Edition 2 | 2018-2019

Total Page:16

File Type:pdf, Size:1020Kb

Edition 2 | 2018-2019 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem WHAT’S INSIDE III ...................MESSAGE FROM THE MUSIC DIRECTOR V .............MESSAGE FROM THE EXECUTIVE DIRECTOR VII ...................... MESSAGE FROM THE BOARD CHAIR X ..............................................DAVID ALAN MILLER XIII ................................... ORCHESTRA PERSONNEL JANUARY 5-6, 2019: XIX ........................................... BEETHOVEN’S SEVENTH FEBRUARY 9-10, 2019: XXVII ............................................ ROMANTIC CHOPIN MARCH 9, 2019: XXXV .............................................................BOLÉRO XLV ..................................... 2018-2019 SPONSORS XLIX .....................................CONDUCTOR’S CIRCLE L ................................................ INDIVIDUAL GIVING LIII .................IN HONOR, CELEBRATION, & MEMORY LIV ...............................................ENCORE SOCIETY FOUNDATIONS, CORPORATIONS & LV ..................................... GOVERNMENT AGENCIES LV ............................................IN-KIND DONATIONS LVII.........................................................BOARD & STAFF ALBANY SYMPHONY MUSICIAN LXIII.......................................... HOUSING PROGRAM ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2018. All rights reserved. Printed in the U.S.A. ALBANY SYMPHONY ORCHESTRA | I and a true collaboration with Tessa, who brings her Kentucky bluegrass roots to each note of the piece. In January, we’ll also present the Chamber Concerto of Steven Stucky, our 2015-16 Composer Mentor and a wonderful artist and teacher who sadly passed away in 2017. The Chamber Concerto’s unique sound world explores magical musical colors and sonorities, which we will capture in its first-ever commercial recording. Annika Socolofsky joins us in February for the premiere of her romantic new work for orchestra and voice, just in time for Valentine’s Day. And in March, we’ll present a sparkling new percussion concerto by Robert Honstein, featuring international superstar Colin Currie as guest soloist. We are so excited to bring all of these fascinating and beautiful new works to you. In addition to these exciting new works, we will also bring you some of the greatest “standards” in the orchestral repertoire by Beethoven, Chopin, Schumann, and Ravel, along with slightly less-well- WELCOME FROM THE known masterpieces by Hindemith and Gould. We hope you’ll join us for all three concerts to hear MUSIC DIRECTOR how these great creative voices from the past interact with, and seem to be in dialogue with, today’s leading DEAR FRIENDS, musical creators. To learn more about these pieces before we perform them, we hope you’ll join us the Happy New Year! Long after the glow of the holiday Friday before each concert at noon for our Vanguard season has faded, I continue to feel the warmth and “Prevue” library talks. Check the WMHT website for love of our Albany Symphony “family”–our patrons, program broadcasting specifics. subscribers, musicians, and friends–each time I step on the podium. Thank you for sharing the gift of Thank you for taking the journey with us, as our music with us through the year. orchestra continues its thrilling musical adventure in the new year! After three larger-than-life, spectacular performances in the fall, we turn to a series of beautiful, somewhat Warm Regards, more intimate concerts, also filled with glorious works new and old. I am particularly excited to embark with the orchestra on three brand new world premiere compositions by some of our favorite living American composers. David Alan Miller Music Director Michael Torke, our good friend and partner for more than twenty years, will premiere his new violin concerto, SKY, based on Bluegrass Fiddling, with the brilliant violinist Tessa Lark on our January concert. SKY is equal parts soulful and sparkling, ALBANY SYMPHONY ORCHESTRA | III IV | ALBANY SYMPHONY ORCHESTRA Sunday Symphony & Monday Music Our Superheroes Sunday Symphony concert takes place on March 17 at the Palace Theatre. On Monday the day after, school bus loads of elementary school students–including those from the Troy, Albany, and Averill Park school districts, our “Symphony In Our Schools” partners–will uncover their secret superpower with the Albany Symphony’s team of musical heroes! Diversity, Equity, Inclusion (DEI) One of our strategic priorities is to “incorporate diversity, equity, and inclusion best practices in all aspects of the organization.” We are at the learning and planning phase in this area of growth; I welcome any thoughts or feedback you might have on this topic. DEI is an important part of our organization’s viability–to ensure the