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VITAL VOX: A VOCAL FESTIVAL explores the myriad power of the human voice in its solo and ensemble forms across a multitude of genres. This annual two day festival celebrates composer-performers and ensembles in the vocal arts who stretch and expand the voice in new and original ways.
Erdem Helvacioglu & Sasha Bogdanowitsch
New contemporary works for voice and live electronics with composer/ performers, Erdem Helvacioglu & Sasha Bogdanowitsch.
Singer/composer Timothy Hill weaves a natural purity of voice
with threads of otherworldly abstract sound. Hill’s musical explorations
span the genres of folk, jazz, world music, contemporary classical
An improvisatory vocal collective – makes its debut, spinning its web of spontaneous harmony over rhythmic grooves. With singers and musicians from diverse traditions and backgrounds – including members of The M6: Meredith Monk Music Third Generation, practitioners of the vocal improvisation techniques of Bobby McFerrin & Rhiannon, and classically trained choral singers and composers, Moving Star lights up the air with song. The ensemble will consist of: Thomas Cabaniss, ,Jascha Hoffman, Onome, Sasha Bogdanowitsch , Alec Galambos, Amy Carrigan, Malia Kulp, Nick Demeris, Catherine Brookman, , Jean Rohe, David Rosenmeyer, and Bonita Oliver.
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‘MultiBand‘ is the title of Composers Concordance 5th annual festival, to be held fromNovember 24th through December 12th, 2015. The five festival concerts will focus on a myriad of meanings of the word ‘Band,’ as well as how composers choose to interact with their respective bands. At The Cutting Room, the opening concert will feature the CompCord Big Band, premiering ten new compositions for the standard big band instrumentation. The second concert, to be held at Spectrum NYC, will be the 7th annual ‘Composers-Play-Composers Marathon.’ -In lieu of the festival title, no fewer then twenty-one composers, embedded with dynamic trios and quartets from NYC’s contemporary music scene, will perform original compositions inspired by the word ‘Band.’ The third concert, entitled ‘Bands of Gypsies,’ draws its influence from the epic Jimi Hendrix album. A large group of guitarists and composers will take over the St. Mark’s Church space, to present a performance focusing on the guitar in its various aspects. The fourth concert will showcase a virtuoso fusion band from the west coast: SWARMIUS, at the innovative Gallery MC. The festival will wrap up at the DiMenna Center, with a program entitled ‘Eclectic Bands.’ Three composer-led bands: Ido, Nine Live and Sound Liberation, will set up in the round to present a quick-tandem performance in which the audience will hear a diverse repertoire indeed, including a grand finale in which all three bands will perform together new arrangements of Irving Berlin’s classic song ‘Alexander’s Rag Time Band.’
“For the past 30 years, Composers Concordance has been a booster for local composers, through both its concerts across the city and a record label.” -The Wall Street Journal.“Enterprising new music organization” -The New York Times. Staying in rotation for thirty years in NYC is a rare feat. In the case of a new music presenting organization, it requires not only diligence and cognizance of achievements of the past, but also an ethic of keeping one’s ear to the ground for emerging stylistic and technological developments, as well as talented new composers on the scene. Composers Concordance strives to present contemporary music in innovative ways, with an emphasis on thematic programming. It has also created a new record label, Composers Concordance Records, with distribution by Naxos. Directors Gene Pritsker and Dan Cooper co-curate the programs, and lead the CompCord Ensemble, Chamber Orchestra, String Orchestra, and Big Band. Associate Directors for the 2015-16 season are Milica Paranosic, Peter Jarvis, Svjetlana Bukvich, and Melissa Grey. Composers Concordance’s overriding vision is to promote contemporary music, composers, and new works as a rightful and respected part of society. Good music, performed and recorded well, pushing the boundaries of sound and composition.
