99th Season Brochure for The University of Southern Mississippi Symphony Orchestra

Nonpro Organ za on US Pos age Pa d Ha esburg MS 39402 Perm No 148

ADA

BRINGING THE WORLD TO MISSISSIPPI usm.edu/symphony

O

M chae M es conduc or February 28 2019 at 7 30 p m Bennett Aud tor um TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com

AA

FUTURE STARS GOES POPS

Honor ng he memory o W am T Gower h s annua concer ce ebra es he w nners o he annua compe on n per ormance w h he Symphony The program w a so ea ure more popu ar are rom he orches ra reper o re as he orches ra per orms wo works ha are sure o p ease everyone s pa a e Ber oz - Hungar an March rom Damna on o he Fau Cop and - Four Dance Ep sodes rom Rodeo

TOO MANY SOPRANOS

Rob Mu ho and d rec or Ivan de Prado mus c d rec or Apr 4 and 6 2019 at 7 30 p m Mannon Per orm ng Arts Center TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com Too Many Soprano e s he a e o a group o sopranos ry ng o ge n o heaven bu here s no more room n he heaven y cho r Some h ng has o be done and ooks ke some w be sen o he An opera n wo ac s n Eng sh by Ind ana Un vers y acobs Schoo o Mus c acu y member Edw n Penhorwood Too Many Soprano ea ures a myr ad o songs rom operas var ous per ods n a ove y gh even ng a he opera

99

SEASON 2018-19

Berns e n - Over ure o Cand de Gershw n - Rhap ody n B ue Bee hoven - Symphony No 7

In he open ng n gh ga a he Symphony pays r bu e o he grea es Amer can-born mus c an Leonard Berns e n n honor o he 100 ann versary o h s b r h Ton gh we pay homage o Berns e ns con r bu ons as a composer per ormer and eacher Fea ur ng h s own compos ons works ha he oved o per orm and he fina symphony he conduc ed a h s be oved Tang ewood we ce ebra e h s egacy and ha o he USM Symphony Orches ra s 99 h season

W nner o five Tony Awards h s azz Age mus ca s a ov ng send up o he roar ng 1920s Fea ur ng s de-sp ng aughs and one shows opp ng song and dance number a er ano her he eam rom as year s The Phan om o he Opera presen s a hys er ca change o pace n he Sou hern Opera and Mus ca Thea re Company s spec a m ed engagemen per ormances

V VA LA MEX CO

orge Perez-Gomez conduc or Marcos Machado bass November 8 2018 at 7 30 p m Bennett Aud tor um TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com Exo c unes and anc en cu ure mus ca y n er w ne n h s exc ng even ng o mus c Gues conduc or orge Perez-Gomez akes o he pod um w h Sou hern M ss acu y ar s Marcos Machado on bass o gn e beau u o k me od es and dr v ng rhy hm c sensa ons ha w wh sk he aud ence away on a mus ca ourney

Debussy - No urne Kōrv s - Moor and E eg e

SYMPHONY ORCHESTRA 118 Co ege Dr ve #5081 Ha esburg MS 39406

AA EOE ADA

M ke Lop n o Ryan An hony

M chae M es conduc or M chae Bunchman p ano October 4 2018 at 7 30 p m Bennett Aud tor um TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com

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The Symphony Orches ra and he Sou hern Chora e o n orces o presen wo haun ng works based on hemes assoc a ed w h he n gh Beau u haun ng and en ranc ng sounds emerge rom he orches ra n works by Impress on s and con emporary composers When gh ades he n gh ru y comes a ve n h s evoca ve c ose o he season

BROCHUR D S GN

BERNSTE N

M ke Lop n o d rec or M chae M es mus c d rec or October 25 26 and 27 2018 at 7 30 p m Mannon Per orm ng Arts Center TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com

M chae M es and Gregory Fu er conduc ors Apr 30 2019 at 7 30 p m Ma n Street Bapt st Church TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com

