Podcast appearances and mentions of dominick argento

[@ 5 min] This week…we are halfway through the Major League Baseball season! Which means it's time for us to swap some Trading Cards: American Composer Edition. And there are so many! Copland! Gershwin! Floyd!...(slowing) uh…Dominick Argento… (stammering) uh … Philip Glass? Plus, George sends us another postcard from abroad! What iconic Italian opera house will he call B-tier this time? [@ 47 min] Then…we go Inside the Huddle with Sir Emanuele Andrizzi. The Italian conductor, recently bestowed the rank of Officer of the Knights of the Order of the Star of Italy, is betting on Gian Carlo Menotti as he is set to conduct the Medium for Opera Festival of Chicago. [@ 1h 5 min] Certain artists from a certain country are not having a good news cycle. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

SynopsisOn today's date in 1966, a symphonic work by American composer Dominick Argento received its premiere performance by the Minneapolis Civic Orchestra at the St. Paul Campus Student Center of the University of Minnesota. The work was titled Variations for Orchestra (The Mask of Night) for orchestra and soprano soloist. For the premiere performances, the vocal soloist was Argento's wife, soprano Carolyn Bailey.The music was composed in Florence, Italy.“I vividly remember the circumstances that inspired it,” Argento wrote. “Our seventh-floor apartment in the Piazza Pitti overlooked the Boboli Gardens and behind it, out of sight, was a military barracks. Every night at 10 o'clock, a bugle solemnly intoned the Italian equivalent of taps. The sound seemed to be the voice of the garden itself — moonlit, deserted, cypress-scented and mysterious. ... The trumpet theme is a 12-tone row whose first six notes, I later realized, form the opening phrase sung by the Queen of the Night in Mozart's The Magic Flute, a role my wife had often performed.”“Consequently,” Argento concluded, “these variations are much indebted to my favorite city, my favorite writer, my favorite composer and my favorite soprano.”Music Played in Today's ProgramDominick Argento (1927-2019) Variations for Orchestra (The Mask of Night); Plymouth Music Series Orchestra; Philip Brunelle, cond. Virgin 91184

Synopsis It was on this day in 1972 that “A Ring of Time” by American composer Dominick Argento was premiered by the Minnesota Orchestra in Minneapolis. The work was commissioned to celebrate that orchestra's 70th anniversary. “A Ring of Time” is subtitled “Preludes and Pageants for Orchestra and Bells,” and evokes the hours of the day, from dawn to midnight, and the seasons of the year. Though born in York, Pennsylvania, Argento was of Italian heritage, and after spending a year studying in Italy, returned there often to reflect and compose. Argento said: “On one level the title of ‘A Ring of Time' refers to the predominant role assigned to bells... those aural signals of time's passing. But it should also be mentioned the work was wholly composed in Florence where the hourly ringing of church bells is inescapable.” Bells figured prominently in another 20th-century work by the Japanese composer Toru Takemitsu entitled “From Me Flows What You Call Time,” which was premiered by the Boston Symphony in 1990, in New York City, as a commission to celebrate the centennial of Carnegie Hall. Again, bells play a significant role, and Takemitsu directs that at the end of his piece, a series of small bells be rung gently from the balcony above and around the audience. Music Played in Today's Program Dominick Argento (1927-2019): A Ring of Time –Minnesota Orchestra; Eiji Oue, cond. (Reference 91) Toru Takemitsu (1930-1996): From Me Flows What You Call Time –Pacific Symphony; Carl St. Clair, cond. (Sony 63044)

In this episode, Dave and Andrew explore the first song cycle to ever win the Pulitzer Prize, Dominick Argento's From the Diary of Virginia Woolf. Argento always remarked that his music balanced between his desire for fantasy and his need for control. Do Dave and Andrew think this work has that balance?   If you'd like more information about Dominick Argento, we recommend: Jacquelyn Matava's dissertation "Dominick Argento's From the Diary of Virginia Woolf: A Preparation Guide for Performers" (Indiana University, 2014) Russell Platt's New Yorker article "The Elegant Musical Vessels of Dominick Argento" Argento's memoir, Catalogue Raisonnâe as Memoir: A Composer's Life (University of Minnesota Press, 2004)   Please write a review of us on Apple Podcasts or wherever you listen to the podcast -- thanks!