The Los Angeles Master Chorale (LAMC) and Artistic Director Grant Gershon champion a new generation of choral composers affiliated with the City of Angels with “Made in L.A.,” a major multi-year initiative aimed at branding Los Angeles as the nexus for choral art in the country and around the world, which launches with a concert featuring four Chorale-commissioned works, including three world premieres and a U.S. premiere on Sunday, November 15, 2015, 7 pm, at Walt Disney Concert Hall. Gershon conducts the world premieres of Ave Maria/Scarborough Fair by Paul Chihara, a prolific composer celebrated for works “sleek and luxuriously colored” (New York Times); In the Desert With You by new-to-the-Chorale “vocal shape-shifter” Moira Smiley; and Filipino-American composer Nilo Alcala’s Mangá Pakalagián, which features special guest Subla, a Filipino kulintang ensemble led by master musician Danny Kalanduyan. Gershon also leads the U.S. premiere of The Salvage Men, the first choral commission by four-time Emmy Award-winning House of Cards composer Jeff Beal, which was co-commissioned by LAMC and the Eric Whitacre Singers, and further showcases LA’s deep pool of talented composers with Dale Trumbore’s The Whole Sea in Motion, set to text from the 1907 novel Agnes Grey by British author Anne Brontë; and Matthew Brown’s wistful Another Lullaby for Insomniacs, set to a poem by A. E. Stallings. Bookending the program are works by two former LAMC Composers in Residence: National Medal of Arts recipient Morten Lauridsen’s richly textured Ave Maria; and Shawn Kirchner’s soaring Memorare, an a cappella setting of the beloved Marian devotional prayer.
“L.A. has become an incredible hotbed for some of the most interesting, creative and exciting composers writing for voice today,” notes Gershon. “Our goal with the ‘Made in L.A.’ initiative is to nurture these composers and closely align the Los Angeles Master Chorale with this emerging choral renaissance. By championing the next wave of creative talents, we can make the strongest possible impact on the future of choral music.”
Alcala’s piece completes the final chapter of the Chorale’s acclaimed LA is the World commissioning series, a multi-year initiative conceived by Gershon as a collaboration among American composers, master musicians and the choir to expand the choral repertoire with works that mirror L.A.’s vibrant multicultural fabric. It is funded in part by the James Irvine Foundation.
Tickets range from $29 – $129. Group rates are available. For tickets and information, please call (213) 972-7282, or visit www.lamc.org. Tickets can also be purchased in person in advance at the Dorothy Chandler Pavilion Box Office (Mon-Sat, 10 am-6 pm) and at the Walt Disney Concert Hall Box Office on concert days starting 2 hours prior to the performance. The Walt Disney Concert Hall is located at 111 South Grand Avenue at First Street in downtown Los Angeles.
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Resident Oboist of Salastina Music Society and Principal Oboe of the Los Angeles Philharmonic, Ariana Ghez, performs some of her favorite chamber works for her instrument
Los Angeles, CA – (October 24, 2015) – The Salastina Music Society presents a program of chamber music works for the oboe, chosen and performed by Principal Oboe of the Los Angeles Philharmonic Ariana Ghez on November 6-7, 2015.
Ghez was appointed Resident Oboist of the Salastina Music Society for the 2015-2016 season, the sixth year of existence for the chamber music series. Two works on the program, by Elliott Carter and Ilja Hurnik, will feature an ensemble of oboe, flute, cello, and harpsichord. A Trio Sonata by J.S. Bach and a beautiful work for solo oboe, Benjamin Britten’s Metamorphoses, will round out the program.
“Ariana had performed with us on a previous concert, and we really enjoyed her collaborative attitude and stunning oboe playing” says co-director Kevin Kumar. “We enjoy inviting different guest artists for each concerts, but we wanted to try something different this season and appointed two resident musicians. This allows us to feature the artistry of great musicians and build interesting programs around certain instruments. Many people are familiar with Ariana’s playing with the LA Phil, but now they can hear her in a more intimate setting!”
Co-director Maia Jasper continues, “Ariana came to us with a clear idea of pieces she wanted a chance to perform and felt should be heard. It’s a testament to her sincere musicianship that the works she chose weren’t just showpieces for the oboe but fascinating music for four equal partners. We are thrilled to present this program and have her on the roster this year!”
The November 6th and 7th programs will both be:
Elliott Carter: Sonata for Flute, Oboe, Cello, and Harpsichord
Ilja Hurnik: Sonata Da Camera
Benjamin Britten: Metamorphoses
J.S. Bach: Trio Sonata
Los Angeles Philharmonic Principal Oboist Ariana Ghez will be joined by Salastina Music Society co-director Maia Jasper (violin), LA Phil cellist Jason Lippmann, Pacific Symphony Orchestra Principal Flute Benjamin Smolen, and celebrated harpsichordist Steven Beck.
The concerts will take place on November 6, 2015 at 8pm at Calvary Presbyterian Church (1050 Fremont Avenue, South Pasadena, CA 91030) and on November 7, 2015 at 8pm at Edye Second Space at the Broad Stage (1310 11th St, Santa Monica, CA 90401). Discounted tickets ($28) for each concert can be purchased at www.salastinasociety.org; regular-priced tickets ($35) will be available at the door. Students with valid ID may purchase tickets for $10. Tickets can be purchased at: http://salastinasociety.tix.com/ or call (323)332-6874 for more information.