800.844.8425 601.266.5418 southernmisstickets.com

Open ng n gh

THE DROWSY CHAPERONE

MUS C OF THE N GHT

TICKETS

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TRIBUTE

THE UNIVERSITY OF SOUTHERN MISSISSIPPI

SYMPHONY ORCHESTRA

Tan Dun - Wo To em Moncayo - Huapango Revue as - Sen emaya Marquez - Danzon No 2

HOL DAY CHORAL SPECTACULAR

M chae M es Greg Fu er and ona han K gore conduc ors November 27 and 29 2018 at 7 30 p m Ma n St Bapt st Church TICKETS 601 266 5418 800 844 8425 sou hernm ss cke s com Your Symphony Orches ra s o ned by The Un vers y o Sou hern M ss ss pp Cho rs he Ha esburg C v c Chorus and Ha esburg area h gh schoo s ngers as hey co abora e n our annua ho day commun y ce ebra on

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met only briefly that morning with Walter to review the By the mid 1810s Beethoven was recognized far scores,” Carnegie’s History of the Hall timeline explains. and wide as the preeminent living composer. That notto mean, however, that he was the most “He did not even own the proper formal wear and did had popular, published, or often performed. Rossini lead the concert in a gray business suit.”

RHAPSODY

The great American composer first found out he was meant to be writing his most groundbreaking work from a newspaper article.

Late at night on 3 January 1924, George Gershwin, his brother Ira and lyricist Buddy DeSylva were having a game in the Ambassador Billiard Parlor at 52nd Street on Broadway, when an item in the amusement section of the New York Tribune caught Ira’s attention. It was about a concert of new American music to be given by Paul Whiteman and his Palais Royal Band at Aeolian Hall on 12 February - Abraham Lincoln’s birthday.

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“George Gershwin is at work on a jazz concerto,” ran the article, “Irving Berlin is writing a syncopated tone poem. It was all news to George. His musical comedy, Sweet Little Devil, was set to open in just three weeks. And now he had to write a concerto by 12 February as well? Paul Whiteman was the most popular bandleader of the 1920s and enjoyed the title “King of Jazz” – although this was no jazz band; rather it was a large dance orchestra that used jazz musicians from time to time.But Whiteman twisted Gershwin’s arm that all he had to do was supply a piano score. Ferde Grofé, Whiteman’s brilliant in-house arranger, would be able to orchestrate the work tailored to the band’s lineup.

While he was on the train to Boston for rehearsals of his musical, Gershwin sketched out a framework for the new piece, which he began writing on 7 January. Over the next few days, while he also made last-minute changes to ready Sweet Little Devil for its New York opening on 24 January, the genius completed a two-piano score.

SEASON 2018-19

Opening night!

BERNSTEIN!

Michael Miles, conductor Michael Bunchman, piano October 4, 2018, at 7:30 p.m.

Bennett Auditorium

What Gershwin produced was not a “jazz concerto” but a rhapsodic work for “piano and jazz band” incorporating elements of European symphonic music and American jazz with his inimitable melodic gift and keyboard facility.

Gershwin’s original title for it

THE DROWSY CHAPERONE

was emerging as a new force in the musical world, and his prominence extended far beyond the opera house; arrangements for every conceivable was American Rhapsody.

But, by chance, Ira music into combination of instruments took his had been to ancafé, exhibition of Whistler’s paintings imposing home, and concert hall. Beethoven’s and sawhistorical the painter’s Nocturne In Blueour And stature can obscure appreciation of Green of the Thames at Chelsea. Why not how in his own time he sought to juggle fame, call the new piece Rhapsody In Blue instead, popularity,title andwould artistic innovations. he suggested. The reflect the Greatness and Popularity European and American influences. Also at Ira’s

Mike Lopinto, director Michael Miles, music director October 25, 26 and 27, 2018, at 7:30 p.m.

