (I. Stern, P. Zukerman, L. Rose) 361 MOZART Violin Concerto Nos. 1 & 5 (I. Brown, Academy of St Martin-in-the-fields) 228 MOZART Violin Concerto Nos. 4 & 6 (Y. Menuhin, Bath Festival Chamber Orchestra) 427 MUSSORGSKY, TANEYEV Pictures at an Exhibition and piano pieces (V. Ashkenazy, piano)
Rhapsodies Chamber Music series, often sharing the stage with principal members of the orchestra. Prior to his appointment in Arkansas, he served as concertmaster of the Connecticut Virtuosi Chamber Orchestra, and assistant concertmaster of the Waterbury Symphony. Recognized for his skill and versatility, he is increasingly sought after as a studio musician.
The DSO performs more than 175 public concerts each year, including the Texas Instruments Classical Series and a 9-week Pops series. The orchestra performs free Community Concerts Series concerts in neighborhoods throughout the City of Dallas. The DSO on the GO series takes the orchestra to concert halls in communities across North Texas. The DSO's award-winning youth education programs provide music education and opportunities for the youngest of North Texans, helping to build a new and diverse audience for the future.
Executive Function(s): Conductor, Orchestra or Symphony? Towards a Trans-Disciplinary Unification of Theory and Practice Across Development, in Normal and Atypical Groups One problem with well-established executive function theories is that developmental disorders, brain injury, neuropathology, psychiatric conditions, and cognitive decline typically produce cross-cutting problems in social, cognitive, and emotional domains that seldom correspond to executive function models. Consequently, there is an argument that conceptual theories of executive function do not accord with clinical presentation (Manchester et al., 2004), and that executive function tests have limited predictive clinical utility (Barker et al., 2004; Burgess et al., 2006). Currently, there is need for unification of executive function approaches across disciplines, populations, and life span, further, it is also necessary for narrowing the conceptual gap between theoretical positions, clinical symptoms, and measurement.