About Salastina Music Society:
The Salastina Music Society enriches minds, hearts, and our greater community through world-class and educational performances of chamber music. Since its founding six years ago, Salastina has earned a national reputation for bringing a fresh approach to the classical concert experience, resulting in innovative performances with broad audience appeal.
Salastina presents between twelve and twenty concerts and educational events annually for audiences of all types — ranging from the classical music cognoscenti to new listeners of all ages. With a repertoire spanning three centuries, including special priority given to premieres by living composers, Salastina curates intimate and informative concert experiences, providing listeners with a field guide to the vast, rich landscape of chamber music.
Mirroring its audience’s diversity, Salastina’s expert musicians of varying ages, cultures, and backgrounds comprise an evolving repertory company capable of presenting chamber music of every style, instrumentation, and historical period. (Visit salastinasociety.org to learn more about our illustrious roster of guest artists, which includes opera stars, world-renowned chamber musicians, and principal players of the country’s great orchestras.)
Salastina’s annual calendar typically includes over a dozen concert programs and special events, performances throughout California, guest appearances on other highly-regarded concert series, recording activities, and frequent national broadcasts on American Public Media’s Performance Today.
Los Angeles Chamber Orchestra (LACO) opens its five-concert Baroque Conversations series with an evening led by Iranian-born harpsichord virtuoso Mahan Esfahani featuring works by Bach, Telemann and Erlebach on Thursday, November 12, 2015, 7 pm, at Zipper Concert Hall in downtown Los Angeles. Esfahani, lauded by The New York Times for his “soulful flair,” is joined by LACO concertmaster Margaret Batjer; assistant concertmaster Tereza Stanislav; Victoria Miskolczy, associate principal viola; Robert Brophy, viola; Armen Ksajikian, associate principal cello; Peter Lloyd, acting principal bass; Sandy Hughes, flute; and Allan Vogel, principal oboe; and guest musician John Schneiderman, theorbo. The program includes Erlebach’s Ouvertüre IV; Telemann’s Paris Quartet No. 7 in D major; and Bach’s Sonata in G minor for Oboe and Harpsichord and Harpsichord Concerto No. 1 in D minor. A complimentary wine reception for all ticket holders begins at 6 pm.
Esfahani, in demand around the globe, has been hailed as “one of today’s most thrilling harpsichordists” (Gramophone) and proclaimed a “superstar whose musicianship, imagination, virtuosity, cultural breadth and charisma far transcends the ivory tower in which the harpsichord has traditionally been placed” (The Times). Since making his London debut in 2009, he has worked tirelessly to establish the harpsichord in the mainstream of concert instruments in classical and contemporary repertoire, including giving the first harpsichord recital in the history of the BBC Proms in 2011.
LACO’s highly regarded Baroque Conversations series spotlights repertoire from early Baroque schools through the pre-classical period. In signature LACO style, artists share their insights into the music and invite questions from the audience, which provides an in-depth look at the music being presented as well as an opportunity to get to know LACO artists on a deeper level. Each Zipper Hall program begins with a wine and hors d’oeuvres reception.
Additional Baroque Conversations performances take place on February 4, March 24 and April 21, 2016, 7 pm, at Zipper Hall in downtown Los Angeles; and on Saturday, May 21, 2016, 8 pm, at USC’s Bovard Auditorium in partnership with the 2016 Piatigorsky International Cello Festival. Baroque Conversations is generously sponsored by Carol & Warner Henry, a Friend of LACO and the Ronus Foundation.
Los Angeles Chamber Orchestra is considered one of the world’s premier chamber orchestras as well as a pacesetter in presenting wide-ranging repertoire and adventurous commissions.
Single tickets for the concert on November 12 (beginning at $57) and subscriptions to all five “Baroque Conversations” concerts ($260) are available online at laco.org, or by calling LACO at 213 622 7001. Single tickets can also be purchased at the venue box office on the night of the concert, if tickets remain. Discounted tickets are available by phone for groups of 12 or more. College students may purchase student rush tickets ($12), based on availability, at the box office an hour before the concert.
