Viewing page 3 of 5
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
NEW YORK PHILHARMONIC FROM ACT II I Got Plenty o´Nuttin´(Porgy, Chorus) Bess, You is My Woman Now (Porgy, Bess) I Ain´t Got No Shame (Chorus) It Ain´t Necessarily So (Sportin´Life, Chorus) Strawberry Woman FROM ACT III Oh Lawd,I´m On My Way (Porgy, Chorus) *New York Philharmonic Debut The world-wide copyrights in the music of George and Ira Gershwin^[[®]] for this presentation are licensed by the Gershwin Family. PORGY AND BESS^[[SM]] is presented by arrangement with TAMS-WITMARK MUSIC LIBRARY, INC. 560 Lexington Avenue, New York, New York 10022. GERSHWIN is a registered trademark and service mark of Gershwin Enterprises. PORGY AND BESS is a registered trademark and service mark of Porgy and Bess Enterprises. Major underwriting support for GERSHWIN AT THE PHILHARMONIC is provided by a generous grant from the Ira and Lenore Gershwin Philanthropic Fund, with additional support from the George Gershwin Family Trust. The Young People's Concerts^[[®]] and Children's Promenades™ are made possible through a generous grant from Metropolitan Life Foundation. Additional support for the Young People's Concerts^[[®]] is provided by The Marie Baier Foundation, Rose M. Badgeley Charitable Trust, The Theodore H. Barth Foundation, Irene Diamond Fund, and Jephson Educational Trust #2. The New York Philharmonic's educational activities are underwritten by a major endowment gift from the William Randolph Hearst Foundation and additional endowments from Sue and Eugene Mercy, Jr., Mary P. Oenslager Fund through The New York Community Trust, and The Richard and Edna Salomon Foundation, Inc. Major support for educational activities provided by Booth Ferris Foundation, Mr. and Mrs. Murray L. Nathan, American Express Company, and the Lila Acheson and DeWitt Wallace Fund for Lincoln Center. Additional support provided by the City of New York Department of Cultural Affairs, Irene Diamond Fund, Alan and Katherine Stroock Fund, The Alice Tully Foundation. The Marie Baier Foundation, First Union Foundation, Edward S. Moor Foundation, The Theodore H. Barth Foundation, Charles E. Culpeper Foundation, GE Fund, Mr. and Mrs. Paul B. Geunther, Newman's Own Foundation, Louis Calder Foundation, The Alice and Fred Netter Foundation Inc., and the O'Grady Family Foundation. Many thanks to students from Bayside High School for their help at the Children's Promenade. Steinway Piano The New York Philharmonic, with Music Director Kurt Masur, records exclusively for Teldec. The New York Philharmonic also records for Deutsche Grammophon, London New World, RCA, and Sony Classical. [[end page]] [[start page]] NEW YORK PHILHARMONIC Meet the Artists [[image - black & white photograph of Bobby McFerrin]] Bobby McFerrin has on recognition for his incomparable solo vocal appearance and best-selling recordings, as well as his collaborations with leading jazz artists. Recent activities include touring as a solo performer and with his jazz and vocal ensembles, in addition to symphonic conducting (to which he devotes considerable time each season). He joined the Saint Paul Chamber Orchestra in 1994 as Creative Chair. During the past three seasons, Mr. McFerrin has appeared with the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Baltimore Symphony, and Israel Philharmonic Orchestra. He had also led members of the NDR Orchestra (Hamburg), Bavarian Radio Symphony Orchestra, London Philharmonic, Deutsche Oper Berlin, Rotterdam Philharmonic, and Danish Radio Orchestra. He has conducted a concert version of Porgy and Bess with Opera Carolina and at the Mann Music Center, and has appeared at eh Ravinia, Aspen, Blossom, and Verbier festivals. Born in New York City, on March 11, 1950, to two classical singers, Bobby McFerrin began studying music theory at age six, shortly before his family relocated to Los Angeles. Piano was his primary instrument in high school and college. It was not until 1977 that he became a singer. His many recordings include several Grammy-winning releases. He sang the weekly theme for "The Cosby Show" and the theme music for the film Round Midnight. Among his best-known recordings are the chart-topping single and video Don't Worry, Be Happy; Medicine Music (1990); Hush (with cellist Yo-Yo Ma); Paper Music; and Bang! Zoom. He is writing an opera on commission from San Francisco Opera, in collaboration with librettist Tony Kushner. [[image - black & white photograph of Kevin Deas]] Bass-baritone Kevin Deas (Porgy) has gained international acclaim for his portrayal of the title role of Porgy and Bess, which he has sung in concert performances at the Mann Music Center and Ravinia Festival, as well as with the St. Paul Chamber Orchestra and National Symphony. Recent and forthcoming performances include Rossini's Stabat Mater with the Colorado Symphony, Beethoven's Missa Solemnis with the Los Angeles Master Chorale, Handel's Messiah with Boston Baroque, Brubeck's Mass to Hope! in Moscow, Bizet's La Jolie Fille de Perth with L'Opéra Français de New York, and Leporello in Eugene Opera's production of Don Giovanni. Recent recordings include Die Meistersinger with the Chicago Symphony and the late Georg Solti and Varèse's Ecuatorial with the ASKO Ensemble and Riccardo Chailly. A graduate of The Juilliard School, he is currently on the faculty of Princeton University. [[image - black & white photograph of Marvis Martin]] Soprano Marvis Martin (Bess) is a frequent guest soloist with the Chicago Symphony, New York Philharmonic, Detroit Symphony, Cleveland Orchestra, Boston Symphony, Philadelphia Orchestra, and Montreal Symphony. She has appeared at the Metropolitan Opera in such roles as Pamina (Die Zauberflöte), Clara (in the Met's first production of Porgy and BEss), Almirena (Handel's Rinaldo, Echo
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.