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Gustav Mahler : Conducting Multiculturalism
GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share. -
IGUSTAV MAHLER Ik STUDY of HIS PERSONALITY 6 WORK
IGUSTAV MAHLER Ik STUDY OF HIS PERSONALITY 6 WORK PAUL STEFAN ML 41O M23S831 c.2 MUSI UNIVERSITY OF TORONTO Presented to the FACULTY OF Music LIBRARY by Estate of Robert A. Fenn GUSTAV MAHLER A Study of His Personality and tf^ork BY PAUL STEFAN TRANSLATED FROM THE GERMAN EY T. E. CLARK NEW YORK : G. SCHIRMER COPYRIGHT, 1913, BY G. SCHIRMER 24189 To OSKAR FRIED WHOSE GREAT PERFORMANCES OF MAHLER'S WORKS ARE SHINING POINTS IN BERLIN'S MUSICAL LIFE, AND ITS MUSICIANS' MOST SPLENDID REMEMBRANCES, THIS TRANSLATION IS RESPECTFULLY DEDICATED BERLIN, Summer of 1912. TRANSLATOR'S PREFACE The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler's music, and it was intended that the book should pave the way for Mahler in England. From his appearance there, we hoped that his genius as man and musi- cian would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive music- making, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes "popular." The English musician's prayer was: "God pre- serve Mozart and Beethoven until the right man comes," and this man would have been Mahler. Then came Mahler's death with such appalling suddenness for our youthful enthusiasm. Since that tragedy, "young" musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mah- ler's ideals now rests upon their shoulders in dead earnest. -
President's Welcome
PRESIDENT’S WELCOME Friends, Colleagues, and Students, Welcome to the 82nd Annual Mississippi Bandmasters Association State Band Clinic in Natchez. The other members of the MBA Executive Board and I hope that you will experience growth, new perspectives, and renewed aspirations for teaching and learning music in your community during this year’s clinic. I would like to wish all of the students in attendance a heartfelt congratulations on participating in this esteemed event. You represent the very best of the students from your band programs – I encourage you to take that sentiment to heart. Thousands of students have shared in this honor for the last 82 years. Many of you will meet friends this weekend that you will have throughout your life. Lastly, I encourage you to take this opportunity to enjoy making music with others and learning from some of the most outstanding teachers in our country. For members of our association, take the time to visit with the exhibitors and clinicians throughout the weekend. Take advantage of the clinics and presentations that are offered so that you may leave Natchez with new insights and perspectives that you can use with your students at home. Clinic is also a time to renew old friendships and foster new ones. I hope that veteran teachers will take the time to get to know those that are new to our profession and new teachers will seek out the guidance of those with more experience. To our guest clinicians, exhibitors, featured ensembles, and conductors we welcome you and hope that you will enjoy your time with us. -
2021-05-22 Program-Notes.Pdf