The Singers — Come to the Woods (Arsis Audio) Jump to giveaway form New Classical Tracks - Matthew Culloton by   “We are all loud or pensive about things,” said Matthew Culloton, artistic director of the Singers, talking about the ensemble's 10th recording. “At times, we may be lonely, but also reflective and hopeful. Naming the album Come to the Woods, after Jake Runestad's piece and John Muir's words, was a great launching point.” Can you tell us why it took so long to release this recording? “I actually edited and produced the CD on my own computer software years ago. We finally had time to get back to our engineer, David Trimble, and really work with it. Even though I had already assembled and listened to it, it was also a start over with fresh ears. The pandemic gave us time.” Is there a section in the piece Come to the Woods that you look forward to? “There's a section later in the piece where Runestad pays a small musical tribute to Dominick Argento, one of his favorite composers. He does this by quoting a very special cadence point in the poetry. That's a spot where I find myself taking more time over the years with each new performance of the work. “The choir sings, 'The setting sun filled them with amber light and seemed to say. And when he sets and seemed to say.' That's the final sung cadence of Walden Pond, and I get goose bumps thinking about it. I remember the first time I heard it. I ran to the piano with my score just to make sure I heard it right.” Can you tell us about Dominique Argento's Seasons? “I thought it was important to put Dominic's last work in this collection. I get choked up a little bit thinking about the final movement, ‘Summer,' and it being his last work. I don't know if he wrote them in that order poetically, but I love the idea that he wrote ‘Summer' last. His last words were, ‘Soon, the goddess of summer sees that all is proceeding as planned, though reluctant to leave, she nods and sadly bestows her loving benediction.'” Why did you chose Moira Smiley's Stand in That River? “She is such a breath of fresh air in her approach to writing, sharing and recognizing global traditions in her music. This piece definitely comes back to American folk music. “On this recording, the departure for us wasn't so much the piece itself, but that we included a bass, guitar, guiro, cajon and mandolin. Those five instruments are all played by one of our baritones, Paul Winchester. The end result was infectious, which is not the best word to use these days, but I think it's very likable.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources The Singers — Come to the Woods (The Singers Store) Matthew Culloton (official site) The Singers (official site)

MICHAEL SCHELLE (b. 1950, Philadelphia) Michael Schelle's music has been commissioned and/or performed by over 350 orchestras and professional chamber ensembles across the US and abroad. Including the Chicago Symphony, Minnesota Orchestra, Detroit Symphony, He is a Composer-in-Residence at Butler University in Indianapolis and holds degrees from Villanova University, the Hartt School (CT), Trinity College of Music (London), the University of Minnesota, and has studied with Arnold Franchetti, Dominick Argento and Aaron Copland. ·        JOSEPH KINGMA (joseph@josephkingma.com) ·        Joseph Kingma wowed audiences with his performance of Beethoven's “Emperor” Concerto in the 2020-2021 season with the Chamber Orchestra. Kingma enjoys a prolific national and international career as a soloist, chamber musician, and teacher. He won first prize in the Franz Liszt International Piano Competition, sponsored by the American Liszt Society, and has won awards in the Cincinnati World Competition and Sorantin Young Artist International Competition. He is on the faculty at Palm Beach Atlantic University.