Albany Symphony is here to serve the community through our 100th anniversary (2030) and beyond! In part, that means attracting © Gary Gold Photography and retaining top flight musicians, staff, board and other champions in addition to having a solid MESSAGE FROM THE financial base. EXECUTIVE DIRECTOR Behind the Titles By the time this program book reaches you, we will likely have announced or be very close to announcing DEAR FRIENDS, our 2019-20 concerts. Given the limited space on our brochure, we give our programs short titles linked to Thank you for joining us for our first concerts one of the works or a general concept. I realize this of 2019! I want to share with you some Albany means there is a certain amount of risk for you in Symphony activities not otherwise captured in this attending our concerts. I assume you, like me, go program book: into a concert (or a movie, or a restaurant, etc.) with certain expectations of what you’ll encounter. I hope Recording Torke Violin Concerto you, like me, are surprised from time to time by the Part of championing new music is a commitment to discovery of a new composer, or piece, or soundscape giving the work as much exposure as possible. Thus, that speaks to you. At the very least, I hope you are the Albany Symphony is recording for commercial amenable to having your horizons broadened! release Michael Torke’s Violin Concerto, which is getting its world premiere at the January 5 & 6 Thank you for being bold, Listening Adventurously, concerts. After the January performances, David and coming to this concert. Enjoy the program! Alan Miller and the orchestra will record the works in session with the phenomenal violinist Tessa Lark at the Troy Savings Bank Music Hall, renowned for its excellent acoustics. Anna Kuwabara Executive Director ALBANY SYMPHONY ORCHESTRA | V VI | ALBANY SYMPHONY ORCHESTRA If our music moves you to do more, here are some ways you can deepen your involvement with the orchestra: • Upgrade your occasional tickets to a full or partial season subscription to enjoy a wide variety of artists, composers, and musical experiences year-round • Make an added gift to “round-up” your next ticket order • Volunteer for the orchestra as a member of our Vanguard sister organization (vanguard-aso.org) • Double the impact of your annual gift with a matching contribution from your employer • Invite a neighbor or new friend to join you at a Symphony concert for the first time • Send us a letter or email with your feedback about how to make our concert experiences better WELCOME FROM THE • Join us for a special event or community activity (see our latest events at albanysymphony.com) BOARD CHAIR • Consider naming the orchestra in your will to ensure the future of music in our Capital Region The Albany Symphony is well into our 2018-19 • Attend our Friday noon “Preview” library talks season, with so much to report from our activities this and onstage pre-concert talks fall and winter. I hope you have already had a chance to experience one of our concerts or community • Follow us on Facebook, Twitter, and Instagram programs. If this is your first concert this season, @albanysym welcome! We are so glad to have you with us. As you consider how to best express your support Whether you are experiencing the orchestra for the for the Symphony, we want to thank you again for first time, or have been a regular subscriber for many all that you already do to keep our orchestra going. years, your participation and investment in us makes Knowing that our music makes a difference in your a tremendous difference. Although I have been a life is our best possible gift! Board member and patron for many years, I continue to be surprised at how many ways there are for me Sincerely, to be a part of the organization’s vitality and our diverse range of community services. Jerry Golub for the Albany Symphony Board of Directors ALBANY SYMPHONY ORCHESTRA | VII VIII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | IX BIOGRAPHY DAVID ALAN MILLER, MUSIC DIRECTOR Grammy Award-winning conductor
Recommended publications
  • LEONARD BERNSTEIN Symphony No
    GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17"x 23" black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6"x 9" black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. J6 Order Number 8726583 The teaching of Abby Whiteside: Rhythm and form in piano playing Wood, Patricia A., D.M.A. The Ohio State University, 1987 Copyright ©1987 by Wood, Patricia A. All rights reserved. U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE TEACHING OF ABBY WHITESIDE: RHYTHM AND FORM IN PIANO PLAYING DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the School of Music in the Graduate School of The Ohio State University by Patricia Ann Wood, B.M., M.M.
