Gustavo Dudamel 2020/21 Season (Long Biography)
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Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker. -
1 Making the Clarinet Sing
Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Alyssa Rose Powell, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. Scott McCoy Dr. Eugenia Costa-Giomi Professor Katherine Borst Jones 1 Copyrighted by Alyssa Rose Powell 2020 2 Abstract The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer ‘in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of ‘Donde lieta’ from Puccini’s La Bohème. This demonstrates the influence of text on interpretation for singers. -
West Side Story
To Our Readers ow can something be as fresh, as bril Hliant, as explosively urgent as "West Side Story," and be 50 years old? How can this brand new idea for the American theatre have been around for half a century? Leonard Bernstein used to say that he wished he could write the Great American Opera. He was still designing such a project shortly before his death. But in retrospect, we can say that he fulfilled his wish. "West Side Story" is performed to enthusiastic audiences in opera houses around the world - recently in La Scala and, before this year is out, at the Theatre du Chatelet in Paris. Is there a Broadway revival in the works? The signs are highly auspicious. In this issue, we celebrate "West Side Story": its authors, its original performers, and its continuing vital presence in the world. Chita Rivera regrets that, due to scheduling conflicts, she was unable to contribute to this issue by print time. [ wEst SIDE ·sronv L "West Side Story" continues to break ground to this very day. Earlier this year, the show was performed by inmates at Sing Sing. A few months later, it was presented as part of a conflict resolution initiative for warring street gangs in Seattle. And if there's a heaven, Leonard Bernstein was up there dancing for joy last summer while Gustavo Dudamel led his sensational 200-piece Simon Bolfvar Youth Orchestra in the "Mambo" at the Proms in London. The audience went bonkers. Check it out: http://www.dailymotion.com/swf/ 6pXLfR60dUfQNjMYZ There are few theatrical experiences as reliably thrilling as a student production of "West Side Story". -
Transfer Learning for Piano Sustain-Pedal Detection
Transfer Learning for Piano Sustain-Pedal Detection Beici Liang, Gyorgy¨ Fazekas and Mark Sandler Centre for Digital Music, Queen Mary University of London London, United Kingdom Email: fbeici.liang,g.fazekas,[email protected] Abstract—Detecting piano pedalling techniques in polyphonic music remains a challenging task in music information retrieval. While other piano-related tasks, such as pitch estimation and onset detection, have seen improvement through applying deep learning methods, little work has been done to develop deep learning models to detect playing techniques. In this paper, we propose a transfer learning approach for the detection of sustain- pedal techniques, which are commonly used by pianists to enrich the sound. In the source task, a convolutional neural network (CNN) is trained for learning spectral and temporal contexts when the sustain pedal is pressed using a large dataset generated by a physical modelling virtual instrument. The CNN is designed Melspectrogram and experimented through exploiting the knowledge of piano acoustics and physics. This can achieve an accuracy score of MIDI & sensor 0 127 0.98 in the validation results. In the target task, the knowledge learned from the synthesised data can be transferred to detect the Fig. 1. Different representations of the same note played without (first note) or sustain pedal in acoustic piano recordings. A concatenated feature with (second note) the sustain pedal, including music score, melspectrogram vector using the activations of the trained convolutional layers is and messages from MIDI or sensor data. extracted from the recordings and classified into frame-wise pedal press or release. We demonstrate the effectiveness of our method in acoustic piano recordings of Chopin’s music. -
LA Phil at Tynecastle Revised.Indd