Mannoni Performing Arts Center

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The Seventh Symphony’s premiere concert was performed to benefit the soldiers wounded a few months earlier in the battle of Hanau. It was one of Beethoven’s most successful concerts. Viennese audiences, miserable from Napoleon’s 1805 and 1809 occupations of Vienna and hopefully awaiting a victory sover him, embraced the symphony’s energy and beauty. The celebratory symphony, dedicated to both Count Moritz von Fries and Russian Empress Elisabeth Aleksiev, On Nov. 14, in 1943, Leonard Bernstein was pulledwas outperformed of three times in 10 weeks following its premiere. bed and told that he would be conducting the New York The second movement of the Seventh often is performed separately from the Philharmonic at Carnegie Hall for the very first timecomplete — thatsymphony, and might have been one of Beethoven’s most popular compositions. In spite of same day. The 25-year-old Bernstein was the last-minute the symphony’s substitute for Bruno Walter, who had the flu. And the popularity, Beethoven was not the most performed or most published composer of the concert was going to be broadcast live on the radio.“With time, and he competed for prestige with emerging composer Rossini. no time to assemble the orchestra for a rehearsal, Bernstein

The essential spirit of Aaron Copland’s music is embodied perhaps The Symphony’s dance elements, vitality, and Sensemayá, tone poem by nowhere so well as in his ballet scores, which are among his bestsense of celebration are conveyed principally Sometimes the deepest revolutions are the known works. Copland wrote Rodeo (1942) for Agnes de Mille, a rhythm. It is not the melodies that Mexican composer Silvestre quietest. Sometimes, too, athrough ground-breaking masterwork has to wait until well after its are so striking and memorable as the general Revueltas that premiered proved to be the choreographer’s most enduring success. The scenari composer’s death to be appreciated. the story of a young woman, accomplished in all the skills of a cow sense of forward movement. (At times there in Mexico City in December Fortunately this was not the case when who hopes to attract the attentions of the head wrangler on a ranc isperformance no melody atofall, but simply the repetition the first complete 1938. It is notable for a decidedly pre-feminist resolution, he is unimpressed by her skill b Debussy’s Nocturneswas given the Concerts of ainsingle pitch.) The first movement Lamoureux series in Paris on 27 October 1901.

(Poco sostenuto) opens with the longest its rhythmic complexity succumbs to her charms when she trades her cowboy duds for a dres (The first two movements, minus the concluding shows a more “womanly” side at the rodeo dance. of Beethoven’s introductions—indeed the ‘Sirènes’, had been premiered in December and for its incorporation and the year before.) While somelongest of the press Both the ballet and the popular concert suite derived from it are yet inwere the history of the symphony, dismissive, other voices were approving and of Latin American divided into four musical scenes. The opening “Buckaroo Holiday” that leads (by way of repeating just one perceptive. Writing in Mercure de France, Pierre incorporates two cowboy tunes, “If He Be A Buckaroo By His Trad note) into way the main body of the movement folk percussioninstruments as de Bréville observed that the elusive in Beethoven wrote the Symphony 1811-12, which thein music of Nocturnes defied analysis and “Sis Joe”; this section is marked by the use of ever-changing (Vivace).

The famous A-minor Allegretto part of the orchestra. completing it in April. It was premiered onedespair of his of critics’. And, he went was truly at ‘the rhythms and unpredictable turns of harmony. The “Corral Nocturn is framed by the same unstable chord to most successful concerts, givenon, on December 8, 1813,to mesmerise that its capacity the ear and Inspired by the Cuban in an asymmetrical 5/4 meter, is a plaintive portrait of a cowgirl’ openachievement and close the to benefit soldiers wounded insoul the battle of Hanau alike related to aDebussy’s in movement. The form is few months earlier. Paired with thedemanding Seventh was ‘not of the Music allABABA that she with can give the opening section using a writer Nicolás Guillén’s loneliness. “Saturday Night Waltz” makes use of another cowboy so first performance of Wellington’s known but,Victory, instead,also asking from her what she alone was “Goodbye, Old Paint,” to which Copland adds his own stamp by th theme that is once again more distinctive for poem “Sensemayá: canto para as the “Battle Symphony.” The capable enjoyment of the event of suggesting’. employment of cross-rhythms. “Hoe-Down” is undoubtedly the bal was hardly surprising given what members its arhythmic profile Paul most Dukas, too, whoofhad been close friend of than for its melody. The the Viennese audience had been through during Debussy since theirthe student days together builds at the in intensity and includes matar una culebra” (1934; best-known episode, largely through its use as the music to accompa movement preceding decade. Napoleon’s Paris occupations of Viennastated that on the basis of Conservatoire, a fugue the end. The Presto scherzo “Sensemayá: Chant for Killing the words “Beef: It’s What’s for Dinner” on television. Written in in 1805 and 1809 had proven this traumatic, but fellow-composer the tide work, his ‘must near from now of Copland’s “populist” period, Rodeo is distinguished throug had turned with the Battle ofonLeipzig in 1813.

