BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Longy - ECPv6.17.5.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Longy
X-ORIGINAL-URL:https://longy.edu
X-WR-CALDESC:Events for Longy
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20220313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20221106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220511T193000
DTEND;TZID=America/New_York:20220511T193000
DTSTAMP:20220525T194708Z
CREATED:20220425T200337Z
LAST-MODIFIED:20220525T194708Z
UID:29378-1652297400-1652297400@longy.edu
SUMMARY:Resilience | Orchestra FLEX
DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nWhile this event is open to the public\, you must pre-register in order to gain access in person. Registering for the performance is an important step to ensure the ability of contact tracing. No walk-ups will be allowed at Longy for performances.\n  \nThe end is near. Or so we hope. Let us stand in solidarity with those who have suffered during the COVID-19 Pandemic\, during the violence in Ukraine\, and during end-of-semester blues. Join Longy’s Orchestra FLEX for a concert of resilience\, solidarity\, and hope. \nWorks featuring: Connesson\, Mozart\, Ellington\, Puccini\, and more\, with a special section dedicated showing solidarity with Ukraine featuring Ukrainian composers Gonobolin\, Lysenko\, and Skoryk. \n  \nEric Hofbauer and Ian Saunders | co-directors \nOrchestra FLEX is a re-imagined orchestra which provides an opportunity for large ensemble projects without being limited by instrumentation. Defined by the group’s collective voice\, students take part in the full process of orchestral programming\, navigating the real-world challenges and discoveries of concert production\, planning\, and performance while exploring the intersections of musical tradition\, arrangement/composition\, improvisation\, technology\, and innovation.[/vc_column_text][toggles style=”minimal_small”][toggle color=”Accent-Color” title=”Program Notes”][vc_column_text]Mozart: \nMozart’s 41st Symphony (nicknamed “Jupiter” by London impresario Johann Peter Salomon) is a piece of bold and jovial qualities. It is the largest and most complex of his symphonies\, composed in the key of C major. C major\, in the time of Mozart\, was often regarded as being formal\, as well as associated with High-Church ceremonies and court pomp. Reflecting Mozart’s Don Giavanni\, the first movement has a striking intensity in its sonata-form. Three prominent characters appear in the movement: the first\, a brawny and bold opening recalling the Austrian-Turkish antagonism often interfering with Mozart’s concert undertakings. Second\, a tender\, lyrical theme by the violins and woodwinds. Third\, another take over by the violins\, providing a cheeky melody taken from the comic aria “Il bacio di mano”. The symphony\, regarded by many as a cornerstone of classical writing\, has secured Mozart on a seat amongst masters. \n  \nEllington: \nDuke Ellington’s Black\, Brown and Beige was premiered in 1943 at Carnegie Hall and has come to be seen as an innovative political and social statement and one of the first attempts to move African-American arts from the popular realm into the artistic realm. \nOriginally\, the piece had mixed reviews and Ellington found himself under attack from both classical music critics such as Paul Bowles and jazz figures such as John Hammond\, both of whom criticized him for attempting to work in longer forms. The work’s initial reception\, coupled with its unavailability for several decades\, left it in limbo. \nEllington had been experimenting with long-form composition since the mid- 1930s. “Black\,” the first movement\, represents the antebellum South. “Brown” represents the late 19th to early 20th centuries\, post Emancipation. Finally\, “Beige” represents the present for Black Americans. Each work then divides into smaller sections. \nMusically\, this three-part suite depicted black people brought to America to work as slaves\, fighting in wars on behalf of the country that had enslaved them\, and searching for a new and better life in the decades following the Civil War. In so doing\, Ellington hoped to give African-Americans a deeper historical sense of themselves that would translate into an enhanced modern-day sense of identity. In their essay “Race And Narrative In ‘Black\, Brown And Beige\,'” Lisa Barg and Walter van de Leur write: \nThrough its successive themes\, its restless progression of transitions and modulations\, and its sudden changes in tempi and meter\, Ellington sought to “parallel” the monumental movements\, migrations\, and ruptures in racial time and space that have characterized African-American historical consciousness. In blurring the boundaries between myth and history or memory and history\, Ellington‘s narrative underscores the epistemological problems of “history” for peoples whose voices and experiences have been erased (or repressed) from official white histories. \nWhen Duke Ellington passed away in 1974 at the age of 75\, very few people had ever heard Black\, Brown And Beige in its entirety. In 1988\, a new premiere\, arranged by Keith Horton\, was given by Sacramento by the Camellia Symphony and was very well received. \n  \nRossini La regatta: \nIn the first movement\, the pianist uses triplets adding crescendos\, and quarter notes with the vocalists\, who have extreme vibrato\, and each line would end with a decrescendo of her last words before going back to mezzo forte. \nIn