Aberdeen Standard Investments Opening Event: LA Phil at Tynecastle Friday 2 August 7.00pm Tynecastle Park Gustavo Dudamel conductor The performance lasts Los Angeles Philharmonic approximately one hour thirty YOLA National minutes with no interval. Sponsored by Supported by #edintfest In collaboration with Tynecastle Park The Los Angeles Philharmonic residency has been made possible by the support of Dunard Fund USA Aberdeen Standard Investments Opening Event: LA Phil at Tynecastle Gustavo Dudamel conductor Los Angeles Philharmonic YOLA National Korngold March of the Merry Men from The Adventures of Robin Hood John Williams Shark Cage Fugue/Out to Sea from Jaws Herrmann Suite from Vertigo John Williams Hedwig’s Theme from Harry Potter and the Philospher’s Stone John Williams Fawkes the Phoenix from Harry Potter and the Chamber of Secrets Steiner Suite from Casablanca John Williams Olympic Fanfare and Theme Waxman Sunset Boulevard Suite John Williams Theme from Jurassic Park John Williams Adventures on Earth from E.T. The Extra-Terrestrial Mancini Theme from The Pink Panther John Williams Throne Room and Finale from Star Wars Encores John Williams The Imperial March from Star Wars: The Empire Strikes Back John Williams Superman March from Superman Gustavo Dudamel conductor Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. He studied the violin before turning to conducting in 1993, studying with Rodolfo Saglimbeni and José Antonio Abreu. He started his career as an assistant conductor of the Amadeus Chamber Orchestra, of which he became Music Director in 1996. In 1999 he became Music Director of the Simón Bolívar Youth Orchestra. He came to international attention when he won the inaugural Bamberger Symphoniker Gustav Mahler Competition in 2004. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
By Aaron Jay Kernis
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 “A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis Pagean Marie DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Pagean Marie, "“A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis" (2016). LSU Doctoral Dissertations. 3434. https://digitalcommons.lsu.edu/gradschool_dissertations/3434 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “A VOICE, A MESSENGER” BY AARON JAY KERNIS: A PERFORMER’S GUIDE AND HISTORICAL ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Pagean Marie DiSalvio B.M., Rowan University, 2011 M.M., Illinois State University, 2013 May 2016 For my husband, Nicholas DiSalvio ii ACKNOWLEDGEMENTS I would like to thank my committee, Dr. Joseph Skillen, Prof. Kristin Sosnowsky, and Dr. Brij Mohan, for their patience and guidance in completing this document. I would especially like to thank Dr. Brian Shaw for keeping me focused in the “present time” for the past three years. Thank you to those who gave me their time and allowed me to interview them for this project: Dr. -
Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Audio Selections
AUDIO SELECTIONS Audio Files that accompany this book may be found on the UC Press website, either on Spotify, YouTube, or the Soundcloud playlist, as indicated below. Chapter 3: Experiencing Musical Concepts: Focus on Latin America Sound Link 3.1. Guitarrón. Soundcloud Sound Link 3.2. Vihuela. Soundcloud Sound Link 3.3. Charango. “Alegría,” by Quechua musicians. Instruments and Music of Indians of Bolivia (Smithsonian Folkways, FW 01412, 1962, 2004). Spotify Sound Link 3.4. Berimbau. Various artists. The Music of Capoeira: Mestre Acordeon (Smithsonian Folkways, FW04332, 1985, 2004). Spotify Sound Link 3.5. Conch shell trumpets. Q’eros authorities. Mountain Music of Peru, vol. 1 (Smithsonian Folkways, SFW40020, 1991). Youtube Sound Link 3.6. Siku/Panpipes (“Quenita”) Aymara musicians. Instruments and Music of Indians of Bolivia (Smithsonian Folkways, FW 01412, 1962, 2004). Spotify Sound Link 3.7. Agogô. Soundcloud Sound Link 3.8. Cowbell. Soundcloud Sound Link 3.9. Pandeiro. Soundcloud Sound Link 3.10. Caxixi. Soundcloud Sound Link 3.11. Güiro. Soundcloud Sound Link 3.12. Maracas. Soundcloud Sound Link 3.13. Bongos. Soundcloud Sound Link 3.14a. Conga. Soundcloud Sound Link 3.14b. Conga in guagancó. Soundcloud Sound Link 3.15. Timbales. Soundcloud Sound Link 3.16. Claves, 3-2. Soundcloud Sound Link 3.17. Major scale, played on the piano. Soundcloud Sound Link 3.18. Minor scale, played on the piano. Soundcloud Sound Link 3.19. Chromatic scale, played on the piano. Soundcloud Sound Link 3.20a. Andalusian-Phrygian scale, played on the guitar. Soundcloud Sound Link 3.20b. Another Andalusian-Phrygian scale, played on the guitar. -
School of Music 2016–2017
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.