In a unique brings the dance aspect even more. As be regarded as having andout distinctive a Snake”), which depicts midst June, the Duke of Wellington was placetriumphant among theagainst musicians ofin hissome time’.of his other instrumental works, by the composer’s exuberance, evocative sense of orchestral color, Joseph Bonaparte, Napoleon’s What youngermakes brother,the in themusic of Nocturnes so an Afro-Caribbean ritual distinctive harmonic language, and singular expressivity. two trio sections. The northern Spanish town of Vittoria, and withinistheitsyearability Beethoven remarkable to imprint includes itself the Congress of Vienna was convened to reapportion Rodeo was premiered at the Metropolitan Opera House on Octobe unforgettably on the mind in such an understated Allegro con brio finale offers a tour-de-force representing the killing of Europe in the aftermath of France’s defeat. so way. The threeAfter movements – of ‘Nuages’ (Clouds), 1942. To make the suite Four Episodes from energy and excitement.

As throughout of called ‘Nuages’ andDance ‘Sirènes’ are each unusua much conflict and misery, impending could‘Sirènes’ be a snake. Though it premiered 16, ‘Fêtes’victory (Festivals), (Sirens) – are quite individual: the latter Rodeo Copland shortenedrestrained four of theand main dance scenes of the adds ball theand Symphony, part of the distinctive sound honored and celebrated. different from each other in tone manner, and wordless female chorus, and both moveme in 1938, it did not gain and dropped some connecting Later writers characterized the Seventh Symphony each presents a uniquely scored soundworld that music, including a delightful ricky-t comes from Beethoven’s use ofbrightly the horns. omit trombones and percussion apart from timp Oh, holy night!

The stars are shining in various ways, but it is striking how of elsewhere the has no truemany parallel in Debussy’s music barroom piano solo reputed to havealso been written by the The work in A-major, which gives a (‘Nuages’ omits trumpets).

Andyoung Leo while ‘Fêt international attention until theisnight descriptions touch on its frenzy, approaching a (although there is a distant echo It of is ‘Fêtes’ in the of the dear Savior’s birth The young Berlioz was does offer fanfares, orchestral flourishes, and ev Bernstein for insertion into the ballet as a gift to his mentor. brightness not found in the composer’s earlier bacchanal at times, and on its of of dance. firstelements movement Ibéria). In his programme note Long lay the world in sin and error pining 1945, when it was performed an honest traditional tutti, its composer’s touch Richard Wagner’s poetic account wellperformance, known: for theis first thesymphonies. composer wrote: drawn to Goethe’s Faust in defter than in any contemporary counterpart t Till He appeared and the soul felt its worth

Symphony Orchestra

in the United States undersuch the an intense manner, baton of Leopold Stokowski. it almost lacks reason The score’s winding rhythms or sagacity. Berlioz was convey the snake’s motions, merely twenty-four years and its unusual, sometimes of age, and immediately dissonant, harmonies evoke upon reading Gérard de a sense of impending doom.

Nerval’s translation of

“All tumult, all yearning and ‘The storming of the heart, to be interpreted here in title Nocturnes is comes to mind. become here the blissful insolence joy,more which of hope the weary world rejoices a generalofand, particularly,Ainthrill a decorative ‘Nuages’, the only cloudscape in Debuss carries us away with bacchanalian power through sense. Therefore it is not meant to designate the For yonder breaks a new and glorious morn music, suggests this silent, fluctuating world the roomy space of nature, through all the usual form of streams the Nocturne, but rather all the gently rocking chord-sequences for woodw Many of what are today considered Beethoven’s most highly esteemed on effects your knees!

