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College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend.␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. Marschner’s Hans -
Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No. -
Strauss-Musik – „Weltmusik“?
Strauss-Musik – „Weltmusik“? Strauss Music – ‘World Music’? „Seine Popularität ist geradezu unermeßlich: in allen Weltteilen erklingen ‘His popularity is absolutely beyond measure; Strauss melodies can Straußsche Melodien und in unserem Weltteile fast aus jedem Hause.“ Über- be heard on every continent and on our continent in almost every schwänglich huldigte der gefürchtete Musikkritiker Eduard Hanslick house.’ Such was the effusive homage which the feared music critic Johann Strauss (Sohn) zur Feier des 40-jährigen Künstlerjubiläums. Eduard Hanslick paid to Johann Strauss II on the fortieth anniversary Zum „Markenzeichen“ war der Name Strauss aber schon früher ge- of his performing début. The name ‘Strauss’ had, however, become worden. Bereits 1847 zählte Musikdirektor Philipp Fahrbach sen. in a trade mark many years before then. As early as 1847 Director of seiner Geschichte der Tanzmusik seit 25 Jahren Walzer-Komponisten Music Philipp Fahrbach senior had written a history of dance music auf, deren lokale Bedeutung mit dem Prädikat „Strauss“ – bezogen in the previous twenty-fi ve years in which he listed waltz composers auf Johann Strauss (Vater) – hervorgehoben wurde: „Brünner Strauß“ whose local importance was stressed by giving them the label ‘Strauss’, 2014 (Judex), „Böhmens-Strauß“ (Labitzky), „Münchner-Strauß“ (Streck), referring to Johann Strauss I: the Brno Strauss (Judex), the Bohemian „Berliner-Strauß“ (Gungl), „Pariser-Strauß“ (Musard), „Pesther-Strauß“ Strauss (Labitzky), the Munich Strauss (Streck), the Berlin Strauss (Morelly). (Gungl), the Parisian Strauss (Musard), the Pest Strauss (Morelly). „Ich sehe mich daher gerne bei fremden Nationen um und rate jedem, ‘That is why I like to take a look at foreign nations and I advise es auch seinerseits zu tun. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
Woodwind Grades Syllabus
Woodwind Syllabus Flute, Clarinet, Oboe, Bassoon, Saxophone & Recorder Graded exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Initial exams are now offered for flute and clarinet. New series of graded flute and clarinet books are available, containing selected repertoire for Initial to Grade 8. Technical work for oboe, bassoon and recorder has been revised, with changes to scales and arpeggios and new exercises for Grades 1–5. New technical work books are available. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for over twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it originally aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend is now added Der Heidenkönig (The Heathen King).␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. -
13, 2021 - 00 the Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Fri, Aug 13, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:16 Tartini Trumpet Concerto in D Smedvig/Scottish 00103 Telarc 80232 089408023224 Chamber Orchestra/Ling 00:13:4631:18 Taylor, Deems Through the Looking Glass Seattle 00406 Delos 3099 013491309927 Symphony/Schwarz 00:46:0413:19 Bach Flute Sonata in E minor, BWV Solum/Kipnis/Bogatin 00157 Arabesque 6589 2672406589 1034 01:00:5307:05 Verdi Overture to La forza del destino New Philharmonia/Muti 01424 EMI 47274 077774727426 (The Force of Destiny) 01:08:5819:24 Ireland Concertino Pastorale Bournemouth 00579 Chandos 8375 N/A Sinfonietta/Hurst 01:29:2229:12 Mozart Concerto in C for Flute and Rampal/Nordmann/F.Li 02681 Sony 48184 07464481842 Harp, K. 299 szt