    [Show full text]
  • Kennesaw State University Wind Ensemble Wednesday, March 18, 2015 at 8:00 Pm Dr
    program Kennesaw State University Wind Ensemble Wednesday, March 18, 2015 at 8:00 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-third Concert of the 2014-15 Concert Season featuring Sam Skelton, soprano saxophone David Kirkland Garner, guest composer Daniel S. Papp, special guest conductor WARREN BENSON (1924-2005) The Solitary Dancer (1969) DAVID KIRKLAND GARNER (b. 1982) Soprano Sax Concerto with Wind Ensemble (2014) (Georgia Premiere) I. dotted quarter note = 100 II. quarter note =72; lazy and relaxed III. quarter note = 112 Sam Skelton, soprano saxophone DMITRI SHOSTAKOVICH (1906-1975) transcribed by H. Robert Reynolds Prelude, opus 23, No. 14 MICHAEL TORKE (b. 1961) Bliss (2013) JOHN PHILIP SOUSA (1854-1932) The Washington Post (1889) Daniel S. Papp, guest conductor program notes The Solitary Dancer | Warren Benson Warren Benson, as composer, conductor and performer, was perhaps best known for his music for wind ensemble and percussion and for his song cycles. Benson wrote over 150 works. His music has been played and recorded worldwide by the Kronos Quartet, New York Choral Society, International Horn Society and United States Marine Band. Benson’s teaching career spanned over 50 years and culminated with honors including the Kilbourn Professorship for Distinguished Teaching, and appointment as University Mentor and Professor Emeritus at the Eastman School of Music. Benson played timpani in the Detroit Symphony Orchestra under Ormandy, Reiner, Goosens, and Bernstein while an undergraduate at the University of Michigan. He later received Fulbright Teaching Fellowships, a John Simon Guggenheim Composer Fellowship, National Endowment for the Arts composer commissions and the Diploma de Honor from the Republic of Argentina.
    [Show full text]
  • Programs Copy.Pages
    EBB & FLOW ARTS and HAWAI’I PUBLIC RADIO present Naomi Niskala piano Saturday November 16 2019 7:30PM Atherton Performing Arts Studio ! PROGRAM Sechs kleine Klavierstücke, Op. 19 (1911) ….…Arnold Schoenberg (1874-1951) I. Leicht, zart II. Langsam III. Sehr langsame IV. Rasch, aber leicht V. Etwas rasch VI. Sehr langsam V mlhách (In the Mists) (1912) ……………….……….Leos Janácek (1854-1928) I. Andante II. Molto adagio III. Andantino IV. Presto Recollections (1959) …………………………….……..Robert Helps (1928-2001) I. In Memoriam II. Interlude III. Epilogue * intermission * Five Preludes (1941) …………………………………….Vivian Fine (1913-2000) I. Allegro II. Adagio calmato III. Allegretto, un poco rubato IV. Allegro moderato, ben articolato V. Allegro brilliante, ben ritmico 3 Hommages (1972) ……………………………………………Robert Helps I. Hommage à Fauré II. Hommage à Rachmaninov III. Hommage à Ravel Sonata No. 1 (1927-30) ………………………………Roger Sessions (1896-1985) I. Andante – Allegro II. Andante – Poco meno mosso - Andante III. Molto vivace This event is part of E&FA’s annual, multi day, multi site, international NORTH SOUTH EAST WEST FESTIVAL 2019. NSEW Fest 2019 is produced, in part, with support from Korean American Foundation Hawai’i, AHS Foundation, John R. Halligan Charitable Fund, Hawai’i State Foundation on Culture and the Arts, Roger Shapiro Fund for New Music, Edward T. Cone Foundation, Amphion Foundation, BMI Foundation, Kosasa Family Foundation (ABC Stores), Mayor Arakawa Community Kokua Fund, Vendetti Productions LLC, Hawai’i Tourism Authority Community Enrichment Program, and private contributions. Web site service provided by Maui Web Designs. Ebb & Flow Arts, Inc. (E&FA) is a non profit presenter of modern music and multi media events.
