DOCSLIB.ORG

Difficulty Levels 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Difficulty Levels 2009 Difficulty Levels GCE 2000 GCE 2008 AS/A2 Music 2009 Introduction Difficulty Levels This guide is provided as an aid for checking grade levels of some of the more popular pieces likely to be offered on the most common instruments. Where an instrument is not covered by this list, examiners are advised to have at their disposal copies of recent graded exam syllabuses for easy reference. Many of the graded syllabuses are available by consulting the exam boards’ websites. The inclusion of any pieces on the following lists is for grading purposes only. Where a piece exists on the lists of more than one exam board, the higher or highest grade is that which Edexcel will accept for the GCE AS level/A level Music exams. Difficulty Level codes E (easy) S (standard) MD (more difficult) H (higher). The first three of these apply to the ‘old’ Curriculum 2000 specification. The second, third and fourth apply to the ‘new’ GCE 2008 specification. The final mark achieved by a candidate in both specifications is dependent upon the difficulty of the piece(s) offered. Performances at E, MD or H level are scaled according to the grids found in the specifications and Instructions for Examiners. For the ‘new’ AS level (6MU01), as for the ‘old’ unit 6701, the standard (S) level of difficulty is Grade 5. For GCE 2000 (Old Specification) the following will apply: Grade 4 = E level Grade 5 = S level Grade 6 (and above) MD level For GCE 2008 (New Specification) the following will apply: Grade 5 = S level Grade 6 = MD level Grade 7 (and above) H level (Pieces at Grade 4 or below will not allow candidates to access the highest mark bands: see Specification, p. 22, under ‘Difficulty of Pieces’). For the ‘new’ A2 level (6MU04), as for the ‘old’ 6704/42 and 6705/52, the standard (S) level of difficulty is Grade 6. For GCE 2000 (Old Specification) the following will apply: Grade 5 = E level Grade 6 = S level Grade 7 (and above) MD level Ensemble and improvised performances Examiners should compare the technical and musical demands of the part played by the candidate in relation to solo pieces in the Difficulty Level Book. Contents Page Piano 1 Violin 28 Cello 46 Flute 59 Oboe 75 Clarinet 87 Saxophone 103 Trumpet 123 Voice 134 Guitar (Classical) 189 Guitar (Popular) 200 Percussion 203 Piano Absil Humoresque Op 126 No 3 7 Albeniz Castilla 7th Mvt from Suite espagnole Op.47 8 Albeniz Cordoba 8 Albeniz Rumores de la caleta Op.71 No.6 8 Albeniz Tango Op 165/2 6 Alberga If the Silver Bird could speak (Spectrum) 8 Alberga Only a wish away 4 Alcock Gavotte from Suite No 2 in B flat 4 Alkan Les regrets de la nonnette 6 Anderson A A Story Untold 6 Andersson & Ulvaeus Thank you for the Music 6 Anon Allegro moderato in F: L Mozart Nannerl-Notenbuch No 32 5 Anon March in E flat BWVAnh 127 (Anna Magd. Bach Bk 1725) 4 Arensky Impromptu No.1 from Quatre morceaux Op.25 8 Arndt Nola 5 Arne Sonata in A 1st mvt Allegro 6 Arne Sonata No 1 in F 1st mvt 6 Arne Sonata No 6 in G Presto 4 Arne Sonata No.2 in E minor 1st mvt Andante 6 Arnold M Sonata (complete) 8 