Ch. Orch./Rolla 02:00:0421:22 Rodrigo Fantasia for a Gentleman Williams/Philharmonia/ 08800 CBS 45648 07464456482 Fremaux 02:22:2622:53 Haydn String Quartet No. 46 in F Kodaly Quartet 04738 Naxos 8.550397 730099539722 minor, Op. 55 No. 2 "The Razor" 02:46:1912:08 Falla Three Dances from The Chicago 06906 RCA Red 04607 886970460729 Three-Cornered Hat Symphony/Reiner Seal 02:59:57 15:36 Field Piano Sonata in C minor, Op. 1 Miceal O’Rourke 01231 Chandos 8787 095115878729 No. 3 03:16:3306:39 Handel "Myself I shall adore' from Battle/English HAND-SEM-002DG 435 782 028943578226 Semele CO/Nelson 03:24:12 34:29 Elgar Falstaff, A Symphonic Study in London 01798 EMI 63133 077776313320 C minor, Op. -
Printer's Pairs 24
THE SIBELIUS EDITION PIANO MUSIC II BIS-CD-1927/29 BIS-CD-1927-29_f-b.indd 1 10-02-12 14.42.13 SIBELIUS, Johan (Jean) Christian Julius (1865–1957) Piano Music II 2 DISC 1 [75'57] Pelléas och Mélisande (Pelléas and Mélisande), Op. 46 27'19 Incidental music to the play by Maurice Mæterlinck · Concert Suite (1905) Piano transcription (1905) by the composer (Lienau) 1 No. 1. Am Schlosstor (At the Castle Gate). Grave e largamente 3'32 2 No. 2. Mélisande. Andantino con moto 4'22 3 No. 3. Am Wunderborn im Park (By a Spring in the Park). Comodo 2'04 4 No. 4. Die drei blinden Schwestern (The Three Blind Sisters). Tranquillo 3'13 5 No. 5. Pastorale. Andantino pastorale 2'06 6 No. 6. Mélisande am Rocken (Mélisande at the Spinning Wheel). Con moto 2'01 7 No. 7. Zwischenaktsmusik (Entr’acte). Allegro 2'54 8 No. 8. Mélisandes Tod (The Death of Mélisande). Andante 6'37 Belsazars gästabud (Belshazzar’s Feast), Op. 51 11'40 Incidental music to the play by Hjalmar Procopé · Concert Suite (1906–07) Piano transcription (1907) by the composer (Lienau) 9 No. 1. Einzug (Oriental Procession). Moderato 2'07 10 No. 2. Einsames Lied (Solitude). Andante 2'20 11 No. 3. Nachtmusik (Nocturne). Andantino 3'20 12 No. 4. Khadras Tanz (Khadra’s Dance). Commodo 3'38 3 DISC 1 Ten Pieces, Op. 58 (1909) (Breitkopf & Härtel JSW) 35'52 13 No. 1. Rêverie. Lento 4'48 14 No. 2. Scherzino. Con moto 1'35 15 No. 3. Air varié. -
School of Music – University Band – Collective Repertoire
School of Music – University Band – Collective Repertoire Adams, John - Short Ride in a Fast Machine Adler, Samuel – Southwestern Sketches Agay, Denes – Dance Toccata Anderson, Leroy - A Christmas Festival Arnold, Malcolm/Johnstone - English Dances Arnold, Malcolm/Paynter - Four Scottish Dances Arnold, Malcolm/Paynter - Prelude, Siciliano, and Rondo Arutiunian, Alexander/Duker - Trumpet Concerto Bach, Jan - Praetorius Suite Bach, Johann Sebastian/Moehlmann - Prelude and Fugue in B-flat Major Bach, P. D. Q. - Grand Serenade for An Awful Lot of Winds and Percussion Bach, P. D. Q. - March of the Cute Little Wood Sprites Barber, Samuel - Commando March Barber, Samuel/Beckel - Toccata Festiva * * * Carla Edwards, organ* * * Barnes, James - Yorkshire Ballad Basler, Paul - Mangulina Beckel, James A. Jr., - The American Dream Beckel, James A. Jr., - The Glass Bead Game * * * Richard Graef, horn * * * Beckel, James A. Jr., - Make A Joyful Noise Beckel, James A. Jr. – Music for Winds, Piano, and Percussion Beckel, James A. Jr. – Symphony for Band Beethoven, Ludwig van/Greissle - Military March in C Bennett, Robert Russell - Suite of Old American Dances Berlioz, Hector/Smith - Marche Hongroise "Rakoczy" from Damnation of Faust Bernstein, Leonard/Krance - Danzon Bernstein, Leonard/Beeler - Overture to "Candide" Bernstein, Leonard /Grundman - Slava! Bernstein, Leonard/Polster - Symphonic Dances from West Side Story Bird, Arthur - Suite in D Brahms, Johannes/Buehlman - "Blessed are They" from Ein Deutsches Requiem Britten, Benjamin/Jan Bach - "The