McKinney Community Band Jeremy Kondrat, Artistic Director/Conductor Elmer Schenk, Associate Conductor Bill Sleeper, Director Emeritus ——————————— –——————— –—— -———— Concert Program ——————————————— –—— -—— –————— Fanfare and Flourishes (For a Festive Occasion) by James Curnow We Gather Together (Hymn of Thanksgiving) traditional Dutch Melody by Kremser, arranged by Scott Stanton Libertango by Astor Piazzolla, arranged by Gareth McLearnon performed by the McKinney Flute Choir A Strange Combination by Tom Evans flute/flugelhorn duet His Honor by Henry Fillmore, arranged by Larry Clark Down by the Salley Gardens; an Irish Folk Melody arranged by Michael Sweeney Irish Suite a medley of Irish tunes, arranged by Elliot A. Del Borgo saxophone quartet Valdres by Johannes Hanssen, arranged by James Curnow Le Voir by BJ Brooks clarinet/ piano duet Kentucky 1800 by Clare Grundman, adapted for flexible ensemble by Robert Longfield THE MUSICIANS FLUTE /P ICCOLO BASSOON Robin Bishop, music teacher, PK-5 Tyson Jaquez, pilot Marsha Hope,* sales analyst Barbara Kelly, budget analyst TRUMPET Marilyn Lutz, homemaker Jacob Diewald, band director. Tom Evans,* pool company owner OBOE David Halper, software consult., retired Sarah Brawdy, ESL teacher FRENCH HORN CLARINET Beth Shumate, tourism/ marketing mgr Charlie Berry, missionary Karl Lampe, teacher, retired Mary Hanna, music school owner Ken Levin, engineer EUPHONIUM Al McGee, digital device mgr, retired BASS CLARINET Wayne Westfield, IT systems architect Judy Kysely, retired TROMBONE CONTRA ALTO CLARINET -
PROGRAM NOTES Gustav Mahler Symphony No. 1 in D Major
PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 1 in D Major Mahler did most of the work on his First Symphony in February and March of 1888, incorporating music that had been written much earlier. He revised the score on several occasions. The first performance was given on November 20, 1889, in Budapest, with the composer conducting. The score calls for four flutes and three piccolos, four oboes and english horn, four clarinets, two E-flat clarinets and bass clarinet, three bassoons and contrabassoon, seven horns, four trumpets, three trombones and tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp, and strings. Performance time is approximately fifty-seven minutes. The Chicago Symphony Orchestra's first subscription concert performances of Mahler's First Symphony were given at Orchestra Hall on November 6 and 7, 1914, with Frederick Stock conducting. Our most recent subscription concert performances were given on April 5, 6, 7, and 10, 2007, with Gustavo Dudamel conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 19, 1949, with William Steinberg conducting, and most recently on June 24, 2005, with James Conlon conducting. When Alma Schindler first met Gustav Mahler, whom she later married, she could only remember how much she had disliked his First Symphony. She wasn't alone. The history of this symphony, even into relatively recent times, is one of misunderstanding and rejection. The first performance, in Budapest in 1889, was greeted with indifference, bewilderment, and, in the words of the local critic, "a small, but, for all that, audible element of opposition." Mahler seldom understood the animosity his music aroused. -
Mahler's Third Symphony and the Languages of Transcendence
Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2016 Stephen Rumph, Chair JoAnn Taricani Program Authorized to Offer Degree: Music ©Copyright 2016 Megan H. Francisco University of Washington Abstract Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco Chair of the Supervisory Committee: Professor Stephen Rumph Music History A work reaching beyond any of his previous compositional efforts, Gustav Mahler’s Third Symphony embodies cultural, political, and philosophical ideals of the Viennese fin-de- siècle generation. Comprising six enormous movements and lasting over ninety minutes, the work stretches the boundaries of symphonic form while simultaneously testing the patience of its listeners. Mahler provided a brief program to accompany his symphony, which begins with