Synopsis At the dawn of the 20th century, Teddy Roosevelt was president and America was in an upbeat, prosperous mood. Cultural affairs were not forgotten, either. To the already established American symphony orchestras in cities like New York, Boston, Chicago, Cincinnati and San Francisco, new ensembles would spring up in Philadelphia, St. Louis, Cleveland, and Seattle. On today's date in 1903, it was Minneapolis' turn. On November 5th of that year, a German-born musician named Emil Oberhoffer led the first concert of the newly formed Minneapolis Symphony. In those days it was a 50-piece ensemble, but in the course of the next 100 years, would double in size and change its name to the “Minnesota” Orchestra. As this is the Composers Datebook, we'd be remiss if we didn't mention that the Minnesota Orchestra has enjoyed a special relationship with a number of leading American composers. Aaron Copland conducted the orchestra on a memorable and televised Bicentennial Concert in 1976, and two young American composers, Stephen Paulus and Libby Larsen, served as composers-in-residence with the orchestra in the 1980s. The orchestra has also given the premiere performances of works by Charles Ives, John Adams, Ellen Taaffe Zwilich, Dominick Argento, and Aaron Jay Kernis, among many others. Music Played in Today's Program Dominick Argento (1927-2019) — A Ring of Time (Minnesota Orchestra; Eiji Oue, cond.) Reference 91

Soprano Jennifer Youngs began her 2019-2020 season with an appearance as Armida in Handel’s Rinaldo with The American Baroque Opera Company. Jennifer made her main stage Dallas Opera debut as Olimpia in Argento’s The Aspern Papers and was seen in the role of Laurette in the Dallas Opera Outreach production of Bizet’s Dr. Miracle. Opera roles include Lucia in Lucia di Lammermoor, Donna Anna in Don Giovanni, Birdie in Regina, Vitellia in La clemenza di Tito, Casilda in The Gondoliers, and Clorinda in La Cenerentola. She has been a featured soloist for Mahler’s 4th Symphony, Carmina Burana, Beethoven’s 9th Symphony, Handel’s Messiah, Haydn’s Creation, Bach’s Cantata #110, Brahms Requiem, Mozart’s Exsulate, jubilate, and Mozart Requiem. She has been a featured soloist with The Dallas Symphony, The Dallas Opera Orchestra, Abilene Philharmonic, Winston-Salam Symphony, Richardson Symphony, and University of North Texas Symphony orchestras. Jennifer is a champion for living composers and has been featured on recitals with composers Jake Heggie, Tom Cipullo, Dominick Argento, S. Andrew Lloyd, Paul David Thomas, Lisa Despain,, and Dave Brubeck. Jennifer also is a member of the GRAMMY-nominated ensemble, The South Dakota Chorale. Jennifer has been nominated for a Richard Tucker Foundation Career Grant in NYC. She is the winner of the Lois Alba Aria Competition, winner of the Kansas City District of the Metropolitan Opera Council Auditions, winner of the concerto competition at The University of North Texas, and a semi-finalist in the Loren Zachary Vocal Competition. In the fall of 2020, Dr. Youngs joined the faculty of Brigham Young University, in Provo, Utah. Previously, Jennifer was an Assistant Professor and Coordinator of Vocal Studies at Texas Woman’s University, in Denton, Texas. She earned a Doctor of Musical Arts degree in Performance and Pedagogy as well as a Master of Music degree in Performance and Opera from the University of North Texas and a Bachelor of Music degree in Performance from the Conservatory of Music at University of the Pacific. “The standout in the Rinaldo cast was Jennifer Youngs, who vividly portrayed Armida’s vulnerability as well as ferocity. Her substantive soprano alternately raged, flickered and delicately touched in high notes.” -The Dallas Morning News

