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Pan-March-2020.Pdf
PANJOURNAL OF THE BRITISH FLUTE SOCIETY MARCH 2020 “This is my Flute. There are many like it, but this one is mine” Juliette Hurel Maesta 18K - Forte Headjoint pearlflutes.eu Principal Flautist of the Rotterdam Philharmonic Orchestra contents The British Flute Society news & events 24 President 2 BFS NEWS William Bennett OBE 4 NOTES FROM THE CHAIR 6 NEWS Vice President 11 FLUTE CHOIR NEWS Wissam Boustany 13 TRADE NEWS 14 EVENTS LISTINGS Honorary Patrons 16 INTERNATIONAL EVENTS Sir James Galway 23 FLUTE CHOIR FOCUS: and Lady Jeanne Galway WOKING FLUTE CHOIR 32 Conductorless democracy in action. Vice Presidents Emeritus Atarah Ben-Tovim MBE features Sheena Gordon 24 ALEXANDER MURRAY: I’VE GONE ON LEARNING THE FLUTE ALL MY LIFE Secretary Cressida Godfrey examines an astonishing Rachel Shirley career seven decades long and counting. [email protected] 32 CASE FOR MOVEMENT EDUCATION Musicians move for a living. Kelly Mollnow 39 Membership Secretary Wilson shows them how to do it freely and [email protected] efficiently through Body Mapping. 39 WILLIAM BENNETT’S The British Flute Society is a HAPPY FLUTE FESTIVAL Charitable Incorporated Organisation Edward Blakeman describes some of the registered charity number 1178279 enticing treats on offer this summer in Wibb’s feel-good festival. Pan 40 GRADED EXAMS AND BEYOND: The Journal of the EXPLORING THE OPTIONS AVAILABLE 40 British Flute Society The range of exams can be daunting for Volume 39 Number 1 student and teacher alike. David Barton March 2020 gives a comprehensive review. 42 STEPHEN WESSEL: Editor A NATIONAL TREASURE Carla Rees Judith Hall gives a personal appreciation of [email protected] the flutemaker in the year of his retirement. -
Landesmusikplan Bremen 2010
Landesmusikplan Bremen 2010 Der 1978 gegründete Landesmusikrat Bremen e.V. veröffentlichte bereits 1980 den ersten Landesmusikplan. Die Erstellung von Landesmusikplänen ist eine Aufgabe, die sich aus den Satzungen der in Deutschland aktiven Musikräte ableitet. Der vorliegende Plan ist neu erstellt und ersetzt den Vorläufer von 2000. Gegenüber den bisherigen Musikplänen wird hier wesentlich stärker als in der Vergangenheit auf das aktuelle Musikleben und auf die das Musikgeschehen tragenden Einrichtungen, Organisationen und Verbände in Bremen und Bremerhaven hingewiesen. Der Landesmusikplan Bremen 2010 ist somit auch ein Nachschlagewerk für alle, die sich zu diesem Teil der Kultur einen Überblick verschaffen wollen. Landesmusikpläne erfassen den gesamten Bereich des Musikschaffens, analysieren die Situation, zeigen Stärken und Schwächen des Musiklebens auf, nennen Schwachstellen und Versäumnisse und stellen daraus resultierend Forderungen zur Verbesserung des musikalischen Infrastruktur im Bundesland auf. Die Landesmusikräte verstehen sich als Sachverwalter der musikalisch aktiven Bevölkerung. Berufsmusiker aller Fachrichtungen, Musikpädagogen und -wissenschaftler, Laienmusizierende, Musikveranstalter, Komponisten, Musikverleger, Konzertbesucher, Kirchenmusiker, Instrumentenbauer, sie alle haben ihre Vertreter in den Landesmusikräten. Sie artikulieren ihre Interessen gegenüber der verantwortlichen Kulturpolitik in den Landesmusikplänen. Die Enquete-Kommission des Deutschen Bundestages hat mit ihrem Abschlussbericht „Kultur in Deutschland“ -
Chamber Music Society of Lincoln Center New World Spirit Sunday, October 13, 2019 3:00 Pm Photo: Tristan Cook Tristan Photo