contrast\, the second movement features the pianist and vocalist starting in unison. Later\, the pianist has chords along with 16th notes. When the vocalist finishes her lines with intense fortissimo the pianist takes over the solo\, changing to harmonic melody. At the finale\, the pianist picks tempo before slowing down and arriving at the finale chords with forte dynamics \n  \nHandel: \nAfter the struggles of war and heartbreak\, Cleopatra triumphantly sings this aria at the end of Handel’s Guilio Cesare. She discovers her love Cesare is alive and uses the metaphor of a ship tossed at sea to convey her conflicting emotions. \nDa Tempeste\, from Giulio Cesare \nDa tempeste il legno infranto\, \nse poi salvo giunge in porto\, \nnon sa più che desiar. \nCosì il cor tra pene e pianto\, \nor che trova il suo conforto\, \ntorna l’anima a bear. \nThe ship shattered by storm \nIf it then reaches safely a port\, \ndoesn’t know what else to desire. \nThus between pain and a weeping heart \nnow that it finds its comfort \nagain makes the soul happy. \n“Acerba voluttà\,” from Adriana Lecouvreur by Cilea \nis an opera is based on the life of the French actress Adrienne Lecouvreur (1692–1730). The majority of the characters and events are fictional\, although some are based on historical figures. It was first performed in November 1902 at the Teatro Lirico in Milan. \nThis aria features the Princess du Bouillon as she anxiously awaits her lover. At first glance\, the story of the Princess du Bouillon is not one of resilience—she does not resist temptation and is \nhaving an extramarital affair. She is consumed by jealousy and wavers back and forth emotionally throughout the course of her aria. The princess is not a very likeable character. \nThere is one aspect of the princess that remains constant: she always returns to hope. She may be imperfect\, but she is hopelessly in pursuit of real love. No matter the cost to her reputation\, she is willing to risk it all for the chance at a life of happiness. In a time period where women were expected to quietly succumb to depression out of the public eye\, she instead resolves to follow her heart. \n  \nDuruflé \nDuruflé was no stranger to war and lived in a world forever altered by two world wars. He was one of a few French composers commissioned in May 1941 by the Vichy Regime (Nazi collaborators) for quite a bit of money. He decided to write a Requiem and was still working on it in 1944 when the Vichy Regime crumbled—it was completed in 1947. He drew on the Gregorian “Mass for the Dead” as inspiration and he dedicated the work in memory of his father. \nThe solo for Mezzo-soprano\, Pie Jesu uses the simple text below: \nPie Jesu Domine\, Dona eis requiem. Pie Jesu Domine\, Dona eis requiem sempiternam. \nPious Lord Jesus\, Give them rest. Pious Lord Jesus\, Give them everlasting rest. \nThe history of the piece itself is not one of remark—he was commissioned and chose to write a Requiem (and for Nazi supporters no less—even though he was not a supporter himself)\, but his path to becoming a musician is of note. His parents decided at a young age to send him off to a sort of musical boarding school where the boys’ daily activities — lasting 14 to 18 hours — were prayer\, meals in silence\, supervised recreation\, piano and solfège classes\, choral rehearsals for services\, singing at services\, nonmusical classes\, and more choral rehearsals. He later was forced out of his private lessons with his teacher—Tournemire. His path was not a direct one\, but he eventually became known for pairing Gregorian chant-inspired melody with nontraditional harmonies. His Requiem is stunning in its simplicity and offers a prayer of solace to those facing the atrocities of war.[/vc_column_text][/toggle][toggle color=”Accent-Color” title=”Alexander Gonobolin”][vc_column_text]Alexander Gonobolin\, born on November 27\, 1953 is the Honored Artist of Ukraine\, violinist\, conductor and composer\, winner of Yuri Falik International Competition for Composers held in 2012\, prize winner at the International Competition “Crossover Composition Award” in Germany and winner of the honorary award “Project Trio” in the USA; union-member of the Ukrainian Union of Composers. \nHe is the author of numerous works for solo instruments and orchestra\, ensembles\, violin\, piano and vocals. He graduated from Professor Olga Parkhomenko’s violin class at The Tchaikovsky National Music Academy of Ukraine in 1978. Alexander Gonobolin has performed as a violin soloist with the Abkhazian State Philharmonic of Sokhumi\, as well as Kherson and Mykolayiv Philharmonics in Ukraine. He served as conductor of The Capriccio (later Ars Nova) Chamber Orchestra in Mykolayiv\, and teacher of Sokhumi and Kherson Schools of Music. He has performed solo concerts in Ukraine\, Georgia\, Abkhazia\, Russia\, France\, Bulgaria\, Hungary\, Germany\, Holland\, Spain and Israel playing works of the renowned authors and also his own music. \nHe has written over 200 works from symphony and chamber music to ensembles\, piano\, string instruments\, musical theatre productions\, as well as vocal pieces.[/vc_column_text][/toggle][/toggles][/vc_column][/vc_row]
URL:https://longy.edu/calendar/orchestra-flex-3/
LOCATION:Edward M. Pickman Concert Hall\, Longy School of Music\, 27 Garden Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Class,Student Performance
ATTACH;FMTTYPE=image/png:https://longy.edu/wp-content/uploads/2022/04/Reslience-12.png
END:VEVENT
END:VCALENDAR