It’s a familiar farewell between students at Creative Arts Morgan Village Academy and Music Alive Composer-in-Residence Hannibal.
Hannibal describes the school, located in Camden, NJ, as an “oasis.” He recently met with members of the jazz band to discuss his new work for The Philadelphia Orchestra, Healing Tones––the text of which they helped to inspire.
It’s no secret that The Philadelphia Orchestra spends a lot of time away from Verizon Hall. Every summer it heads to the Mann Center, Vail, and Saratoga. There are regular visits to New York’s Carnegie Hall and community concerts around Philadelphia, plus frequent overseas tours.
It’s not as if Gian Carlo Menotti sat down one day and said, “I think I’ll invent a new genre today.” Yet with the composition of Amahl and the Night Visitors in 1951 (the Philadelphians perform the work December 13 and 15), that is essentially what he did. Almost unwittingly, the Italian-born American created what has come to be considered the first opera composed for television.
Sometime in the early 1960s, when I was age 9 or 10, my father arrived home with an LP recording from a specialist gramophone store in Soho, London. The most memorable tracks on this anonymously recorded disc were Leroy Anderson’s Sleigh Ride and the Christmas song Mary’s Boy Child, each performed in slightly syrupy arrangements the style of which we came to associate with America. This was something quite alien to the so-called “sophisticated” world of Kings College Choir, Cambridge, heard then, as now, every Christmas Eve on BBC radio.
Guest conductor Cristian Măcelaru leads The Philadelphia Orchestra in the full-orchestra version of Aaron Copland’s complete score for Appalachian Spring on November 23 and 24 (more information and tickets can be found here). The following excerpt from an essay in the score written by Aaron Sherber, former music director of the Martha Graham Dance Company, explains the history behind the piece and how this newly completed version of the ballet score came to be.
French conductor Emmanuelle Haïm makes her Philadelphia Orchestra debut November 16-18 with a program of works by two composers who dominated the English musical scene during the Baroque period: Henry Purcell and George Frideric Handel. We asked Emmanuelle to describe her program.
Yannick and the Orchestra perform the US premiere of Stacey Brown’s Perspectives November 29-December 1. Born in Kamloops, British Columbia, Stacey began Suzuki piano lessons at the age of five, and studied at the University of Victoria and the University of Montreal. Perspectives was inspired by a sculpture by Canadian composer Michel Longtin.
During Leopold Stokowski’s tenure as music director of The Philadelphia Orchestra (1912-41), patrons would often line up around the block of the Academy of Music, even in poor weather, to hear the world-renowned ensemble. Stokowski began to dream of new formats to bring classical music to an even wider audience. In The Philadelphia Orchestra: A Century of Music, Joseph Horowitz explains: “Foremost in his thinking was Hollywood—its glamour, its mass impact and appeal.
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