The Chamber Music Society of Lincoln Center New World Spirit Sunday, October 13, 2019 3:00 pm Photo: Tristan Cook Tristan Photo: 2019/2020 SEASON The Chamber Music Society of Lincoln Center GLORIA CHIEN, Piano NICHOLAS CANELLAKIS, Cello CHAD HOOPES, Violin DAVID FINCKEL, Cello KRISTIN LEE, Violin ANTHONY MANZO, Double Bass ARNAUD SUSSMANN, Violin RANSOM WILSON, Flute ANGELO XIANG YU, Violin DAVID SHIFRIN, Clarinet MATTHEW LIPMAN, Viola MARC GOLDBERG, Bassoon PAUL NEUBAUER, Viola Sunday, October 13, 2019, at 3:00 pm Hancher Auditorium, The University of Iowa PROGRAM New World Spirit This concert celebrates the intrepid American spirit by featuring two pairs of composers that shaped the course of American music. Harry T. Burleigh was a star student of Dvorákˇ at the National Conservatory in New York. A talented composer and singer, he exposed the Czech composer to American spirituals and was in turn encouraged by Dvorákˇ to perform his native African American folk music. Two generations later, Copland and Bernstein conceived a clean, clear American sound that conveys the wonder and awe of open spaces and endless possibilities. Southland Sketches for violin and piano (1916) Henry T. Burleigh I. Andante (1866–1949) II. Adagio ma non troppo III. Allegretto grazioso IV. Allegro Chad Hoopes and Gloria Chien Quintet in E-flat Major for two violins, two violas, Antonín Dvorákˇ and cello, Op. 97, (“American”) (1893) (1841–1904) I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Arnaud Sussmann, Angelo Xiang Yu, Paul Neubauer, Matthew Lipman, and Nicholas Canellakis INTERMISSION Sonata for Clarinet and Piano (1941–42) Leonard Bernstein I. -
Reencuentro (Slow Milonga by Juan Maria Solare)
Juan María Solare Reencuentro milonga para piano Reunion - for piano Wiederbegegnung - für Klavier Duración: ~ 3 minutos El Escorial, Worpswede & Berlín, marzo-abril de 2008 Juan María Solare Reencuentro Ø Original para piano (Worpswede 7 de abril & Berlín 9 de abril 2008) Ø Segunda versión: para piano a cuatro manos (Köln, 17 de abril de 2008, correcciones en Köln, 7 de noviembre de 2008) Ø Tercera versión: para saxofón tenor y piano (Ginebra, 15-16 de agosto de 2008) Ø Cuarta versión: para violín y piano (Worpswede, 31 de agosto de 2008) Ø Quinta versión: para cello y piano (Worpswede, 6 de octubre de 2008) Ø Sexta versión: para bandoneón, saxo tenor y piano (Buenos Aires, 19/MAR & 14/ABR/2009) Ø Séptima versión: para viola y piano (Bremen, 25 de enero de 2010) Milonga anotada tras una visita al cementerio de El Escorial (España) el 30 de marzo de 2008. Es la típica obra que se va destilando en etapas: primero una versión "parrilla", luego una primera versión sencilla para piano, que luego se va tornando más compleja. La versión "sencilla" para piano solo fue escrita en el 7 de abril de 2008 y terminada en Berlín el 9 de abril de 2008. Estreno (versión original para piano solo): por el compositor el 3 de julio de 2008 en el teatro de la Universidad de Bremen, durante un concierto de la Orquesta No Típica. Estreno en el continente americano por Iván Pérez Faccaro el 27 de noviembre de 2008 en el Conservatorio Superior de Música de Buenos Aires (Argentina) "Ástor Piazzolla". -
N E W Y O R K F L U T E F a Ir 2020
The New York Flute Club Nancy Toff, President Deirdre McArdle, Program chair 2020 The New York Flute Fair 2020 2020 VISION Looking back and moving forward with guest artists Seth Morris, Chelsea Knox, Stephanie Mortimore, Maron Khoury, and Koren McCaffrey, flutists of the Metropolitan Opera Orchestra Saturday, February 29, 2020 W83 Ministry Center 150 West 83rd Street, NYC (between Amsterdam and Columbus Avenues) 8:30 am-7:00 pm NEW YORK FLUTE FAIR BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary RIE SCHMIDT, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE LINDA RAPPAPORT DIANE COUZENS JAYN ROSENFELD FRED MARCUSA NICOLE SCHROEDER JUDITH MENDENHALL MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, -
Conor Nelson Vatory of Music, Where She Studies with Jeanne Bax- Sunday, April 18, 2004, 5:30 Pm Tresser
