Bang the Lion has lost his beat. How will he find it? The Lolli-Pops gang, guest conductor James Judd, and audiences will help him, as The Little Orchestra Society (LOS) presents, WHO'S GOT THE BEAT?, today, February 9, at 10:00 a.m. and 11:30 a.m., and Sunday, February 10, at 1:00 p.m. and 2:30 p.m., at The Kaye Playhouse at Hunter College (68th St. between Park and Lexington Aves.). Children will join Bang, Buzz the Bee, Toot the Bird and Bow the Panda as they explore New York, finding that the beat is everywhere - in the pulse of the city and in the pulse of our bodies. With music by Bernstein, Bizet, Dvo?ák, and many other composers, kids discover the rhythms and beats that make music move and will use rhythm sticks to help Bang regain his inner beat. The program is directed and choreographed by Annette Jolles. The orchestra has the beat, can you find it?
WHO'S GOT THE BEAT? (recommended for ages 3-5)
JAMES JUDD, GUEST CONDUCTOR
SATURDAY, FEBRUARY 9, 2013, 10:00 A.M. AND 11:30 A.M.
SUNDAY, FEBRUARY 10, 2013, 1:00 P.M. AND 2:30 P.M.
BEETHOVEN - Allegretto scherzando from Symphony No. 8
BERLIOZ - Excerpt from Symphonie Fantastique
BERNSTEIN - New York, New York (A Helluva Town)
BIZET - "Habanera" from Carmen
COHAN - Give My Regards to Broadway
COPLAND - "Hoe-Down" from Rodeo
DVORÁK - Slavonic Dance Op. 46, No. 8 (Presto)
GLIÈRE - Russian Sailor's Dance from The Red Poppy
KANDER & EBB (arr. J. Meci) - New York, New York
MONTI - Csárdás
NORWORTH/TILZER - Take Me Out to the Ballgame
ROSSINI - Overture to The Barber of Seville
TRADITIONAL - When the Saints Go Marching In
Performances are at The Kaye Playhouse at Hunter College (68th Street, between Park and Lexington Avenues). Single tickets: $15 (rear balcony/rear orchestra) or $45 (front balcony/front orchestra); 3-concert series from $45 (rear balcony/rear orchestra) or $99 (front balcony/front orchestra); available by calling 212/971-9500 or at littleorchestra.org, or call The Kaye Playhouse box office at 212/772-4448.
Join the Conductor's Circle to receive exclusive privileges. Benefits include: best seating in the concert hall, concierge ticketing, invitations backstage to meet the guest conductors and artists, and two complimentary tickets to an LOS performance. Conductor's Circle membership helps to keep music in the lives of thousands of New York City public school students through LOS's music education and public service programs. Please call the development office at 212/971-9500 for more information.
The Little Orchestra Society's new website serves as the gateway to its live magical and musical experiences. Parents and kids can find activities, games, chats and other materials surrounding Little Orchestra Society concerts at any time through the LOS Kids section of www.littleorchestra.org.
In the Lolli-Pops series (recommended for ages 3-5) the programs introduce young children to the basic elements of music, and incorporate dance, music and visual art with the help of characters who each represent one of the four families of the orchestra. At every Lolli-Pops concert children actively participate in the program and also receive musical instruments or educational materials to take home. Preparatory and follow-up activities are sent via email to all concert attendees. The Lolli-Pops series was originally created by the Orchestra's late Music Director, Dino Anagnost. The series is directed and choreographed by Annette Jolles.
About James Judd, Guest Conductor
An artist of outstanding versatility, British conductor James Judd is sought after for his passionate musicianship and his charismatic presence both on and off the podium. Known for his extraordinarily communicative style and bold, imaginative programming, in his distinguished career he has appeared with the Berlin Philharmonic, Rotterdam Philharmonic, Orchestre National de France, Royal Philharmonic, London Symphony, English Chamber Orchestra, NHK Symphony Orchestra of Tokyo and the orchestras of Dallas, St. Louis, Baltimore and Montreal, among others.
Performance highlights from this past season include engagements with the Royal Concertgebouw Orchestra, the Orchestra of Santa Cecilia Rome, the Vienna Symphony and a tour with the Asian Youth Orchestra, of which he is Principal Conductor.
An accomplished opera conductor, Judd has appeared with the English National Opera, Wexford Festival, Glyndebourne Opera Festival and Florida Grand Opera, where he was Artistic Director from 1993-1996. Selected works from previous seasons include staged and concert performances of Tannhäuser, Fidelio, La Traviata, Le Nozze di Figaro, Don Giovanni, Un Ballo in Maschera, La Bohème, and The Turn of the Screw. His recordings include the complete operas of Meyerbeer and Donizetti.
Considered one of the pre-eminent interpreters of British orchestral music, Judd's recording of Elgar's Symphony No. 1 with the Hallé Orchestra is still a highly regarded reference standard among conductors today. An extensive discography on the Naxos label, including an unprecedented number in partnership with the New Zealand Symphony Orchestra, include critically acclaimed recordings of Gershwin, Vaughan Williams and Copland. His recording of Mahler's Symphony No. 1 was awarded the Gold Medal by France's Diapason as well as the Toblacher Komponierhäuschen for the best Mahler recording of the year. His most recent release, a collaboration with the brilliant British pianist Benjamin Grosvenor and the Royal Liverpool Philharmonic, will be available in February on the Decca label.
During his eight years as Music Director of the New Zealand Symphony Orchestra, James Judd brought the ensemble to a new level of visibility and international renown. In addition to recording, Judd led the NZSO on its first tour of the major concert halls of Europe, including the Concertgebouw and the Royal Albert Hall, where it performed at the BBC Proms.
Previous directorships include principal guest conductor of the Orchestre National de Lille, principal guest conductor of the Adelaide Symphony, and a groundbreaking 14 years as music director of the Florida Philharmonic Orchestra. During Judd's tenure, contemporary programming initiatives, critically acclaimed performances and the development of a hugely successful summer festival marked a period of striking artistic growth for the ensemble, culminating in international recognition for their recordings of Walton, Bernstein and Mahler.