Andrea Vettoretti Guitar and Corrado De Bernart Piano
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Andrea Vettoretti Guitar and Corrado De Bernart Piano
plays Spirals by Stella Sung
The piece is dedicated to Andrea Vettoretti. You can find the cd in sinfonica.com
As a national and international award-winning composer, Stella Sung's compositions are performed throughout the United States and abroad. Sung was the first Composer-in-Residence for the Orlando (FL) Philharmonic Orchestra, (2008-2011), and continues to serve as Composer-in-Residence for Dance Alive National Ballet (Gainesville, FL ). As a recent recipient of a Music Alive award, Dr. Sung is currently serving as Composer-in-Residence for the Dayton (OH) Performing Arts Alliance (Dayton Philharmonic Orchestra, Dayton Ballet, and Dayton Opera). During the course of her three-year residency, she will be creating new works for orchestra, ballet, and opera.
Since 2003, Sung has been using digital and multi-media applications in her concert and symphonic compositions, music for dance and ballet, and now most recently in her new opera,
The Red Silk Thread: An EpicTale of Marco Polo, (premiere: April 17/19, 2014 at the University of Florida Curtis M. Phillips Center for the Performing Arts, (Gainesville, FL). In collaboration with the UF School of Music, and with guest stage director Beth Greenberg (New York City Opera), this work will feature several technological aspects in the production, including the use of advanced projection techniques and other stage design concepts using technology.
Sung's solo piano compositions, Toccata and Tango Zarabanda, have been selected by Santiago Rodiguez, artistic director for the 2015 Florida International Piano Competition, as required competition pieces for all semi-finalists.
Stella Sung is the recipient of the 2007-2010 Phi Kappa Phi National Artists Award, as well as a 2009-10 Meet the Composer award. She is a two-time winner of a Florida Individual Artists Fellowship, sponsored by the Division of Cultural Affairs for the State of Florida, as well as the 2005 recipient of a Florida Artists Enhancement award. She was a Fellow at the prestigious MacDowell Colony, and was the recipient of the Norton Stevens Fellowship. Other awards have been from the National Endowment for the Arts, Meet the Composer, the German Ministry of Culture, the American Society of Composers, Authors, and Publishers (ASCAP), and the Division of Cultural Affairs of the State of Florida. Premieres and performances of her work have included performances at Carnegie Hall (New York, NY), Symphony Hall (Boston, MA), the Sydney Opera House (Sydney, Australia),the Schauspielhaus (Berlin, Germany), the Phillips Collection (Washington, D.C), Merkin Hall (New York, NY), the Nathan H. Wilson Center for the Performing Arts (Jacksonville, FL), the Jacoby Concert Hall (Jacksonville, FL), the Bob Carr Performing Arts Centre (Orlando, FL), the Curtis M. Phillips Center for Performing Arts (Gainesville, FL), the E.J. Thomas Center for the Performing Arts (Akron, OH), the Chrysler Center for Performing Arts (Norfolk,VA), the Van Weisel Hall (Sarasotra,FL), the Shuster Center (Dayton,OH), and other major concert venues.
Dr. Sung is also an active composer for film, and has recently completed the score for the full-length documentary film, Voices in the Clouds, which is receiving critical acclaim. Her music was featured in the short animation film, Atlas' Revenge, (based upon Sung's orchestral work of the same title), which was selected as the First Place winner at the 2010 SIGGRAPH conference (Time and Space category).
Commissions have included works for world-renowned cellist Yo-Yo Ma, the German Ministry of Culture (Rhineland-Pfalz), the Dayton Symphony Orchestra (Dayton, OH), the Jacksonville Symphony Orchestra (Jacksonville, FL), the Orlando Philharmonic Orchestra (Orlando, FL), the Akron Symphony Orchestra (Akron, OH), the Gainesville Chamber Orchestra (Gainesville, FL), the Florida Symphony Youth Orchestra (Orlando, FL), the Florida Young Artists Orchestra (Orlando, FL), the Etowah Youth Orchestra (Gadsden, AL), the Azure Ensemble (NY), Dance Alive National Ballet (State touring ballet company of Florida), the Lyric Arts Trio (Kansas City, KA), saxophonist Claude Delangle (Conservatoire de Paris), guitarist Andrea Vettoretti (Rome, Italy), guitarist Eladio Scharrón (Orlando, FL), flautist Donna Wissinger (FL), the PRISM Saxophone Quartet (NY, NY), the Rollins College (Winter Park, FL), the 2000 Alabama All-State Festival Orchestra (Tuscaloosa, AL)., and from the Buffet Crampon Clarinet company (Jacksonville, FL).
Racism, School Desegregation Laws and the Civil Rights Movement in the United States
The African-American Civil Rights Movement (1955--1968) refers to the social movements in the United States aimed at outlawing racial discrimination against black Americans and restoring voting rights to them. This article covers the phase of the movement between 1955 and 1968, particularly in the South. The emergence of the Black Power Movement, which lasted roughly from 1966 to 1975, enlarged the aims of the Civil Rights Movement to include racial dignity, economic and political self-sufficiency, and freedom from oppression by white Americans.
The movement was characterized by major campaigns of civil resistance. Between 1955 and 1968, acts of nonviolent protest and civil disobedience produced crisis situations between activists and government authorities. Federal, state, and local governments, businesses, and communities often had to respond immediately to these situations that highlighted the inequities faced by African Americans. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955--1956) in Alabama; sit-ins such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama; and a wide range of other nonviolent activities.
Noted legislative achievements during this phase of the Civil Rights Movement were passage of Civil Rights Act of 1964, that banned discrimination based on race, color, religion, or national origin in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. African Americans re-entered politics in the South, and across the country young people were inspired to action.
Desegregation busing in the United States (also known as forced busing or simply busing) is the practice of assigning and transporting students to schools in such a manner as to redress prior racial segregation of schools, or to overcome the effects of residential segregation on local school demographics.
The Great Gildersleeve: A Date with Miss Del Rey / Breach of Promise / Dodging a Process Server
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family.
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.