The New York Flute Club N E W S L E T T E R April 2004 2004 Young Artist Competition Winners EONIE WALL, 23, is currently pursuing a In Concert L master’s degree at 2004 NYFC YOUNG ARTIST WINNERS the New England Conser- Leonie Wall, Philipp Jundt, Conor Nelson vatory of Music, where she studies with Jeanne Bax- Sunday, April 18, 2004, 5:30 pm tresser. A native of Ottawa, CAMI Hall, 165 West 57th Street she completed her bache- lor’s degree at McGill Uni- Program versity in Montreal with Histoire du Tango ................................................ Astor Piazzolla Timothy Hutchins in 2002 Conor Nelson, flute; Ayano Kataoka, marimba and was principal flute of l’Orchestre des Grands Bal- Fantaisie on Themes from Der Freischutz ........... Paul Taffanel First Place lets Canadiens de Montreal for their 2001–2002 season. Caprice No. 24 (Rampal-Jundt)......................... Nicolo Paganini She spent last summer with the orchestral training pro- Philipp Jundt, flute; Linda Mark, piano gram at the Music Academy of the West, studying with Tim Day and Jeanne Baxtresser. In the summers of 2001 Duo for flute and piano ..................................... Aaron Copland and 2002, Leonie was a member of the National Youth Orchestra of Canada, touring the Canadian maritime prov- Pièce en forme de Habanera ............................... Maurice Ravel inces in 2001 and Asia in 2002. She recently completed a Chant de Linos ........................................................André Jolivet month-long tour of the Eastern United States and Puerto Leonie Wall, flute; Linda Mark, piano Rico as principal flute of Les Violons du Roy. ❑ Program subject to change. HILIPP JUNDT, 25, is cur- rently a graduate student P at the New England Conser- vatory of Music, where he studies with Jeanne Baxtresser, and a visiting student at Harvard University, where he studies economics. -
2010 Competition Winners
April 2010 2010 COMPETITION WINNERS 1st Ilji Kim Born in 1985 in Seoul, Korea, Ilji Kim entered the Yewon Conservatory of Music at the age of 12, where she became a first-prize winner in numerous competitions. In 2008 she moved to the US and continued her studies with Fenwick Smith at New England Conservatory of Music, where she is pursuing a master’s degree in music. She has participated in masterclasses with Hyeri Yoon, Linda Chesis, John Heiss, and Ransom Wilson, and was a finalists in the 2010 Pappoutsakis Flute Competition. Ilji Kim enjoys playing chamber music, painting, and improvising popular music. 2nd Laura Kaufman Laura Kaufman, age 20, is a junior at the Eastman School of Music where she studies with Bonita Boyd and performs in the East- man Philharmonia and Eastman Wind Ensemble. Last summer she participated in a 2009 National Flute Association masterclass with Katherine Hoover and this summer she will participate in the National Repertory Orchestra. Previous teachers include Tadeu Coelho, Mary Ann Archer, and Soo Kyung Park. 3rd Thomas James Wible Thomas Wible, age 23, is a native of Pittsburgh. He received his bachelor of music degree from the New England Conservatory of Music, where he was a student of Renee Krimsier. He is now Laura Kaufman Ilji Kim studying for a master’s degree in music at the Boston Conservatory as a merit scholarship student of Geralyn Coticone. He is also principal flutist of the Boston-based Freisinger Chamber Orchestra and a substitute flutist with the Boston Philharmonic Orchestra. In Concert Winners of the 2010 Young Artist Competition Sunday, April 25, 2010, 5:30 pm Yamaha Piano Salon, 689 Fifth Avenue Thomas (entrance on 54th Street between Fifth and Madison Avenues) James Wible Thomas Wible, flute; Linda Mark, piano IN THIS ISSUE Poem Charles T. -
IFS 2017 Program (PDF)
International FLUTE Symposium At West Virginia University July 5-9, 2017 Dean’s Welcome West Virginia University welcomes you to the International Flute Symposium. It is my pleasure to welcome all participants, competitors, par- ents, and friends. I trust you will have an exciting experience. WVU’s School of Music boasts outstanding programs and faculty, which are accredited by the National Association of Schools of Music. We are very proud of our faculty and student ensembles, which perform extensively in the region and nationally. We are also very proud of the WVU Marching Band “The Pride of West Virginia,” which tours regularly each year. Through our many ensembles and studio avenues, students have multiple opportunities to travel and study abroad. We