On today’s date in 1966, a symphonic work by the American composer Dominick Argento received its premiere performance by the Minneapolis Civic Orchestra at the St. Paul Campus Student Center of the University of Minnesota. The work was entitled “Variations for Orchestra (The Mask of Night)” for orchestra and soprano soloist. For the premiere performances, the vocal soloist was Argento’s wife, the soprano Carolyn Bailey. The music was composed in Florence, Italy. “I vividly remember the circumstances that inspired it,” wrote Argento. “Our seventh-floor apartment in the Piazza Pitti overlooked the Boboli Gardens and behind it, out of sight, was a military barracks. Every night at 10 o’clock a bugle solemnly intoned the Italian equivalent of taps. The sound seemed to be the voice of the garden itself—moonlit, deserted, cypress-scented, and mysterious ... The trumpet theme is a 12-tone row whose first six notes, I later realized, form the opening phrase sung by the Queen of the Night in Mozart’s The Magic Flute, a role my wife had often performed.” “Consequently,” Argento concludes, “these Variations are much indebted to my favorite city, my favorite writer, my favorite composer, and my favorite soprano.”

On today’s date in 1966, a symphonic work by the American composer Dominick Argento received its premiere performance by the Minneapolis Civic Orchestra at the St. Paul Campus Student Center of the University of Minnesota. The work was entitled “Variations for Orchestra (The Mask of Night)” for orchestra and soprano soloist. For the premiere performances, the vocal soloist was Argento’s wife, the soprano Carolyn Bailey. The music was composed in Florence, Italy. “I vividly remember the circumstances that inspired it,” wrote Argento. “Our seventh-floor apartment in the Piazza Pitti overlooked the Boboli Gardens and behind it, out of sight, was a military barracks. Every night at 10 o’clock a bugle solemnly intoned the Italian equivalent of taps. The sound seemed to be the voice of the garden itself—moonlit, deserted, cypress-scented, and mysterious ... The trumpet theme is a 12-tone row whose first six notes, I later realized, form the opening phrase sung by the Queen of the Night in Mozart’s The Magic Flute, a role my wife had often performed.” “Consequently,” Argento concludes, “these Variations are much indebted to my favorite city, my favorite writer, my favorite composer, and my favorite soprano.”

This week we hear works by William Grant Still, John Knowles Paine, John Philip Sousa, Roy Harris, Ruth Crawford Seeger, Don Gillis, Dominick Argento, and Michael Daugherty. 142 Minutes – Week of June 29, 2020

Few singers have more affected my life in a more fundamental way than the great Janet Baker. This episode seeks to pay humble tribute to that exceptional artist. I have sought long and hard to find repertoire and performances that my listeners might not have heard before. While this is not an exhaustive survey (methinks a second JB episode is lurking around the corner), I do touch on many of the cornerstones of her repertoire, including Ralph Vaughan Williams, Franz Schubert, Johannes Brahms, Johann Sebastian Bach, George Frideric Handel, Christoph Willibald Gluck, Gabriel Fauré, Dominick Argento, and Gustav Mahler. I also feature composers less often associated with her, including Edvard Grieg, Pyotr Il’yich Tchaikovsky, Hugo Wolf, and Peter Aston. Her musical collaborators represented in the episode include Martin Isepp, Paul Hamburger, Josef Krips, Rafael Kubelik, Colin Davis, Geoffrey Parsons, Anthony Lewis, and Michael Tilson Thomas, among others. I present to you The High Priestess of Song. (I also pay passing tribute to the Swedish mezzo-soprano Kerstin Meyer, who died this past week at the age of 92, and Dusty Springfield, whose 81st birthday we celebrated posthumously this week.) Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your support at whatever level you can afford.

We already know what a delightful person and great artist Frederica von Stade is. We're welcoming her back to San Diego Opera in the role of Madeline Mitchell, the central character in Jake Heggie's Three Decembers. In this interview she talks about the opera and her role in it, with an additional few words about opera composer Dominick Argento who passed away just a few days before this interview (aged 91) and composed some lovely music for this singer. A wonderful few minutes with a charming lady! Enjoy! 

