His most recent appearance with that orchestra was in February when he replaced an indisposed Carlos Kalmar to lead the San Francisco Symphony in successful subscription performances. This is his 13 th season leading our orchestra and he has taken the musicians progressively to higher levels of excellence over the past decade.
During that time he conducted both orchestras in hundreds of critically acclaimed concerts both here and abroad. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America.
He has brought many celebrated guest artists to these annual events. In March , to enthusiastically positive reviews, Mr. Alasdair Neale maintains a most active guest conducting schedule, both nationally and internationally.
He lives in San Francisco. Frances L. White Board President Dr. White has a Ph. As a professional, Dr.
White has served on numerous local, state and national boards, commissions and committees. She is the statewide recipient of the 2 Harry J. White currently serves as a lecturer in the Ed.
Education Leadership Program at San Francisco State University, and is a founding adjunct faculty member of the program. She also works as a CEO search consultant for community colleges; as well as a consultant in strategic planning, organizational review and accreditation management for large and small community colleges.
She currently serves as the president and chair of the Board of Directors for the Marin Symphony Association; and she is a board member for the San Rafael Rotary. She is the author of several publications on educational leadership and lives in Marin with her husband, Harley.
A native of upstate New York, Jeff began playing the trumpet at age four. After graduating from the New England Conservatory of Music in Boston, Massachusetts in , Jeff became interested in arts administration. In , Jeff was asked to assume the leadership of the Quad City Symphony Orchestra, which he did until his move to California this past summer.
During his tenure with the QCSO, season ticket sales increased every year, educational programs grew, and the organization expanded the number and style of concerts significantly.
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Movies, special cocktails and a special appearance by From Russia With Love guest pianist Jon Nakamatsu made it a perfect kick-off to the Masterworks season. Michael Pritchard added his charm as emcee. Or have a smaller chair. Symphony Schools with Squid Inc! Hundreds of children were charmed by the multitalented musicians in this dynamic group — feeling the power of music up close.
Hey Mambo! Take your shoes off and get comfortable while enjoying a glass of Mambo Rose. The sum of all of the parts makes a fantastic red blend to enjoy on any occasion. Immediately following the concert aspiring young musicians can try an instrument on their own at the Musical Instrument Petting Zoo sponsored by The Magic Flute.
Menken, R. Menken, T. Pasatieri and T.
Sherman and Robert B. Psalm Psalm II. Psalm Psalm III. Maestoso ma energico, Allegro molto Psalm , vs.
Andante con moto, ma tranquillo, Allegro feroce Psalm 23; Psalm 2, vs. Sostenuto molto, Lento possibile Psalm ; Psalm , vs.
In , Bernstein was named music director of the New York Philharmonic, achieving a synergy with the orchestra that produced electrifying performances worldwide.
Written just two years later, the beloved Chichester Psalms can be viewed as a continuation of this dialogue, culminating in a moving reconciliation between God and Man. Bernstein selected Hebrew texts from the biblical Book of Psalms, liturgy common to both Jewish and Christian faiths with verse dating back to at least years before the poems of Carmina Burana were written.
Unlike Orff, whose musical style is designed to evoke the medieval origins of his text, Bernstein opted to set the psalm texts in musically modern vernacular.
His buoyant score combines 20th century dissonance with his own sense of songful melody some of the tunes were taken directly from an abandoned theatrical production infused with jazz-influenced harmony and rhythm. The psalm is one of the most prominent in the Jewish liturgy, recited during most non-Sabbath services, but also plays a key role in the Morning Prayer of the Anglican Church, where it is often featured as a canticle.
The direct musical references in the poetry have made it a popular text for many composers, including Handel, Britten, and Ives. Bernstein begins the piece with a broad but dissonant fanfare, calling for a musical awakening with text from Psalm , before launching into its catchy main melody in an energetic 7-beat meter.
The last movement is cast in three distinct sections. The unsettled string prelude that opens the movement revisits the leaping melody that opened the work, but now completely removed from its majestic beginnings.
Here it becomes an agitated, passionate lament, with highly dissonant interjections.
The work ends with the opening of Psalm , a ubiquitous hymn in the Jewish liturgy, a plea for the unity of all humankind. Where great music comes to life. Carl Orff was a self-taught composer and musician whose ideas and creations were formed early on chiefly by his own musical sensibility rather than current or past trends in musical composition.
While he admired the innovations of Schoenberg and in some ways emulated the orchestral coloration of Stravinsky, Orff was more interested in direct illustrations of the relationship between text, movement, and music than he was in forming new systems to combine tones.
By , Orff had completed two a cappella song cycles for chorus called Catulli Carmina, based on texts of the first century B.
Roman poet Catullus.