creation, moves through inanimate flowers to animals, before finally reaching humanity in the fourth movement. In this movement, Mahler used an excerpt from Friedrich Nietzsche’s Also sprach Zarathustra to introduce spoken language into the symphony. The relationship of music and language plays an integral role in Mahler’s expressive design of the Third Symphony, specifically in his vision of transcendence. Mahler creates a subtle transformation from elevated language (the fourth) to a polytextuality of folksong and onomatopoeia (the fifth) that culminates in the final, transcendent sixth movement. Throughout these last three movements, Mahler incorporates philosophical concepts from Nietzsche and his beloved Arthur Schopenhauer. In studying the treatment of language in these culminating movements, this thesis shows how Nietzsche’s metaphysical philosophies help listeners encounter and transcend Schopenhauer’s Will at the climactic end of the Third Symphony. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008). -
School of Music Faculty of Fine Arts University of Victoria C
School of Music Faculty of Fine Arts University of Victoria C UVIC MUS UNIVERSITY OF VICTORIA Wind Symphony Now and Then Dr. Steven Capaldo, Conductor We acknowledge that the land on which we gather is the traditional territory of the WSÁNEĆ (Saanich), Lkwungen (Songhees) and Wyomilth (Esquimalt) peoples of the Coast Salish Nation. Friday, October 12, 2018 • 8 p.m. The Farquhar at UVic Adults: $20 / Seniors: $15 / Students & UVic alumni: $10 P R O G R A M Rarajipari (2017) André Nowicki Canadian Premiere (b. 1976) Endurance (1993) Timothy Mahr (b. 1956) Strange Humours (2012) John Mackey (b. 1973) First Suite in E-flat (1909) Gustav Holst (1874–1934) I N T E R M I S S I O N The Gum-sucker’s March (1914) Percy Grainger (1882–1961) Embers (2016) Michael Markowski (b. 1986) Riften Wed (2014) Julie Giroux (b. 1961) Candide Suite (1956/1988) Leonard Bernstein (1918–1990) Adapted by Clare Grundman UVIC WIND SYMPHONY WOODWINDS BRASS Flute 1 Charlie Mason* French Horn 1 Sarah Mullane* Flute 1 Taya Haldane French Horn 2 Brooke Clansey Piccolo/Flute 1 Jessica Shaw French Horn 3 Allie Bertholm Flute 2 Breanna Morissette French Horn 4 Joshua Ward Flute 2 Connie Goetz Trumpet 1 Marianne Ing* Oboe 1 Janie Sinn* Trumpet 1 Ben Parker Oboe 2/English Horn Theresa Mothersill Trumpet 2 Ekaterina Della Vedova Bassoon 1 Wilson Kyne* Trumpet 2 Izzy Spencer Bassoon 2 Lee Whitehorne Trumpet 3 Jordan Smale Trumpet 3 Abha Parmar Clarinet 1 Alec Kan* Piccolo/Clarinet 1 Alicia Joinson Trombone 1 Will Quinn* Clarinet 2 Kyle Lancaster Trombone 2 Heidi Worrall Clarinet -
The String Quartet from 1750 to 1870: from the Private to the Public Sphere
INTERNATIONAL CONFERENCE THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE International Conference 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice In association with Italian National Edition of Luigi Boccherini’s Complete Works Ad Parnassum Journal ef SCIENTIFIC COMMITEE Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane - Centre de musique romantique française) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Luca Lévi Sala (Université de Poitiers) Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) Christian Speck (Universität Koblenz-Landau) ef KEYNOTE SPEAKERS Cliff Eisen (King’s College, London) Christian Speck (Universität Koblenz-Landau) FRIDAY 29 NOVEMBER 9.00-10.00: Welcome and Registration 10.00-10.30: Opening • MASSIMILIANO SALA (President Centro Studi Opera Omnia Luigi Boccherini) • ÉTIENNE JARDIN (Scientific Coordinator Palazzetto Bru Zane) • CHRIstIAN SPECK (President Italian National Edition of Boccherini’s Complete Works) Room 1 – Beethoven and the String Quartet (Chair: Rohan H. Stewart-MacDonald, Cheltenham, UK) 10.30-12.30 • Nancy -