feel this is an integral part of the education of our students. Finally, the quality of our faculty ensembles is remarkable. Our music students have the oppor- tunity to learn from working professionals in all areas. We know you will enjoy the Creative Arts Center, a suitable venue for all types of visual and performing arts. Please let us know if you have any needs or require assistance during your visit. I wish the participating flutists much success and enjoyment. I know you will consider WVU and the College of Creative Arts when thinking of furthering your education. We welcome the op- portunity to assist you in the realization of your goals and to help you cultivate your innter artists. Paul K. Kreider, DMA Philip J. Faini/ Falbo Family Dean College of Creative Arts i School of Music Director’s Welcome Director’s Welcome Welcome to West Virginia University. -
Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico ABSTRACTS & PROGRAM NOTES Updated September 12, 2
Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico ABSTRACTS & PROGRAM NOTES updated September 12, 2016 Alberti, Alexander Paper: From Beatboxing to Bach: Applications of Collegiate A Cappella Across the Music Curriculum In recent decades, collegiate a cappella groups have flourished on campuses across the nation, yet a cappella’s place in the study of classical art music has been unclear, despite such benefits as practical ear training, group cohesion, applications of music arrangement, and engaging vocal practice. St. Jean (2014) investigated a cappella’s benefits to the undergraduate ensemble singer’s skillset; however, the literature has yet to expand this into a broader range of musical disciplines. To address this gap, the present study explored how the collegiate a cappella experience may supplement, improve, and coexist with the traditional music curriculum at the college level, using a qualitative methodology known as experience-sampling (Zirkel, Garcia, Murphy, 2015). Undergraduates in various music degree programs, simultaneously engaged in a cappella organizations, submitted weekly reports of the integration of their a cappella skills into their courses, lessons, and classwork. Coupled with interviews, this information was thematically coded and analyzed through the lens of Kolb’s Experiential Learning Model to discover how skills gained in a cappella supported students’ experience in the music curriculum, regardless of concentration. Results of this study may better inform curriculum development and professional development opportunities across the entire music discipline. Alhadeff, Peter Paper: Berklee’s Fair Music and Transparency Report: A Critique Berklee’s Fair Music Report has made headlines by highlighting much opacity in the engagement of talent by a variety of music intermediaries. -
Summer2004 Newsletter
From the President... Dear Texas Flutists, Summer 2004 The incredible journey we know as flute! The pursuit of musical excellence, artistic in- tegrity and creative practice! With a vision of the future for our students and roots firmly planted in the soil that our own teachers once cultivated, we can find joy in the music that grows daily inside our own souls. With tools of tone, technique, articulation, dynamics and more, we forge through billions and billions of notes in our lifetimes so that we might for a brief moment con- tribute something of value to our world. Paula Robison once said, “It is your responsibility every time you breathe into your instrument to make the world a more beautiful place.” We must decide today that our musical journey will fill the earth with peace and beauty! During my recent journey as a Texas flutist, I have found myself in some of the most fantastic and memorable places: Performing Christmas concerts at the Meyerson with Laurel Beavers and Cheryl Stewart and the many other flute artists in Flutes Unlimited! Watching mas- ter-teachers Terri Sundberg and Claire Johnson share tons of wisdom at Floot Inferno! Sharing ideas at visioning