Oh, hear the angel voices and seas of life, shouting in glad self-consciousness various impressions and the Fall special of compositions, especially ones from late in his career, were initially and muted strings; the composer’s note refers as we sound throughout thelight universe daring Oh, night divine received with a complex mixture of admiration, bewilderment, and that thethe word suggests.’ ‘the immutable aspect of the sky and the slo resistance. But there were also works that were truly popular or strains of this human sphere-dance. The Symphony Oh, night when Christ was born at least aimed to be so. These pieces tend to be much less familiar solemn motion of the clouds, fading away is the Apotheosis of the DanceDebussy itself: ithad is Dance in developed a deep-held by now than when they were the favorites of his contemporaries: grey tones lightly tinged with white’. Through Truly He taught us to love one anothertoday its highest aspect, the loftiest deed of bodily motion, Wellington’s Victory, the oratorio Christ on the Mount of Olives, the resistance to the gestures of musical rhetoric the movement a fragment of melody for solo Septet, and his best-loved song, “Adelaide.” Occasionally, Beethoven incorporated into an ideal mold of tone.”

– above all to the noisy, post-Wagnerian, bigHis law is love and His gospel is peace suggestion, George contrasted the syncopated anglais only recurs on the same instrument, at wrote something that was immediately recognized as both artistically As biographer Maynard Solomon has keenly orchestra variety then flourishing in Austrogreat and hugely popular. An example is the second movement of Chains shall He break for the slave is our brother character that dominates the tune with an same unchanging pitch, while the drifting clou observed, the descriptions of Wagner and others seem his Seventh Symphony, a piece that was often performed separately German late Romanticism.

‘The muse,’ he liked masses seem to form and re-form around it. expressive romantic theme the composer had AndThe in His name, all oppression shall cease from the complete Symphony and that may have been Beethoven’s to have a common theme: “The apparently diverse to say, ‘should be always discreet.’

Debussy The music progresses while also appeari most popular orchestral composition. It also exerted extraordinary previously improvised at a party. free-associational images of these masses stylecritics—of was one that favoured Sweet subtle juxtaposition hymns of joy in grateful chorus raiseinfluence we on later composers, as the slow movements of Schubert’s with uniquely Debussyan sleight of hand, of people, of powerful rhythmic energyover discharged “Great” C-major Symphony and E-flat Piano Trio, Mendelssohn’s of ideas their lengthy development, that Let all within us praise His holy name“Italian” Symphony, Berlioz’s Harold in Italy, and other works attest. to progress at all; the effect is both detached a in action or in dance, of celebrations, and to loud ones and, very The Rhapsody, with its composer as soloist, preferredweddings, quiet sounds achingly poignant, as if this unpeopled natu After its premiere, the Seventh Symphony was repeated three times in Christ the Lord! Oh, praise His Name forever Kõrvits käis Tallinna 44. Keskkooli inglise keele eriklassis kuni 8. klassini.[1] 1987. aastal lõpetas ta Tallinna revelry—may well be variations on aa sense singleofimage: often, stillness rather thanistraditionally was premièred in front of a packed house the following 10 weeks; at one of the performances the “applause rose Muusikakeskkooli Alo Põldmäekompositsiooniklassi. 7 aastat hiljem ehk 1994. aastal lõpetas ta Eesti the carnival or festival, which from time immemorial to the point of ecstasy,” according to a newspaper account.

The Leipzig symphonic, goal-directed movement.

His power and glory evermore proclaim that included such musical luminaries as the Muusikaakadeemia professor Raimo Kangro kompositsiooniklassi. 1994. aastast alates kuni 1997. aastani ol Allgemeine musikalische Zeitung reported that “the new symphony (A has temporarily lifted the In Nocturnes, burden of perpetual the manner and orchestration composer Rachmaninov, the violinist Fritz Oh, night divine, oh, night when Christ was born major) was received with so much applause, again. The reception was tema juhendajaks Jaan Rääts Muusikaakadeemias. Ta on täiendanud ennast noorte heliloojate seminaridel ja subjugation to the prevailing social and natural order as animated as at the first time; the Andante [sic] (A minor), the crown kursustel Hilversumis (Holland, 1997), Gotlandil, Boswilis ja Gdanskis (Poola, 1998).