Percy Grainger and Ralph Vaughan Williams
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2009-01-01 Percy Grainger and Ralph Vaughan Williams: A Comparative Study of English Folk-Song Settings for Wind Band Shawna Meggan Holtz University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Folklore Commons, and the Music Commons Recommended Citation Holtz, Shawna Meggan, "Percy Grainger and Ralph Vaughan Williams: A Comparative Study of English Folk-Song Settings for Wind Band" (2009). Open Access Theses & Dissertations. 2710. https://digitalcommons.utep.edu/open_etd/2710 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. PERCY GRAINGER AND RALPH VAUGHAN WILLIAMS: A COMPARATIVE STUDY OF ENGLISH FOLK-SONG SETTINGS FOR WIND BAND SHAWNA MEGGAN HOLTZ Department of Music APPROVED: _________________________________ Ron Hufstader, Ph. D., Chair ________________________________ David Ross, D.M.A. _________________________ Kim Bauer, M.F.A. ________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © By Shawna Holtz 2009 To Joshua Coleman PERCY GRAINGER AND RALPH VAUGHAN WILLIAMS: A COMPARATIVE STUDY OF ENGLISH FOLK-SONG SETTINGS FOR WIND BAND by SHAWNA MEGGAN HOLTZ, B.M.E. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO December 2009 TABLE OF CONTENTS Page TABLE OF CONTENTS.……...………………………………………………………………..…v LIST OF FIGURES………………………………………………………………………………..vi CHAPTER I. -
Concert Program
SKOKIE SCHOOL DISTRICT 73.5 CHIP DE STEFANO, conductor DAVID MORRISON, conductor MATT OLSON, alto saxophone Friday, January 28, 2011 11:00 AM MENC NORTH CENTRAL DIVISION CONFERENCE OMEA PROFESSIONAL DEVELOPMENT CONFERENCE Duke Energy Center Cincinnati, Ohio CHIP DE STEFANO, CONDUCTOR CONCERT PROGRAM FRIDAY, JANUARY 28, 2011 • 11:00 AM DUKE ENERGY CENTER • JUNIOR BALLROOM UNRAVELING ANDREW BOYSEN, JR. A SIMPLE SONG LEONARD BERNSTEIN ARRANGED BY MICHAEL SWEENEY FANTASY ON AMERICAN SAILING SONGS CLARE GRUNDMAN David Morrison, conductor MASS FROM “LA FIESTA MEXICANA” H. OWEN REED Matt Olson, saxophone DIVERSION FOR ALTO SAXOPHONE AND BAND BERNHARD HEIDEN FOUNDRY JOHN MACKEY MEN OF OHIO HENRY FILLMORE MCCRACKEN MIDDLE SCHOOL SYMPHONIC BAND FLUTE BASS CLARINET TROMBONE Silvia Burian 8 Darrien Min 8 David Fernandez-Wang 6 Samantha dela Cruz 8 Tenzin Wangdak 7 Aaron Humphries-Dolnick 8 Karli Goldenberg 8 Aaron Niederman 7* Matthew Harris-Ridker 8 ALTO SAXOPHONE Mark Wilson 8 Anna Hill 7 Oscar Benbow 6 Martin Wiviott 7 Myhanh Lu 7 Amanda Ly 8 Erin Martin 7 Sean Riordan 8 EUPHONIUM Natalie Niederman 7 Conor Toledo 7 Luc Walkington 8* Alexis Schlau 7 Brendan Ward 6 Milan Woody 8 TENOR SAXOPHONE Carissa Yau 8 Lyka Ando 8 TUBA Rose Zubeck 7 Yuji Tsukamoto 7 Elizabeth Akinboboye 7 Matthew Ginsburg 8 OBOE BARITONE SAXOPHONE Lucy Chavez 7 Josh Bynum 8 PERCUSSION Jennifer Goodfriend 7 Aaliyah Williams 8 Vanessa Elias 6* Andrew Goldberg 8 CLARINET CORNET Courtney Goldenberg 6 Daniel Aisenberg 7* Ari Bearman 7 Jordan Greenfield 6 Ben Barov 7 Amy Burke 7 Alexis Moy 5* Neil Ducklow 7 Brian DeVilla 8 Daniel Sahyouni 8 Cree Glanz 8 Carolyn Dwyer 7* Juliana Tichota 6 Amanda Green 8 Chris Scheithauer 7 Sarah Ly 7* Daniel Vargas 6 Angela Martin 6 Adam Yusen 8 Nina Yonan 7 Isabelle Zubeck 6 FRENCH HORN * additional percussion on Foundry Alyssa Moy 7 Sophie Steger 7 MCCRACKEN MIDDLE SCHOOL BAND PROGRAM SKOKIE, ILLINOIS The Village of Skokie is located just 16 miles northwest of downtown Chicago. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.