Arnold, M The Buccaneer Op.36 6 Attwood Sonatina No 2 in C 2nd mvt Minuetto & 3 variations 4 Bach CPE Allegro in A H338, Wq 116/16 7 Bach CPE Solfeggietto in C minor 6 Bach CPE Solo per il Cembalo in Eb H16 6 Bach CPE Sonata Fm 1st mvt Wq 63/6 6 Bach CPE Sonata in A H18b Wq 55/4 1st mvt Allegro assai 8 Bach CPE Sonata in Ab Wq49/2 1st mvt Un poco allegro 8 Bach CPE Sonata in Cm Wq60 1st mvt Allegretto 7 Bach CPE Sonata in F minor H173 Allegro assai 8 Bach CPE Sonata in Gm Wq 62/18 3rd mvt 7 Bach JC Sonata in D Op 5/2 Minuetto 5 Bach JCF Allegretto in F from 'Musical Leisure Hours' 5 Bach JCF Allegro in Dm from 'Musical Leisure Hours' 6 Bach JCF Allegro in E flat from 'Musical Leisure Hours' 5 Bach JCF Angloise in D No.16 4 Bach JCF Polonaise 4 Bach JCF Sonata in E flat 3rd mvt Allegro 7 Bach JCF Sonata No.6 in Eb 3rd mvt Allegro assai 7 Bach JS Bourree 1 BWV 831 4 Bach JS Duetto No.3 in G BWV 804 8 1 Bach JS English Suite No 2 in Am BWV 807 Courante 7 Bach JS English Suite No 2 in Am BWV807 2nd mvt Allemande 7 Bach JS English Suite No 3 in Gm BWV 808 Allemande 7 Bach JS English Suite No 3 in Gm BWV 808 Allemande and Courante 8 Bach JS Fantasia and Fughetta in B flat BWV 907 Fantasia ONLY 6 Bach JS Fantasie in Cm BWV 906 8 Bach JS French Suite No 2 in Cm BWV 813 5th mvt Menuet 4 Bach JS French Suite No 2 in Cm BWV 813 Sarabande 6 Bach JS French Suite No 3 in Bm BWV 814 Gigue 7 Bach JS French Suite No 6 in E BWV 817 7th & 8th mvts 8 Bach JS French Suite No 6 in E BWV 817 Allemande 7 Bach JS French Suite No 6 in E BWV 817 Gigue 8 Bach JS French Suite No 6 in E BWV 817 Polonaise 4 Bach JS French Suite No.3 in Bm Allemande 6 Bach JS Goldberg Variations Aria and 1st variation 8 Bach JS Italian Concerto 1st mvt 8 Bach JS Italian Concerto 3rd mvt Presto 8 Bach JS Little Prelude in Dm BWV 940 5 Bach JS Little Prelude in No 4 in D BWV 936 6 Bach JS Overture in F BWV 820:5 Bourree 4 Bach JS Partita No 1 in B flat BWV 825 Praeludium and Giga 8 Bach JS Partita No 2 in C minor BWV 826 Sarabande and Rondeaux 8 Bach JS Partita No 4 in D BWV 828 Allemande 8 Bach JS Partita No 5 in G 3rd Mvt Corrente 7 Bach JS Partita No 6 in Em BWV 830 Air 5 Bach JS Partita No.2 in C minor Sinfonia BWV 826 8 Bach JS Praeludium in G (Little Preludes and Fugues BWV 902) 8 Bach JS Prelude and Fugue in A minor BWV 889 8 Bach JS Prelude and Fugue in A WTC Bk 2 No 19 8 Bach JS Prelude and Fugue in Ab BWV 862 No.17 8 Bach JS Prelude and Fugue in Am WTC Bk 1 No 20 Prelude ONLY 7 Bach JS Prelude and Fugue in B flat WTC Bk 1 No 21 8 Bach JS Prelude and Fugue in C WTC Bk I No 1 Prelude ONLY 5 Bach JS Prelude and Fugue in Cm WTC Bk 1 No 2 8 Bach JS Prelude and Fugue in D WTC Bk 1 No 5 8 Bach JS Prelude and Fugue in Dm WTC Bk 2 No 6 8 Bach JS Prelude and Fugue in E flat WTC Bk 2 No 8 8 Bach JS Prelude and Fugue in Em WTC Bk 1 No 10 Prelude ONLY 7 Bach JS Prelude and Fugue in F minor BWV 881 8 Bach JS Prelude and Fugue in G WTC Bk 2 No 15 8 Bach JS Prelude in Dm BWV 935 5 Bach JS Prelude in F BWV 927 4 2 Bach JS Prelude in G BWV 860 No.15 7 Bach JS Prelude No.4 in A minor BWV 942 5 Bach JS Sinfonia No 13 in Am BWV 799 6 Bach JS Sinfonia No 3 in D BWV 789 7 