In this week's episode, Elizabeth and Kristina reflect on the recent passing of Pulitzer Prize winning composer and Minnesota legend, Dominick Argento, the cozy genius. You'll also hear about recent performances we've attended at the Minnesota Orchestra and Park Square Theatre. Finally, we'll share some tangled thoughts on the Me Too movement and fine arts institutions. (And if you're interested in what we're watching on Netflix, you'll hear that too.)  

In mid-March 2018, Philip sat down with Pulitzer Prize winning music composer, and Minneapolis resident, Dominick Argento. Their conversation ranges across a decades-long relationship, from the 1960s when Philip was student and Dominick his teacher at the University of Minnesota, to later periods when Philip commissioned Dom to write all kinds of choral music.

In this second of two episodes dedicated to opera, Philip talks about the business of opera and the role a Music Director plays in day-to-day financials, operations, planning and fund raising that drive an opera company. He uses his 17 years of experience with Minnesota Opera and conducting experience around the world as a tapestry for illustrating the collaboration between composers, stage directors, singers and instrumentalists in getting work from theory to closing curtain. Philip recalls his experiences commissioning and working with American composers including Conrad Susa and Dominick Argento. Later on, he dives into a brief history of bel canto arias, and we discuss why the musical Hamilton is unlikely to make an appearance at your local opera house. Philip also compares and contrasts the role of a music director in an opera company with that of a music director in a church setting. We end the discussion with Philip’s perspective on the future of opera around the world.

Episode 02 is the first of several episodes focusing specifically on choral direction and the job of being a choir director. We open with a brief review of Philip’s choral directing schedule in the month of June 2016, traveling from South Korea to Sweden; followed by a discussion of how and why Philip became a choir director. Then we dive into the job description, the “101" of Being a Choir Director. Philip talks about why choirs and singing matter today, the essential need for a steady pulse, the differences in conducting singers versus instrumentalists, diction, rehearsal techniques, mixing voice types in a choir, as well as giving answers to questions from composer Dominick Argento and others. Philip also offers a few choral directing tips learned from Robert Shaw and over 50 years of conducting singers around the world. If you’ve got questions for Philip about choral conducting or music in general, please send them to us: renaissancemanpodcast [at] gmail [dot] com. And thanks so much for listening! Music excerpts in the podcast include (in order of appearance): "Quartet Of Swedes - Swedish Born And Swedish Bred" by Benjamin Britten, performed by The Plymouth Music Series (now VocalEssence) from Britten’s opera Paul Bunyan conducted by Philip Brunelle for via Virgin Classics (1987) "Deo Dicamus Gratias" sung by the Plymouth Congregational Church choir off the album Praise And Thanksgiving: Music And Spoken Word, conducted by Philip Brunelle (2006) "Tocotta In F Major" for organ by Charles-Marie Widor, performed by Philip Brunelle off the album Make A Joyful Noise (1998) "Riksdagsmusiken In D Major - Riksdagsmarsch” by Joseph Martin Kraus, performed by the Orchestra of The Royal Swedish Opera conducted by Philip Brunelle (1996) "Zuni Sunrise Song" by Anonymous/Brent Michael Davids, performed by VocalEssence Ensemble Singers and conducted by Philip Brunelle off the album The World Beloved - A Bluegrass Mass (2010) "Since The Birth Of The Earth” by Benjamin Britten, performed by The Plymouth Music Series (now VocalEssence) from Britten's opera Paul Bunyan conducted by Philip Brunelle for via Virgin Classics (1987) "Quartet Of Swedes - Swedish Born And Swedish Bred" by Benjamin Britten, performed by The Plymouth Music Series (now VocalEssence) from Britten’s opera Paul Bunyan conducted by Philip Brunelle for via Virgin Classics (1987) "The Mask (text G. Gwendolyn) - The Mask_ No. 2. Heritage” by William Bolcom/Gwendolyn Bennett, performed by VocalEssence Ensemble Singers and conducted by Philip Brunelle off the album The World Beloved - A Bluegrass Mass (2010)