Individual Instruments 61

Total Page:16

File Type:pdf, Size:1020Kb

Individual Instruments 61 INDIVIDUAL INSTRUMENTS 61 Tango Maria Wachet Auf (from Cantata 140) Variations for Seven Winds By Francisco Tarrega (1852–1909) / arr. David Marlatt By Johann Sebastian Bach (1685–1750) / arr. David Marlatt By Don Sweete This piece was originally written for the classical guitar. The solo part alternates the sustained line with the more This difficult new work has been scored for flute, oboe, The transition from guitar to woodwinds is not a natural technical line which provides interest in sound and interest clarinet in A, horn in F, bassoon, trumpet in C and one, however, there are a large number of Spanish pieces in playing. trombone. This is another brilliant composition by this written for wind instruments and it is that sound that the PART 1–Flute, Oboe, Clarinet; talented Canadian. The combination of a woodwind quintet ensemble should attempt to emulate. Style is everything! PART 2–Flute, Oboe, Clarinet; with two brass allows for a wide spectrum of colours. The NEW! Interchangeable Woodwind Ensemble PART 3–Clarinet, Alto Saxophone; musical lines throughout the piece will challenge all the ..........................................$25.00 81-WWE2639____ PART 4–Clarinet, Alto Saxophone, Tenor Saxophone, F Horn; performers and make it interesting to play. A variety of UPC: 685462011308 PART 5–Bass Clarinet, Bassoon, Baritone Saxophone tempos and styles combined with different scoring of the instruments keep up interest for the audience. Brass Theme (from Pomp and Circumstance) NEW! Interchangeable Woodwind Ensemble ..........................................$25.00 81-WWE2858____ NEW! Flute, Oboe, Clarinet, Horn, Bassoon, By Edward Elgar (1857–1934) / arr. David Marlatt UPC: 685462013104 Trumpet, Trombone.......$30.00 81-WWE986____ This is the most often played processional at graduations UPC: 685462011506 from elementary school through to college and university. Who Wants Gum? Only the main theme has been adapted here and there are By Vince Gassi several “escapes” if the piece is required to end early. In Here is a jazz waltz students will have a “ball” with. A lilting BRASS fact, with all the optional endings, the piece can be several tune with cool chord changes in the accompaniment gives different lengths. It can end just before the 1 minute mark this piece a carefree, sugarless sound. Composed for 2 or can be extended to just over 2 minutes or even longer if flutes, 2 clarinets and a bass clarinet with an optional drum Trumpet repeats are taken. part included. NEW! Interchangeable Woodwind Ensemble NEW! 2 Flutes, 2 Clarinets, Bass Clarinet B-Flat Cornet (Trumpet) Methods ..........................................$25.00 81-WWE2646____ ..........................................$15.00 81-WWE2645____ & Collections UPC: 685462011360 UPC: 685462011353 240 Double and Triple Tonguing Exercises This Old Man Variations Mixed Woodwind & By Victor V. Salvo Traditional / arr. David Marlatt Brass Ensembles The material in this book is presented as an introduction This favourite children’s song has been cleverly arranged to the art of double and triple tonguing. The book is in some different styles in this easy arrangement for Sonata de Chiesa designed for the student who just beginning to double woodwinds. The melody is first in the upper voices, then a By Don Sweete or triple tongue and contains enough material for at least waltz section then finally a Calypso feel. This is fun music This is a commission for clarinet, horn and piano written two years work. Some students may take much more time, that is not too difficult. Ensembles in their first year of for the musicians concerts at the Stratford Festival. The for the speed of progress will depend on the student’s playing could perform this piece. non-standard instrumental combination creates some background, age and ability level. The range of this book NEW! Interchangeable Woodwind Ensemble interesting colours within this chamber ensemble. This is well within the ability level of young brass players. While ..........................................$25.00 81-WWE2753____ large-scale multi-movement work is a great addition to the this book is designed primarily for cornet, trumpet, and UPC: 685462011445 repertoire for university and professional musicians. baritone players, it can also be used for trombone and french horn players. It can also be used with tuba players Three Susato Dances (from The Danserye) NEW! Clarinet, Horn, Piano who can transpose from the treble clef. By Tielman Susato (1500–1562) / arr. David Marlatt ..........................................$30.00 81-WWE207____ UPC: 685462010981 Book....................................