Peter Abell Memphis Symphony Orchestra Chief Executive Officer
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UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA
UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’. -
Choose Yourfavorite Three Concerts
CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No. -
Royal Umd 0117E 18974.Pdf (465.4Kb)
ABSTRACT Title of Dissertation: SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY Guericke Christopher Royal, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Chris Gekker School of Music Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment. -
Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p. -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
THE CLEVELAN ORCHESTRA California Masterwor S
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Department Historyrevised Copy
The Music Department of Wayne State University A History: 1994-2019 By Mary A. Wischusen, PhD To Wayne State University on its Sesquicentennial Year, To the Music Department on its Centennial Year, and To all WSU music faculty and students, past, present, and future. ii Contents Preface and Acknowledgements ……………………………………………………………………...........v Abbreviations ……………………………………………………………………………............................ix Dennis Tini, Chair: 1993-2005 …………………………………………………………………………….1 Faculty .…………………………………………………………………………..............................2 Staff ………………………………………………………………………………………………...7 Fundraising and Scholarships …………………………………………………................................7 Societies and Organizations ……………………………………………..........................................8 New Music Department Programs and Initiatives …………………………………………………9 Outreach and Recruitment Programs …………………………………………….……………….15 Collaborative Programs …………………………………………………………………………...18 Awards and Honors ……………………………………………………………………………….21 Other Noteworthy Concerts and Events …………………………………………………………..24 John Vander Weg, Chair: 2005-2013 ………………………………………………................................37 Faculty………………………………………………………………..............................................37 Staff …………………………………………………………………………………………….....39 Fundraising and Scholarships …………………………………………………..............................40 New Music Department Programs and Initiatives ……………………………………………..…41 Outreach and Recruitment Programs ……………………………………………………………..45 Collaborative Programs …………………………………………………………………………...47 Awards -
Annual Report 2012
Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-10-2012 Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest Ithaca College Choir Lawrence Doebler Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choir and Doebler, Lawrence, "Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest" (2012). All Concert & Recital Programs. 4058. https://digitalcommons.ithaca.edu/music_programs/4058 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. THE THIRTY-FOURTH ANNUAL ITHACA COLLEGE CHORAL COMPOSITION CONTEST Sponsored jointly by Ithaca College and Roger Dean Publishing Company Ford Hall Saturday November 10th, 2012 7:00 pm ITHACA COLLEGE THIRTY-FOURTH ANNUAL CHORAL COMPOSITION CONTEST AND FESTIVAL Sponsored jointly by Ithaca College and Roger Dean Publishing Company Professor Lawrence Doebler founded the Choral Composition Festival in 1979 to encourage the creation and performance of new choral music and to establish the Ithaca College Choral Series. Six scores were chosen for performance this evening from entries submitted from around the world. The piece …to balance myself upon a broken world (September, 1918) (Amy Lowell) by Paul Carey was commissioned by Ithaca College and -
Sphinxconnect Attendees
SphinxConnect Attendees As of February 1, 2018 First Name Last Name Company / Organization / Affiliation Job title or instrument Iymaani Abdul-Hamid IAH Studio Violist | Instructor | Artivist Peter Abell Memphis Symphony Orchestra President & CEO Michael Abels Composer "GET OUT," "DeliGhts & Dances" Marilyn Abrahams Parent VIOLIN Neil Abrahams Parent VIOLIN Nicholas Abrahams A. W. Dreyfoos School of the Arts Violin Jessica Adamczyk University Musical Society (UMS) Executive Assistant to the Carlos Agreda Curtis Institute of Music ConductinG Fellow Ali Ahmed Wayne State University Student Kibibi Ajanku Greater Baltimore Cultural Equity and Inclusion Chair, Department of Chamber Matt Albert University of MichiGan Music Lucy Alessio Sphinx Overture ProGram Violin teacher University of Cincinnati ColleGe- Luis Alfaro Violin Conservatory of Music Lucinda Ali-LandinG Hyde Park Suzuki Institute Violin, Executive Director Justin Almazán McGill University Viola Isabella Amador University of MichiGan SMTD Violinist musiConnects / Sphinx Symphony Jason Amos Violist, Boston Public Quartet Orchestra Thiago Ancelmo de Souza University of Iowa Clarinet Michael Angell Paul M AnGell Family Foundation Director Community Initiatives IRIS Artist Rebecca Arendt IRIS Orchestra Fellows, Director Bernardo Arias None Violin Claire Arias-Kim Sphinx Competition Violin Esme Arias-Kim None Violin Paul Austin ICSOM President Titilayo AyanGade Chicago Sinfonietta Cello Sophia Ayer McCallum HiGh School Violin American Federation of Susan Ayoub AFM Diversity Committee