lunches with Marilyn Arey, one of my most favorite people ever! Weekly work- ing alongside the award-winning band director and incredible flutist Melissa Danforth! Zooming through the Fort Worth Zoo with Lisa Johnson and her brilliant & talented 2 children! Hearing the legendary James Galway at Pepsi-Co Recital Hall tell us to shape musical phrases the same way we would sing them! Endless phone conversations and e-mails with Christine, Larry, Jennifer, Terri, Karen and Ellen developing new ideas for TFS and organizing the Galway masterclass & flute festivals! All of which are now memories I will never forget! Just briefly to introduce myself, I came to Texas in the fall of 1997 after having com- pleted studies at the University of Central Florida. -
Breanna Daley, Flute in a Graduate Recital
presents Breanna Daley, Flute In a Graduate Recital From the Studio of Dr. Hannah Porter-Occeña Un Joueur de flûte berce les ruines Francis Poulenc (1899-1963) Fantasia No. 1 in A major Georg Philipp Telemann (1681-1767) Introduction, Toccata, and Fugue for Flute Solo Jindřich Feld Introduction (1925-2007) Toccata Four Preludes for Piccolo Solo, Volume 2 (Studies on East Asian Pipes) David Loeb Klôy (Cambodia) (b. 1939) Ryūteki (Japan) Image for Flute Solo, Opus 38 Eugène Bozza (1905-1991) Graham Hall, at 6:00 P.M. Monday, March 29, 2021 Francis Poulenc (1899-1963) was born into a wealthy French family and studied piano from the age of five. After his parents’ deaths during his late teenage years, he began composing under the influence of his piano teacher Ricardo Viñes. In his twenties, Poulenc suffered from episodes of manic depression, which often affected his ability to compose. He was also coming to terms with his sexuality and pursued relationships with both men and women, something he eventually had to conceal while living in German occupied France during World War II. Poulenc is best known for his vocal and woodwind chamber music, as well as his music written for the stage. His Sonata for Flute and Piano (1957) is a well-loved staple of the flute repertoire. Un Joueur de flûte berce les ruines was not added to the flute repertory until several decades after Poulenc’s death, when Yale University professor Ransom Wilson discovered the manuscript amongst a collection of scores donated to the university’s library in 1997. -
Ransom Wilson Som Wilson
= THE GOVERNOR S SCHOOL FOR THE ARTS Ransom Wilson hails from Tuscaloosa, Alabama, and was and OLD DOMINION UNIVERSITY educated at the North Carolina School of the Arts and The Juilliard School. For post-graduate work, he was an Present Atlantique Foundation scholar in Paris for a year, studying privately with Jean-Pierre Rampal. His other flute teachers th The 14 Annual have included Alain Marion, Sandra Taylor, Lawrence Morgan, Philip Dunigan, Severino Gazzelloni, Julius Baker, Christian Lardé, and Arthur Lora. He has appeared with Hampton Roads major orchestras around the world, and has played in recital with many of the greatest musicians of our time Flute Faire Mr. Wilson is also an orchestral conductor of growing reputation, www.flutefaire.com and he is the founder and conductor of Solisti New York Orchestra, as well as the Artistic Director of Oklahoma's OK Saturday, February 17, 2007 MOZART International Festival. He has been guest conductor of 9 A.M. to 6 P.M. many prestigious ensembles, including the Houston Symphony, 9 A.M. to 6 P.M. Hallé Orchestra, Orchestra of St. Luke's, Los Angeles Chamber Orchestra, Saint Paul Chamber Orchestra, and the Metropolitan Featuring Opera. His conducting teachers have included Roger Nierenberg, Special Guest Artist James Dixon, Otto-Werner Mueller, and Leonard Bernstein. He has recorded 30 albums as both flutist and conductor, and was three times nominated for the "Grammy" award. Other RanRansomsom Wilson awards he has received include the Alabama Prize from the New Professor of Flute York Times Foundation, and the Award of Merit in Gold, from the Yale School of Music Republic of Austria.