$7.95 00-PROBK01091____ It was from the Danserye (1551), a set of dances, that UPC: 029156040845 these three dances have been selected and arranged. Two Early Canadian Marches There was no indication on the original score as to the By Charles Voyer de Poligny d’Argenson ( –1820) / After Hours for Trumpet and Piano instrumentation but Susato said “the dances shall be arr. Timothy Maloney By Pam Wedgwood pleasing and appropriate, to be played on instruments of These two marches are the oldest extant secular music The book contains piano accompaniments, but for extra all kinds”. Originally for four unnamed instruments, this composed in Canada. The Royal Fusiliers’ Arrival at Quebec sophistication a CD of backing tracks is also included. Each arrangement has been expanded to five instruments. was written in honour of the arrival of the newest regiment piece within the collection has two different backing tracks: NEW! Interchangeable Woodwind Ensemble from England and its commanding officer. An inscription the first (full performance) includes the backing track along ..........................................$25.00 81-WWE2751____ on the manuscript of the Marche de Normandie identifies with the instrumental melody; the second (backing only) UPC: 685462011421 Charles Voyer de Poligny d’Argenson as the composer of presents the backing track alone. Turkey in the Straw that work, and from the available evidence it seems likely Book & CD ......................$13.95 12-0571522688____ that both marches were written by the same person. They UPC: 9780571522682 Traditional / arr. David Marlatt are arranged for a woodwind ensemble consisting of Turkey in the Straw is true hoe-down music and should be piccolo, flute, 2 oboes, 2 clarinets, 2 horns and 2 bassoons. The Allen Vizzutti Trumpet Method played with the energy of square dancers. The syncopated Music by Allen Vizzutti NEW! 2 Flutes, 2 Oboes, 2 Clarinets, 2 Horns, rhythms combined with the short crisp articulations make 2 Bassoons......................$20.00 81-WWE2647____ Expertly written by the renowned trumpet virtuoso Allen this a fun tune for both listener and performer. In this spirit UPC: 685462011377 Vizzutti, this comprehensive new trumpet method provides of fun, a solo has been given to the lowest voice through a fantastic assortment of all-new intermediate to advanced- the middle section. level exercises and etudes in all keys. It is organized into NEW! Interchangeable Woodwind Ensemble three volumes for greater study flexibility: Book 1, Technical ..........................................$25.00 81-WWE2638____ Studies; Book 2, Harmonic Studies and Book 3, Melodic UPC: 685462011292 Studies. N Book 1, Technical Studies ..........................................$19.95 00-3391____ UPC: 038081010571 Book 2, Harmonic Studies ..........................................$16.95 00-3392____ UPC: 038081014630 N Book 3, Melodic Studies ..........................................$12.95 00-3393____ Levels for performance pieces are indicated in parenthesis ( ). UPC: 038081013909 N = BEST-SELLER All prices in us$. Not all titles are available in all countries due to copyright restrictions. Prices and availability subject to change without notice. 62 INDIVIDUAL INSTRUMENTS Belwin Master Solos, Classic Festival Solos (B-Flat Trumpet), Edwards-Hovey Method for Volume 1 Easy (Trumpet) Volume I Solo Book Cornet or Trumpet Ed. Keith Snell Classic Festival Solos offers the advancing instrumentalist By Austyn R. Edwards and Nilo W. Hovey Contains: Bouree (Telemann) • Burlesque (Mozart) • an array of materials graded from easy to more The aim of the Edwards-Hovey Method for cornet or The Coronation Day (Traditional English Folk Song) • challenging. There are different titles for each instrument, trumpet is to develop a method in which the material is The Emperor of Germany’s March (Clarke) • The Pedlar and an assortment of musical styles has been included in arranged logically from the standpoint of (a) Rhythmic (Russian Folk Song) • Processional (Snell) • Processional each book for variety. Many of the solos appear on state development, (b) gradual extension of the range, and (Daquin) • Rigaudon (Bohm) • Rigaudon (Fischer) • Rio contest lists. Contains: Alman (Morley, arr. Dishinger) • (c) development of finger dexterity. Melodies have been Grande (Snell) • Rondo (Snell) • Sarabande (Speer) • Ancient Story (Kaplan) • Bourree (Handel, arr. Dishinger) selected which adapt themselves easily to correct phrasing, Three Chinese Folk Songs (Song of Hoe/The Filial Crow/ • The Enchanted Swing (Pelz) • Fantasy for Trumpet and exercises, while in keeping with limited range and Ballad of the Yellow Sun), (Traditional). (Walters) • Halgueno (Chenette) • Legend (Bakaleinikoff) technical ability of the beginning pupil, have been made as • March of the Matadors (Eymann) • Menuet (K. 164) Easy Solo Book Only .......$5.95 00-EL03401____ melodious
Recommended publications
  • La Cultura Italiana
    LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher.