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Two of Boston’s leading musical ensembles—the Boston Modern Orchestra Project (BMOP) and Odyssey Opera—unite on one stage for a special concert honoring the great Pulitzer-winning composer Gunther Schuller (1925-2015). Thanks to these organizations’ diverse aesthetics, the program offers a new sound as it weaves jazz vernacular into the symphonic and operatic world. Made legible for even the youngest ears, Schuller’s Journey Into Jazz and The Fisherman and His Wife will be performed by members of BMOP, Odyssey Opera, and led by conductor Gil Rose.
When: Sunday, November 22 at 3:00 p.m. (pre-concert talk 2:00 p.m.)
Where: Jordan Hall, 30 Gainsborough Street, Boston, MA,
T: Green to Symphony
Tickets: General $20-$50/Students $10. To purchase, contact BMOP at BMOP.org or by telephone 718.324.0396. Also available from the Jordan Hall box office in person or online at tix.com.
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PIANO SPHERES AT REDCAT PRESENTS SATELLITE SERIES ARTIST NADIA SHPACHENKO TUESDAY, OCTOBER 27 WITH “IN FULL SAIL”
Program of Works for Piano, Toy Piano, Percussion, Electronics, and
Multimedia Featuring Three World Premieres
The Piano Spheres Series at REDCAT opens with Satellite Artist pianist Nadia Shpachenko. Described by critics as “spellbinding in sensitivity and mastery of technique,” she enjoys bringing into the world powerful pieces that often possess unusual sonic qualities or instrumentation. The program IN FULL SAIL will feature piano, toy piano, percussion, electronics, and multimedia in works composed for Nadia by seven American composers in 2013 and 2015. The composers in the program are Tom Flaherty, Annie Gosfield, James Matheson, Harold Meltzer, Adam Schoenberg, Lewis Spratlan, and Peter Yates. The Satellite Series is co-presented with REDCAT, with recitals held at Walt Disney Concert Hall’s REDCAT THEATRE, 631 West 2nd Street, Los Angeles, CA 90012. Tickets are available at REDCAT or the box office, or for information go to www.pianospheres.org.
The title of the concert IN FULL SAIL is taken from Frank Gehry’s description of the IAC Building in Manhattan as “a tall ship in full sail” with a similar reference from the Los Angeles Times to the Walt Disney Concert Hall as “a galleon in full sail.” Harold Meltzer’s new piano piece, In Full Sail, was written about the first building, but will have its World Premiere at REDCAT – part of the second. This concert presents the world premieres of three architecture-inspired works commissioned by Piano Spheres. Pulitzer Prize-winning composer Lewis Spratlan’sBangladesh conveys the transformative hope of Louis Kahn’s Government Center in Dhaka. The American Academy in Berlin fellow Annie Gosfield’sThe Dybbuk on Second Avenue reflects the changing mix of influences in one theater in the Lower East Side’s “Jewish Rialto” over the years: from Yiddish theater to burlesque, from Chekhov to William Burroughs. Pulitzer Prize finalist Harold Meltzer’sIn Full Sail responds to Frank Gehry’s IAC Building in Manhattan, reflecting the structure and the movement of people around and through it.
This concert also features works from Nadia’s recently released album Woman at the New Piano: American Music of 2013. Tom Flaherty’s composition Airdancing for piano, toy piano, and electronics “is based on stunning videos of Felix Baumgartner’s jump from space, the second stage of a rocket falling from edge of space into the ocean, and people jumping off cliffs in wing suits. Many of the musical gestures fall or float, and pitches, rhythms and sounds often turn to frenzied dance,” according to the composer. Peter Yates’ piece Finger Songs uses various means to bring to the keyboard the syllabic accents, timbres and articulations of speech or vocal music. Off-beat dissonances resolve to on-beat pure tones, with syncopations flickering around beats present or implied. Adam Schoenberg’s composition Picture Etudes started as a commission to write a 21st century Pictures at an Exhibition. The composer says of the pieces “Unlike Modest Mussorgsky, who set all of his movements to the work of Viktor Hartmann, my piece brings eight seemingly disparate works of art to musical life. In honor of Mussorgsky and his original work for solo piano, four of the ten movements were conceived in the form of piano etudes and later orchestrated.” James Matheson’sCretic Variations is a virtuosic fantasy on the simple rhythmic motif of long-short-long “which is enormously versatile in music and can be alternately thunderous and playful, melancholy and spirited. There is scarcely a measure in which this rhythm or some closely-related version of it is not sounding somewhere on the instrument.”
In 2016 Nadia will premiere three more new works written for the architecture-inspired program by Amy Beth Kirsten, Hannah Lash, and James Matheson at the New Music Gathering and at Boston Court.