Kreisler and the conductor Leopold Stokowski.

Fall on your knees! Oh, hear the angel voices by periodically suspending all customary privileges, of modern instrumental music, as at the first performance, had to be Despite not yet having written down much of repeated.” The Symphony’s appeal is not hard to understand. In scope norms, and imperatives.” Wellington’s Victory gave Oh, night divine Tema teoseid on esitatud paljudel festivalidel. Näiteks “For You, the Messenger Of Night” (kahele viiulile, and intensity, it is fully Beethovenian, and yet it does not place quite the piano part, Gershwin scored a triumphant a realistic imitation of battle between the English kontrabassile ja klavessiinile) oli tellimustöö 1999. aasta toimunud Lockenhausi festivalile. Veel on esitatud as many demands on the listener as does the “Eroica.” The ambition Oh, night when Christ was born success with the work which today is hailed as a (represented by the song “Rule Britannia”) and the of the first movement, beauty of the second, the breathlessness temaofteoseid Kopenhaagenis (ArtGenda, 1996), Usedomis(Usedomer Musikfestival, 1999), Montrealis (Worl the born scherzo, and relentless energy of the finale did not fail to impress Congress, 2000), Krasnojarskis (Eesti Kultuuri Festival, 2001), Saksamaal(Europamusicale, French (“Marlborough s’en va-t’en guerre”) and Oh, night divine, oh, night when Christ was Saxophone landmark in American music. audiences. Beethoven himself called it “one of the happiest products 2004), Gdanskis (Musica nos unit, 2004), Mänttäs (Mänttä Muusikafestival, 2005), Münsteris (Münsteri ends victoriously with variations on “God Save the Christ is the Lord! Oh, praise His Name forever of my poor talents.”

Rahvusvaheline kitarrifestival, 2006), Hongkongis/Macaus (World Music Days, 2007), Adelaide’is (Cellissimo King”—it is an effective but hardly subtle work. The His power and glory evermore proclaim 2008), Siuntos (Lux Musicae, 2009), Caenis(Les Boreales, 2009).

Seventh apparently tapped into similar celebratory Tema teosed on esindanud Eestit ka UNESCO rahvusvahelisel heliloomingu rostrumil 1994. aastal Pariisis, ku emotions vivid at the moment, but on a much deeper Oh, night divine, oh, night when Christ was born kõlas Tõnu Kõrvitsa “Concerto Semplice”, mis on kirjutatud kitarrile ja kammerorkestrile, ja 2003. aastal Viin level that has allowed the Symphony to retain its The wacky musical The Drowsy Chaperone, a Canadian-born production, won five Tony awards Sunday night. It entered the evening with 13 nominations, the most kus kõlas “Armastuse märk”, mis on kirjutatud sümfooniaorkestrile. Aastal 1998 kõlas tema kujundusmuusik stature ever since.

Lissabonis EXPO maailmanäituse Eesti paviljonis.

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Kõrvits

Tony Award Goes to Chaperone

of any other play. The show’s creators, Don McKellar and Bob Martin, won for best book of a musical. Martin, who plays a lead character, barely had time to get into his seat after performing one of the play’s pieces at the gala in New York. Martin acknowledged his fellow Toronto artists who helped put the play together. “This show expresses the voice of a group of writers and actors in Toronto,” said Martin, who lost the best actor in a musical award to John Lloyd Young for Jersey Boys.