    [Show full text]
  • Baldassare GALUPPI Keyboard Sonatas • 2 Matteo Napoli, Piano
    572490bk Galuppi2:570034bk Hasse 24/7/11 11:55 AM Page 4 Matteo Napoli Matteo Napoli was born in Salerno and is an honours graduate of the Giordano Conservatoire (Foggia). Early in his Baldassare career he captured worldwide attention winning many competitions, including First Prize in the International Liszt Competition at Lucca (Italy) in 1986. He has performed in Europe, as well as in New York, Mexico City, São Paolo, Japan, Australia, China and Malaysia. As a soloist, he has appeared with a number of orchestras, including the GALUPPI Orchestra da Camera di Firenze, Brasov Philharmonic, Ofunam Philharmonic Orchestra, Tirana Opera House, Cyprus Chamber Orchestra, NSO of Malaysia, and, in New Zealand, the Manukau Symphony Orchestra and Auckland Philharmonia Orchestra. In Auckland (2003) he gave the first modern performance of the Piano Concerto No. 6 by Keyboard Sonatas • 2 Ferdinand Ries, with Uwe Grodd as conductor, followed by the European première in Romania and a further performance with the NSO of Malaysia (2004). He is now based in Auckland, New Zealand. www.matteonapoli.com Matteo Napoli, Piano C M Y K 8.572490 4 572490bk Galuppi2:570034bk Hasse 24/7/11 11:55 AM Page 2 Baldassare Galuppi (1706–1785) listing of 1909, with Nos. 29 to 32 following the listing of Scarlatti and the sonata ends with an Allegro assai in triple Keyboard Sonatas • 2 Charles van den Borren of 1923. Illy records Nos. 36 to time with characteristic opening figuration. 41, the sonatas of the Passatempo al cembalo, as having The Sonata in C major, Illy 27, opens with an Andante, Known as Il Buranello, from Burano, his place of birth, Dublin and of the second, Galuppi’s Penelope, he quotes been mentioned by Ezra Pound’s mistress, the American its melody presented in the right hand against an Alberti Baldassare Galuppi played a leading part in the develop- a certain nobleman: Il faut que je dise avec Harlequin, violinist Olga Rudge, in an Accademia Chigiana pub- accompaniment.
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • Opera Olimpiade
    OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
    [Show full text]
  • How Much Should Guests Expect to Spend This Wedding Season?
    How Much Should Guests Expect to Spend This Wedding Season? Cost of attending weddings, bachelor/bachelorette parties and showers adds up fast NEW YORK – March 28, 2018 – Wedding guests should be prepared to spend hundreds, if not thousands, of dollars per celebration this wedding season, according to a new Bankrate.com report. This includes the cost of attending the wedding, as well as associated events like bachelor/bachelorette parties and wedding showers. Click here for more information: https://www.bankrate.com/personal-finance/smart-money/cost-of-attending-wedding-survey- 0318/ The most expensive commitment comes with being a part of the wedding party. Members of the wedding party can expect to spend an average of $728 on the wedding and related festivities of the bachelor/bachelorette party and wedding shower (including gifts, travel, attire and more). Northeastern wedding party members shell out even more than that, with an average all-in cost of $1,070 to partake in all three events. Attending a wedding for a close friend or family member when not part of the wedding party is not cheap, either. Guests attending those weddings and associated pre-parties spend an average of $628. Those attending weddings and related events for more distant friends/family members will experience some financial relief, comparatively, with a total average cost of $372. When it comes to gift-giving, Millennial guests (ages 18-37) seem to be less generous than the national average. Young adults report spending an average of just $57 on wedding gifts when part of the wedding party, $47 for close friends/family when not in the wedding party and $48 for more distant relationships.