Nadia Shpachenko – “In Full Sail”
October 27, 2015, 8:30pm
Tom Flaherty – Airdancing for piano, toy piano, and electronics (2013)
with Genevieve Feiwen Lee
Peter Yates – Finger Songs (2013)
Adam Schoenberg – Picture Etudes (2013)
James Matheson – Cretic Variations (2013)
Harold Meltzer – In Full Sail – World Premiere, Piano Spheres commission
Annie Gosfield – The Dybbuk on Second Avenue – World Premiere, Piano Spheres commission
Lewis Spratlan – Bangladesh – World Premiere, Piano Spheres commission
Steinway Artist Nadia Shpachenko-Gottesman has performed extensively in solo recitals and with orchestras in major venues across North America, Europe and Asia. Nadia enjoys bringing into the world things that are outside the box – powerful pieces that often possess unusual sonic qualities or instrumentation. She performs on piano, toy piano, harpsichord, and percussion in concerts that often feature recitation, electronics and multimedia.
An enthusiastic promoter of contemporary music, she has performed world and national premieres of numerous piano, string piano, and toy piano works by Elliott Carter, George Crumb, Tom Flaherty, Yuri Ishchenko, Leon Kirchner, James Matheson, Adam Schoenberg, Diego Vega, Iannis Xenakis, Peter Yates, and others.
Nadia’s concerts included solo recitals at Concertgebouw, Carnegie Hall, Bargemusic, the Phillips Collection, and the Los Angeles County Museum of Art, chamber performances at the Hear Now, Sarasota, and Montecito Music Festivals, and concerto appearances with the Kharkov Philharmonic and the Ukrainian National Symphony Orchestras. As a chamber musician, Nadia frequently collaborates with prominent artists, including Emanuel Borok, Martin Chalifour, Justin DeHart, Kevin Fitz-Gerald, Maja Jasper, Genevieve Lee, Timothy Loo, Jerome Lowenthal, Marek Szpakiewicz, Nick Terry, and the Lyris Quartet.
Described as “an exceptional recording of newly composed piano works,” Nadia’s World Premieres CD Woman at the New Piano: American Music of 2013 was released worldwide on the Reference Recordings label in November 2014. Her upcoming recording project The Poetry of Places will bring together music and architecture in works written for her by Annie Gosfield, Amy Beth Kirsten, Hannah Lash, James Matheson, Harold Meltzer, and Lewis Spratlan. Nadia currently serves on the faculties of Cal Poly Pomona and Claremont Graduate Universities. Born in Ukraine, and now a long time Southern Californian, Nadia Shpachenko resides in the Los Angeles area with her husband and twin sons.
On Monday, October, 26, 3:00-4:30pm there will be a free workshop at Boston Court with Nadia and composers Lewis Spratlan and Harold Meltzer, facilitated by Piano Spheres artist Vicki Ray. The workshop allows the audience an opportunity to interact with all the principals. The mentee, mentor, and composers will address the audience to describe the process of creating.
The Satellite Series is a central component of Piano Spheres’ 20th Anniversary Celebration and offers a direct tie to the spirit of the organization’s founding. When the late Leonard Stein launched Piano Spheres in 1993, he did so with four young pianists whom he had mentored at USC. In the two decades since, these four Piano Spheres artists – Gloria Cheng, Vicki Ray, Mark Robson and Susan Svrcek – have become recognized as among the foremost interpreters of contemporary works for piano. Much as Stein mentored them, they now mentor the next generation of pianists in introducing these emerging artists to a broader audience.
Piano Spheres supports and encourages the composition and performance of major new works for the piano. It expands the piano repertoire by commissioning new music and sustaining a concert series of the highest artistic quality which focuses primarily on pieces by contemporary composers. In its concerts, Piano Spheres provides a context for these new works by including lesser-known music by established composers whose compositions influenced the course of piano music.
Los Angeles Chamber Orchestra announces that it is a grantee recipient of Bloomberg Philanthropies’ Arts Innovation and Management (AIM) program. Through the two-year initiative, Bloomberg Philanthropies is providing $30 million across 262 small and mid-sized nonprofit cultural organizations around the country to help strengthen their operational and programming efforts, including training in fundraising, audience development and board member engagement.
