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November 15, 2002 - Image 111

Resource type:
Text
Publication:
The Detroit Jewish News, 2002-11-15

Disclaimer: Computer generated plain text may have errors. Read more about this.

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Ann Arbor as percussionist with the
Boston Symphony, divided Concerto
for Cathy into three movements
based on what he knows about the
oboist.
"It was a joy for me to write this
piece because her good friend is a
conducting student of mine,"
explains Farberman, 74.
"The first movement is quick and
has to do with her administrative
work," Farberman says. "The second
movement goes from slow to quick
because it captures her interest in
shopping. The third movement is
slow, free and almost misty because I
know she's creative as a painter and
clothes designer."
In addition to speaking about the
piece, Farberman will talk about the
importance of supporting the work

he became the youngest member of
the Boston Symphony. He voiced an
early advocacy for greater use of per-
cussion instruments -While earning
his master's degree at the New
England Conservatory.
Farberman began conducting after
writing his first piece, Evolution,
which was for percussion instru-
ments, French horn and soprano.
Although he started out as maestro
for his musical friends, professional
engagements soon followed with that
first work later scored for more than
100 percussion instruments and
recorded four times, once by con-
ductor Leopold Stokowski.
After studying at Tanglewood with
composer Aaron Copland,
Farberman left the Boston
Symphony to work internationally.

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Felicia Sandler:
Inspired by women
of the 1940s.

Oboist Catherine
Gerardi is the subject
of Farberman's
composition
"Concerto for Cathy"

Maestro Nan
Washburn chose
Farberman's and
Sandler's pieces for the
Plymouth Symphony
Orchestra concert.

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of artists and orchestras. His long
composing career has included an
opera for Lincoln Center in New
York, symphonies for orchestras in
the United States and England,
chamber works for European ensem-
bles, dance music for various compa-
nies and a film score for the
Academy Award-winning The Great

American Cowboy.
Founder and artistic director of
the Conductors Institute at Bard,
located at Bard College in New
York's Hudson River Valley,
Farberman grew up in a family of
musicians. His father was the drum-
mer in a famous 1920s klezmer band
led by Schleomke Beckerman, and
his brother also was a drummer.
"Drums were always in the house
so it was easy for me to begin play-
ing them," Farberman says. "I occa-
sionally played at weddings and bar
mitzvahs with my father."
After graduating from the Juilliard
School of Music in New York City,

He has been music director of sym-
phonies in Colorado and California
and guest conductor and recording
artist for many major orchestras,
such as the London Symphony,
Stockholm Philharmonic, Danish
Radio and Hong Kong
Philharmonic.
"My style doesn't accommodate tra-
dition," says Farberman, who has con-
ducted in Jerusalem. "I've been think-
ing about working on a piece with a
Jewish theme, but its sounds wouldn't
be what Jews might expect."



The Plymouth Symphony
Orchestra performs 8 p.m.
Saturday, Nov. 16, at Our Lady
of Good Counsel Church, 47650
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p.m. $16 adults/$14 seniors/$10
college students/K-12 admitted
free. (734) 451-2112.

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11/15

79

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