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz,
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • Howard Mayer Brown Microfilm Collection Guide
    HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
    *l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • Concerto 31.03.2019
    Si ringrazia don Ardiccio Dagani autore del volume “La musica di velluto” per il recupero del materiale sinfonico di Ferdinando Bertoni La musica di velluto eseguito in concerto Viaggio nel XVIII secolo tra la tradizione musicale veneziana ed il grande classicismo viennese L’evento è stato reso possibile grazie al sostegno di Fabrizio Alessandrini clarinetto *** *** *** Orchestra Giovanile di Brescia seguici su Marco Fabbri direttore contatti domenica 31 marzo 2019, ore 17.30 [email protected] Brescia - Chiesa di San Cristo Ferdinando Bertoni nacque a Salò il 15 agosto 1725. Dopo aver ricevuto i primi insegnamenti musicali nella sua città natale, nel 1740 si trasferì a Bologna, dove studiò per i successivi cinque anni sotto la guida del celebre Giovanni Battista Martini. Nel 1745 passò a Venezia, dove gli venne affidato l’incarico di organista della Chiesa di San Moisè e dove al contempo si Programma manteneva impartendo anche lezioni di clavicembalo e canto presso alcune tra le più importanti famiglie della nobiltà veneziana. Ben presto iniziò a farsi un nome come compositore d’opere e di oratori sacri. Nel 1752, ottenne la nomina di primo organista della Basilica di San Marco e, nel 1755, divenne anche maestro del coro ed insegnante di musica all’Ospedale dei Mendicanti. Fu qui che Bertoni compose Ferdinando Bertoni la maggior parte dei suoi lavori sacri, tra cui molti oratori, mottetti, antifone ed un celebre Miserere che incontrarono già all’epoca particolare ammirazione ed (1725-1813) apprezzamento ed ancor oggi vengono eseguiti. Negli anni successivi, compì numerosi viaggi in altre città italiane e compose svariate opere liriche.
    [Show full text]
  • Part Three Repertory List
    Part Three Repertory List of Suggested Music for the Wedding Ceremony III - 1 Table of Contents for Part Three Organ Solo III - 3-7 Collections for Organ Solo III - 8 One Trumpet and Organ III - 9 Collections for One Trumpet and Organ III - 10 Solo Instrument and Organ III - 10 Collections for Solo Instrument and Organ III - 11 Two Trumpets and Organ III - 11 Collections for Two Trumpets and Organ III - 11 Two Instruments and Organ III - 11 Brass Quartet/Ensemble and Organ III - 12 Strings and Organ III - 12 Vocal and Choral Music III - 12-13 III - 2 Suggested Repertory List Organ Solo Composer Title Publisher Alcock, John (1715-1806) Voluntary in D (Old English Music for Manuals, Book 5) Oxford Andrews, Carroll T. Processionals and Recessionals GIA Arne, Thomas (1710-1778) Allegro (Old English Organ Music for Manuals, Book 3) Oxford Bach, J. S. (1685-1750) In Dir Ist Freude (Orgelbuchlein) Various Editions Jesu, Joy of Man's Desiring Various Editions Preludes and Fugues Various Editions Presto (from Concerto in G, Orgelwerke, Vol. 8) Barenreiter Sheep May Safely Graze Oxford & H.W. Gray Baker, Philip E. Suite for Organ Hinshaw Beethoven, Ludwig van (1770-1827) Hymn to Joy (arr. Ian Hare) Oxford Processional of Joy (arr. Hal Hopson) Carl Fischer Bliss, Sir Arthur (1891-1975) Fanfare for the Bride (Royal Fanfares and Interludes) Novello A Wedding Fanfare (Royal Fanfares and Interludes) Novello Bloch, Ernest (1880-1959) Wedding March No. I (Four Wedding Marches for Organ) G. Schirmer Wedding March No. III (Four Wedding Marches for Organ) G. Schirmer Boellmann, Leon (1862-1897) Suite Gothique Belwin Mills Heures Mystiques Kalmus (Warner)-2 Vols.
    [Show full text]