Bach JS Sonata in D minor BWV 964 3rd mvt Andante 5 Bach JS Two-part Invention No 1 in C BWV 772 4 Bach JS Two-part Invention No 15 in B minor BWV 786 6 Bach JS Two-part Invention No 4 in Dm BWV 775 5 Bach JS Two-part Invention No 8 in F BWV 779 5 Bach WF Polonaise No.5 in Eb 7 Bacharach Raindrops keep falling on my Head 4 Badings Rondo-Finale from Reihe kleine Klavierstucke 6 Badings Scherzo Pastorale from Reihe kleine Klavierstucke 5 Baines Water Pearls 7 Ball Dance Music 5 Ball, Michael Easy Music from Miriam's Music 5 Barber Excursion Op 20 No 2 8 Barnett, Chris Ode to a Princess 8 Bartok An Evening in the Country 10 Easy Pieces No 5 5 Bartok Dance in Bulgarian Rhythm No 5 (Mikrokosmos No 152) 8 Bartok For Children Vol 1 No 12 (Allegro) 4 Bartok From the Diary of a Fly (Mikrokosmos No 142) 8 Bartok Harmonics (Mikrokosmos No 102) 5 Bartok Hommage a JSB (Mikrokosmos) 4 Bartok Jack in the box (Merry Andrew) No.139 Mikrokosmos 7 Bartok Jeering Song (For Children Vol 1 No 32) 4 Bartok Melody in the mist (No.107 from Mikrokosmos) 4 Bartok Roumanian Folk Dance No 1 Joc cu bata 6 Bartok Roumanian Folk Dance No 4 5 Bartok Sonatina 1st mvt, Bagpipers 7 Bartok Suite Op 14 1st mvt Allegretto 8 Bartok Suite Op.14 Sostenuto (4th Mvt) 7 Bartok Sonatina 3rd Mvt Finale 7 Bartok Tanz aus Butschum 4 Bartok Village Joke Mikrokosmos No 130 6 Batchelor, Chris Chops 5 Batchelor, Chris Heading Home 4 Batchelor, Chris So Long 5 Beale, Charles Oscar's Boogaloo 4 Beale, Charles Shh! 4 Becvarovsky Polonaise 6 Becvarovsky Theme and 3 Variations 6 3 Bedford, David Sunset over Stac Pollaidh 4 Beethoven Allegretto in Cm WoO 53 7 Beethoven Allemande in A WoO 81 4 Beethoven Bagatelle in C Op 33/2 7 Beethoven Bagatelle in F Op 33/3 5 Beethoven Bagatelle in Gm Op119/1 5 Beethoven Menuetto 4 Beethoven Rondo in A WoO 49 7 Beethoven Rondo in C Op 51/1 8 Beethoven Rondo in G Op 51/2 8 Beethoven Sonata in A flat Op 26 !st mvt 8 Beethoven Sonata in B flat Op 22 Minuet & Trio 7 Beethoven Sonata in C minor Op.10 No.1 3rd mvt Finale 8 Beethoven Sonata in C sharp minor Op 27/2 1st mvt 'Moonlight' 6 Beethoven Sonata in C WoO 51 2nd mvt Adagio 6 Beethoven Sonata in Cm Op 10/1 1st mvt 8 Beethoven Sonata in D Op 10/3 1st mvt Presto 8 Beethoven Sonata in D Op 28 1st mvt 8 Beethoven Sonata in E flat Op 31/3 Minuet & Trio 7 Beethoven Sonata in E minor Op.90 1st Mvt 8 Beethoven Sonata in E Op 14/1 1st mvt Allegro 8 Beethoven Sonata in E Op.14 No.1 1st mvt Allegro 8 Beethoven Sonata in Eb Op.7 3rd Mvt Allegro 7 Beethoven Sonata in F minor 1st Mvt Larghetto - Allegro (WoO47 No.2) 6 Beethoven Sonata in F minor Op 2/1 Ist mvt Allegro 8 Beethoven Sonata in F Op 10/2 1st mvt Allegro 8 Sonata in F# Op.78 1st Mvt Adagio cantabile - Allegro ma Beethoven non troppo 8 Beethoven Sonata in G Op.31 No.1 1st Mvt Allegro vivace 8 Beethoven Sonata in G Op 14/2 1st mvt Allegro 8 Beethoven Sonata in G Op.79 1st Mvt Presto alla tedesca 8 Beethoven Sonata in Gm Op 49/1 2nd mvt 7 Beethoven Sonatina in E flat WoO 47/1 1st mvt 7 Beethoven Sonatina in F 2nd Mvt Rondo 4 Beethoven Sonatina in F 2nd mvt 4 Beethoven Sonatina in G Op 79 3rd mvt Vivace 7 Beethoven Symphony No.1 4th mvt (arr.