“Los Angeles Chamber Orchestra is deeply grateful to be selected for this prestigious and highly impactful grant from Bloomberg Philanthropies,” says LACO Executive Director Scott Harrison. “It will enable the Orchestra to focus on some of its highest strategic priorities and share our music with even more audiences. We applaud the major commitment Bloomberg Philanthropies is making to support the arts in the Los Angeles.”
LACO will use the grant to help expand strategic fund raising efforts and enhance the artistic excellence and community programs for which the Orchestra is recognized. It will enable the Orchestra to bolster audience engagement and capacity building in anticipation of its 50th anniversary and beyond.
The invitation-only program supports nonprofit cultural organizations based in six cities: Boston, Chicago, Dallas, Detroit, Los Angeles and San Francisco. All organizations are locally or internationally recognized nonprofits that have been in existence for at least two years. The grantees are required to participate in a management training program; secure matching funds; ensure 100% board participation in fundraising; and maintain up-to-date information in the Cultural Data Project, an online financial & data collection platform that assists arts organizations across the country to collect, learn from, and use data effectively. The grants are unrestricted so that recipients can use them to address their greatest needs.
Bloomberg Philanthropies is partnering with the DeVos Institute of Arts Management at the University of Maryland to develop curricula and conduct trainings for the AIM program in each city. The comprehensive workshops engage organizations around activities that strengthen their long-term health and goals and include consultations and implementation support for arts managers and their boards.
First piloted in New York City, Bloomberg Philanthropies supported 245 grantees through AIM from 2011-2013. Participating organizations reported improvements in audience development, board engagement and fundraising over the two-year program.
About Los Angeles Chamber Orchestra
Los Angeles Chamber Orchestra (LACO), proclaimed “America’s finest chamber orchestra” by Public Radio International and “resplendent” by the Los Angeles Times, has established itself among the world’s top musical ensembles. Since 1997, LACO has performed under the baton of acclaimed conductor and pianist Jeffrey Kahane, hailed by critics as “visionary” and “a conductor of uncommon intellect, insight and musical integrity” with “undeniable charisma,” “effortless musicality and extraordinary communicative gifts.” Under Kahane’s leadership, the Orchestra maintains its status as a preeminent interpreter of historical masterworks and a champion of contemporary composers. During its 47-year history, the Orchestra has made 31 recordings, toured Europe, South America and Japan, performed across North America and garnered eight ASCAP Awards for Adventurous Programming. Headquartered in downtown Los Angeles, LACO presents its Orchestral Series on Saturdays at Glendale’s Alex Theatre and on Sundays at UCLA’s Royce Hall; Baroque Conversations at downtown Los Angeles’ Zipper Concert Hall and USC’s Bovard Auditorium; Westside Connections chamber music series, designed to illustrate the relationship between music and other artistic disciplines, at the Moss Theater in Santa Monica; and an annual Discover concert, which features an in-depth examination that sheds new light on a single piece of music, at Pasadena’s Ambassador Auditorium. LACO also presents a Concert Gala; LACO @ the Movies, featuring the Orchestra performing the score live; and several fundraising salons each year. Additionally, LACO outreach programs, Meet the Music, Community Partners, Campus to Concert Hall and the LACO/USC Thornton Strings Mentorship Program, reach thousands of young people annually, nurturing future musicians and composers as well as inspiring a love of classical music.
About Bloomberg Philanthropies
Bloomberg Philanthropies works to ensure better, longer lives for the greatest number of people. It focus on five key areas for creating lasting change: arts, education, the environment, government innovation, and public health. The arts are a valuable way to engage citizens and enhance communities. Through innovative partnerships and bold approaches, the Bloomberg Philanthropies arts program works to increase access to culture using new technologies, empowering artists and strengthening cultural organizations to reach broader audiences. For more information, please visit bloomberg.org or follow us Facebook, Instagram and Twitter @BloombergDotOrg.
About the DeVos Institute of Arts Management
The DeVos Institute has served more than 1,000 organizations from over 80 countries since Michael M. Kaiser founded it during his tenure as President of the John F. Kennedy Center for the Performing Arts in Washington, D.C. The Institute has designed its services to assist a wide range of institutions, from traditional performing and presenting organizations, museums and galleries, arts schools and libraries, to botanical gardens, glass-making studios, public art trusts, and non-profit cinemas, to name a few. The DeVos Institute transferred its activities and offices from the Kennedy Center to the University of Maryland in September 2014. The move enables the Institute to expand its global training and consulting programs, enhance its fellowships for North American and international arts managers within the context of a major educational institution, and create a Master’s program that leverages both University and Institute resources.
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