McKellar paid tribute to the American musical comedy genre for inspiring him and providing good fodder for the play: “So much to make fun of.” Soon after, the play’s Lisa Lambert and Greg Morrison captured the prize for best original score written for the theatre. Morrison thanked his parents in Prince Edward Island for “buying that $100 piano 30 years ago.” Unfortunately, Chaperone lost several major nominations: best musical to Jersey Boys, as well as best actor. Beth Leavel, who plays the title character in The Drowsy Chaperone, grabbed the best supporting actress in a musical trophy. During the pre-show awards, the play won two design prizes, sets and costumes for a musical. Casey Nicholaw of The Drowsy Chaperone lost out for best direction to John Doyle for Sweeney Todd and in the best choreography category to Kathleen Marshall of The Pajama Game. Performed at a stag prior to actor’s wedding, The origins of The Drowsy Chaperone date back to 1998 when three Toronto artists — McKellar, Lisa Lambert and Greg Morrison — wrote a cheeky 1920s-style musical to perform at the stag of their theatre friends Martin and Janet Van De Graaff, who were getting married. The couple loved it so much that Martin joined the cast as the Man in the Chair and Van De Graaff produced a revised version of it for the 1999 Toronto Fringe Festival. Re-worked versions have appeared in various theatres in Toronto before opening last year in Los Angeles. Martin’s character is a lover of the musical who is trying to bring himself out of a bout of the blues by putting on a favourite record only to have the 1920s production magically come to life.

VIVA LA MEXICO!

Jorge Perez-Gomez, conductor Marcos Machado, bass November 8, 2018, at 7:30 p.m.

Bennett Auditorium

HOLIDAY CHORAL SPECTACULAR

Michael Miles, Greg Fuller and Jonathan Kilgore, conductors November 27 and 29, 2018, at 7:30 p.m.

Main St. Baptist Church

the work, began writing a musical composition based on Goethe’s play. He entitled it Eight Scenes from “Faust,” more often referred to as La Damnation de Faust. The proud and eager composer sent his work to Goethe and fervently awaited a reply. To say that Tõnu Kõrvits on tuntud kawas levimuusika arranžeerija ja orkestreerijana, ta on kirjutanud muusikat ka nukuGoethe unappreciative ja joonisfilmidele. Tuntuim neist on Priit Tenderi “Vioola”, mis on võitnud mitu rahvusvahelist auhinda.

Muuhulgas on ta arranžeerinud Tõnis Mägi kontserditurnee “Jäljed” laulud, “Rujaleidja” kontserdi, 2002. aas of the offering is not nearly toimunud koolinoorte laulu- ja tantsupeol esiettekandele tulnud Andrew Lloyd Webberi laulu “Keegi pole ük päikese all”. a harsh enough account of Tema muusikat on esitanud paljud koosseisud. Näiteks Frankfurdi Raadio Sümfooniaorkester, Macau Sümfooniaorkester, Põhjamaade Sümfooniaorkester, Krasnojarski Sümfooniaorkester, Bilkenti the work’s receipt.

Berlioz Sümfooniaorkester, Adelaide’i Sümfooniaorkester, Innsbrucki Tiroli Sümfooniaorkester, Ensemble

FUTURE STARS GOES POPS!

Michael Miles, conductor February 28, 2019, at 7:30 p.m.

Bennett Auditorium

TOO MANY SOPRANOS

Rob Mulholland, director Ivan del Prado, music director April 4 and 6, 2019, at 7:30 p.m.

Mannoni Performing Arts Center

de Basse-Normandie, Rootsi Raadio Koor, kitarristid Reinbert Evers ja Klaus Jäckle, Eesti Riiklik Sümfooniaorkester, Tallinna Kammerorkester, Nyyd Ensemble jt.

2001. aastal anti Tõnu Kõrvitsale Heino Elleri nimeline preemia ning 2002. aastal sai ta viimaste aastate loomingu eest Vabariigi Presidendi Noore Kultuuritegelase Preemia. Teme orkestriteos “Eldorado” saavutas 2003. aasta kevadel toimunud Lepo Sumera nimelisel rahvusvahelisel heliloomingukonkursil III koha. 2004. aastal anti talle Eesti Kultuurkapitali Helikunsti sihtkapitali aastapreemia. 2006. aastal pälvis Tõnu Kõrvits Kultuurkapitali stipendiumi “Ela ja sära”. Eesti Muusikanõukogu autasustas teda 2007. aastal aastapreemiag panuse eest Eesti orkestrimuusikasse. 2016. aastal pälvis ta Valgetähe III klassi teenetemärgi.

MUSIC OF THE NIGHT

Michael Miles and Gregory Fuller, conductors April 30, 2019, at 7:30 p.m.

Main Street Baptist Church

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