Load more

Recommended publications
  • The Hills of Dreamland
    SIR EDWARD ELGAR (1857-1934) The Hills of Dreamland SOMMCD 271-2 The Hills of Dreamland Orchestral Songs The Society Complete incidental music to Grania and Diarmid Kathryn Rudge mezzo-soprano† • Henk Neven baritone* ELGAR BBC Concert Orchestra, Barry Wordsworth conductor ORCHESTRAL SONGS CD 1 Orchestral Songs 8 Pleading, Op.48 (1908)† 4:02 Song Cycle, Op.59 (1909) Complete incidental music to 9 Follow the Colours: Marching Song for Soldiers 6:38 1 Oh, soft was the song (No.3) 2:00 *♮ * (1908; rev. for orch. 1914) GRANIA AND DIARMID 2 Was it some golden star? (No.5) 2:44 * bl 3 Twilight (No.6)* 2:50 The King’s Way (1909)† 4:28 4 The Wind at Dawn (1888; orch.1912)† 3:43 Incidental Music to Grania and Diarmid (1901) 5 The Pipes of Pan (1900; orch.1901)* 3:46 bm Incidental Music 3:38 Two Songs, Op. 60 (1909/10; orch. 1912) bn Funeral March 7:13 6 The Torch (No.1)† 3:16 bo Song: There are seven that pull the thread† 3:33 7 The River (No.2)† 5:24 Total duration: 53:30 CD 2 Elgar Society Bonus CD Nathalie de Montmollin soprano, Barry Collett piano Kathryn Rudge • Henk Neven 1 Like to the Damask Rose 3:47 5 Muleteer’s Serenade♮ 2:18 9 The River 4:22 2 The Shepherd’s Song 3:08 6 As I laye a-thynkynge 6:57 bl In the Dawn 3:11 3 Dry those fair, those crystal eyes 2:04 7 Queen Mary’s Song 3:31 bm Speak, music 2:52 BBC Concert Orchestra 4 8 The Mill Wheel: Winter♮ 2:27 The Torch 2:18 Total duration: 37:00 Barry Wordsworth ♮First recordings CD 1: Recorded at Watford Colosseum on March 21-23, 2017 Producer: Neil Varley Engineer: Marvin Ware TURNER CD 2: Recorded at Turner Sims, Southampton on November 27, 2016 plus Elgar Society Bonus CD 11 SONGS WITH PIANO SIMS Southampton Producer: Siva Oke Engineer: Paul Arden-Taylor Booklet Editor: Michael Quinn Front cover: A View of Langdale Pikes, F.
    [Show full text]
  • Vol. 17, No. 3 December 2011
    Journal December 2011 Vol.17, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2011 Vol. 17, No. 3 President Editorial 3 Julian Lloyd Webber FRCM Gerald Lawrence, Elgar and the missing Beau Brummel Music 4 Vice-Presidents Robert Kay Ian Parrott Sir David Willcocks, CBE, MC Elgar and Rosa Newmarch 29 Diana McVeagh Martin Bird Michael Kennedy, CBE Michael Pope Book reviews Sir Colin Davis, CH, CBE Robert Anderson, Martin Bird, Richard Wiley 41 Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 46 Sir Andrew Davis, CBE Simon Thompson Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 49 Andrew Neill Barry Collett, Martin Bird, Richard Spenceley Sir Mark Elder, CBE 100 Years Ago 61 Chairman Steven Halls Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Gerald Lawrence in his Beau Brummel costume, from Messrs. William Elkin's published piano arrangement of the Minuet (Arthur Reynolds Collection). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions.
    [Show full text]
  • Welcome to the Summer Season at the RNCM
    Sonic art, laser beams and technology ignite our artistic programme, with the first-ever RNCM and Welcome FutureEverything collaboration, creating Tools for Unknown Futures – a festival combining innovative art and performance with new devices, insightful discussion and playful social to the experimentation (28 Mar – 1 Apr). Contrast, social debate and fast-changing Summer politics lie at the core of all of this, permeating our entire Summer programme with Zoe Trope (5 Apr), I Came and I Vanished (27 Apr), Youth Perform’s presentation of the post-WW1 season at socio-political Brecht/Weill collaboration, The Threepenny Opera (23 – 26 Apr), and culminating in the music of the salons and the RNCM concert halls between 1890 – 1900, in our Day of Song at the Royal Exchange Theatre (27 Apr). Opera Scenes are back (27, 29 May, 6, 13 Jun) covering a rich and diverse repertoire and RNCM Opera goes to the Capitol Theatre with a fantastic production of Stephen Sondheim’s Company (25 Jun – 4 Jul) Our International Artist Diploma recitals feature the beautiful tenor voice of Kang Wang in Ludwig van Beethoven’s An die ferne Geliebte (30 Apr), as well as the Zelkova Quartet (13 Jun) with Beethoven and Bartók String Quartets; while Chester Cathedral welcomes our International Artist Diploma Concerto Weekend (5 – 7 Jun) featuring Mozart’s glorious, yet wistful, Piano Concerto in E flat major (Yasmin Rowe), Rossini’s rarely performed Bassoon Concerto in B flat major (Alejandra Rojas), Ibert’s high-spirited, yet lyrical Flute Concerto (Helen Wilson) and Schumann’s spontaneously romantic Cello Concerto in A minor (Mikhail Nemstov).
    [Show full text]
  • Solo List and Reccomended List for 02-03-04 Ver 3
    Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano.
    [Show full text]
  • Programa De Mano
    Estreno absoluto por la Compañía Nacional de Danza en el Jueves Teatro de la Zarzuela de Madrid el 9 de diciembre de 2020 11 de marzo Una Giselle vista a través del romanticismo español e inspirada en la poesía de Gustavo Adolfo Bécquer Teatro Campoamor 19:00h Compañía Nacional de Danza Director artístico: Joaquín De Luz GISELLE Alba Muriel Coreografía y dirección escénica: Ayudante de vestuario: Joaquín De Luz (a partir de la original Lucía Celis de Jules Perrot y Jean Coralli) Peluquería: Música: Adolphe-Charles Adam (versión Mª Jesús Reina UNA NUEVA VISIÓN musical: Joaquín De Luz y Oliver Díaz) Construcción de escenografía: Proescen Libreto: Borja Ortiz de Gondra y Joaquín De Luz (a partir del original de Jules Henry Vernoy Confección de vestuario: DE GISELLE y Theóphile Gautier) D´Inzillo Sweet Mode Dramaturgia: Borja Ortiz de Gondra Taller de utilería: Carlos del Tronco y Palomia Bravo Joaquín De Luz Coreógrafo y director de escena Ana Garay Escenografía: Producción de la grabación fonográfica: Rosa García Andújar Fernando Arias (Aria Classica) Borja Ortiz de Gondra Figurines: Dramaturgo Espectáculo con opción de audiodescripción: Diseño de iluminación y creación guion de David Ojeda de vídeo: Pedro CHamizo Duración: 2:25h Asistentes al coreógrafo: “En 1841, la Ópera de París estrena el ballet Giselle, en el que el poeta Théophile Pino Alosa, Joan Boada, Yoko Taira ---------- Gautier, inspirándose en leyendas alemanas de Heinrich Heine, crea mitos ro- Ayudante de escenografía: OVIEDO FILARMONÍA mánticos que marcarán toda la historia de la danza: inocentes campesinas ena- Isi López-Puget Dirección musical: Oliver Díaz moradas, fiestas de la vendimia, apuestos príncipes seductores, fantasmas espec- trales de espíritus del bosque… El año anterior, Gautier había visitado España Elenco y con su libro Le voyage en Espagne inaugura la moda romántica de los viajeros europeos que descubren el país, sus tipos populares y sus danzas tradicionales.
    [Show full text]
  • GCSE, AS and a Level Music Difficulty Levels Booklet
    GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
    [Show full text]
  • Convert Finding Aid To
    Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939.
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Where Corals Lie a Journey Through Songs by SIR EDWARD ELGAR
    Where Corals Lie A Journey through Songs by SIR EDWARD ELGAR JULIA SITKOVETSKY CHRISTOPHER GLYNN soprano piano Photograph by Rosa Burley / Courtesy of Arthur Reynolds, The Elgar Society Edward Elgar, 1898, on the porch of The Mount, the school at which he taught violin for thirteen years Sir Edward Elgar (1857 – 1934) Where Corals Lie: A Journey through Songs Sea Pictures, Op. 37 (1897 – 99) 20:02 Version for Soprano and Piano 1 I Sea Slumber Song. Andantino – Tranquillo – Tempo I – Molto tranquillo 4:37 2 II In Haven (Capri). Allegretto 1:44 3 III Sabbath Morning at Sea. Moderato – Più mosso – Tempo I – Poco meno mosso – Tranquillo – Come prima – Grandioso 5:01 4 IV Where Corals Lie. Allegretto, ma non troppo 3:31 5 V The Swimmer. Allegro di molto – Largamente – Poco meno mosso – Tempo I – Largamente 5:10 3 From ‘Sieben Lieder’ (1887 – 94) 13:30 6 7 The Shepherd’s Song (1892), Op. 16 No. 1. Allegretto 2:43 7 1 Like to the damask rose (1891). Allegro 3:07 8 2 Queen Mary’s Song (‘The Lute Song’) (1887, rev. 1889). Moderato – Più lento 3:24 9 3 A Song of Autumn (c. 1892). Poco allegretto 2:42 10 6 Rondel (1894), Op. 16 No. 3. Allegretto scherzando 1:32 Two Songs, Op. 60 (1909 – 10) 4:58 Folk-Songs (Eastern Europe, ‘Leyrisch-Turasp’) Paraphrased by ‘Pietro d’Alba’ and Edward Elgar 11 1 The Torch. To Yvonne. Allegro con fuoco – Poco meno mosso – Tempo I – Meno mosso – Come prima 1:42 12 2 The River.
    [Show full text]
  • 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
    [Show full text]
  • Vol. 18, No 3 December 2013
    Journal December 2013 Vol.18, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2013 Vol. 18, No. 3 Editorial The Severn Suite: Manuscripts, Music and Myths 4 President Robert Kay Julian Lloyd Webber FRCM Imperial propaganda and Caractacus: The woodlands and Elgar’s love of country 30 Bryson Mortensen Vice-Presidents Elgar’s Religious Beliefs 42 Sir David Willcocks, CBE, MC Peter Sutton Diana McVeagh Michael Kennedy, CBE Elgar’s Music for Powick Asylum 53 Michael Pope Barry Collett Dame Janet Baker, CH, DBE Music reviews 55 Leonard Slatkin Julian Rushton Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 59 Christopher Robinson, CVO, CBE Martin Bird, David Bury, Diana McVeagh, Carl Newton, John Norris Andrew Neill Sir Mark Elder, CBE CD reviews 71 Martin Bird, Ruth Hellen, Richard Wiley DVD reviews 74 Chairman Martin Bird Steven Halls Letters 76 Tony Jones, Christopher Morley, Carl Newton, Robin Self, Alan Tongue Vice-Chairman Stuart Freed Recording notes 79 Michael Plant Treasurer Clive Weeks 100 Years Ago 80 Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: First recording of The Severn Suite. A 78 of excerpts by the winning band, recorded the day after the Festival (Collection of Michael Plant). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this.
    [Show full text]
  • March 2008 1876 Was a Very Special Year! by STEVEN WIMPFHEIMER, ESQ
    www.qcba.org Queens County Bar Association / 90-35 One Hundred Forty Eighth Street, Jamaica, NY 11435 / (718) 291-4500 Vol. 71 / No. 6 / March 2008 1876 Was A Very Special Year! by STEVEN WIMPFHEIMER, ESQ. by STEPHEN J. SINGER “It was a cold day in January. The Marriot For those of you who have ever Hotel at Times Square was taken the trouble to scrutinize our bar association seal, you will recall that warm and inviting. Sounds our founding date was in the year like the start of a novel. But, 1876. It would seem that the fact this alas, it is merely the setting for was America’s first centennial would make it special enough when that the January Annual State Bar group of gentleman lawyers met in Association Meeting and House Garden City to form the Q.C.B.A., but of Delegates Meeting.” that was hardly the case. This was also a year in which many of the most excit- ing historical events of an adolescent Continued On Page 13 nation, just recovering from the Civil War, would occur. I thought that it would be fun to out- line just some of the truly exciting things that took place in that same time frame. With that end in mind, I have chosen to particularly highlight events which happened during that year in the “American West” because I have always been an avid fan of the Article 730 Old West, and in particular, those of a criminal nature, because I have always Mental Disease or Defect Excluding Fitness to Proceed: Part II been a criminal lawyer (as most of you know) and before that, a lawman.
    [Show full text]