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J
    Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. Eine ganze 6eihe themenbezogener wissenschaftlicher 7eit- schri5en erscheint inzwischen weltweit, 4agungen und 8emenbände zur Film- und wei- ter zur „Medienmusik“ haben geradezu e9ponentiell zugenommen. Es deutet sich an, dass die in der Praxis von ;unst, <nterhaltung und 1piel längst zusammengewachsenen 1in- nesmodalitäten auch in der akademischen 6e=e9ion endlich die Beachtung als multimoda- le und s2nthetische ;unstform >nden, die sie verdienen ? in der @ufnahme eines Aiszipli- nengrenzen übergreifenden ProBekts0 Aie Menge der <ntersuchungen nachzuhalten, ist aufwendig und erfordert enormen 6e- cherche-@ufwand0 Cir biDen darum alle Nutzer_innen, uns auf 3bersehenes hinzuweisen, uns auf Be eigene Beiträge aufmerksam zu machen und uns spezielle bibliographische 1ammlungen zur FerG/gung zu stellen. Es ist geplant, das bibliographische ProBekt der „Bi- bliographie der Filmmusik“ fortzuschreiben, weil es ? auch aufgrund der multidiszipli- nären Beiträge ? zunehmend schwieriger wird das Feld in seiner ganzer Breite zu doku- mentieren.
    [Show full text]
  • Overuse Injuries and Piano Technique: a Biomechanical
    OVERUSE INJURIES AND PIANO TECHNIQUE: A BIOMECHANICAL APPROACH by BRENDA G. WRISTEN, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degn'ee of DOCTOR OF PHILOSOPHY Approved August, 1998 Ac , li^'D /1 ©1998, Brenda G. Wristen ACKNOWLEDGEMENTS I would like to extend my sincerest gratitude to Dr. Lora Deahl: teacher, mentor, and friend. Her constant guidance and encouragement has been truly invaluable, both in the writing of this docimient and throughout the course of my graduate study. I am truly indebted for her personal concern and the sharing of her keen intellect and musicianship. I would also Uke to thank Dr. Roger James for his expert assistance in the area of biomechanics; without it, this dissertation would have been impossible. Deepest appreciation is extended to all members of my dissertation committee-Dr. Lora Deahl, Dr. Roger James, Dr. Paul Cutter, Dr. Donald Tanner, and Dr. Daniel Nathan-for their constant willingness to read and offer suggestions and support. I am especially appreciative of Dr. Jane Ann Wilson for her guidance in teaching class piano, her unwavering encouragement, and her many acts of generosity. I am also sincerely grateful to Dr. Wayne Hobbs for sharing his expertise and insights concerning musicology and for providing valuable career advice. Finally, I would Uke to thank all of the faculty and staff members from the Texas Tech School of Music for their many kind expressions of caring and words of encouragement during the course of my doctoral study.
    [Show full text]
  • Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL PROCESS IN SELECTED WORKS BY MICHAEL TORKE By KATHLEEN BIDDICK SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Kathleen Biddick Smith defended on March 17, 2009. Michael Buchler Professor Directing Dissertation Patrick Meighan Outside Committee Member Jane Piper Clendinning Committee Member Evan Jones Committee Member James Mathes Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation and gratitude to my advisor, Michael Buchler, for his patience, support, and encouragement throughout this journey. His doctoral seminar sparked the initial inspiration for this work, and I cannot thank him enough for his guidance, his enthusiasm, and his careful critiques of my writing. I am also grateful for the contributions of the rest of my committee members: Jane Piper Clendinning, for her helpful feedback on both early and late drafts; Evan Jones, particularly for a successful brainstorming session early on in the project; James Mathes, for his doctoral seminar on form during which an initial chapter of this dissertation was drafted; and Patrick Meighan for lending an invaluable performer’s perspective to this work.
    [Show full text]
  • Guide to the Robert Helps Collection, 1928-2001 Descriptive Summary
    Guide to the Robert Helps collection, 1928-2001 Descriptive Summary Title : Robert Helps collection Creator: Helps, Robert (1928-2001) Dates : 1928-2001 ID Number : H58 Size: 94 boxes Abstract: This collection consists of the papers of compose Robert Helps. Language(s): English Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Helps, Robert, 1928-2001 Acquisition Donation. Information: Access Conditions: The contents of this collection may be subject to copyright. Visit the United States Copyright Office's Website at http://www.copyright.gov/for more information. There is one box containing restricted documents (Series 1: Biographical Materials; Sub-series 5: Restricted documents). Use Conditions: Restrictions on reproduction of published scores and audio recordings due to copyright. Processing processed History: Preferred Citation: Robert Helps Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Biographical Note Robert Helps (1928-2001) was an American pianist and composer. He studied under Abby Whiteside, piano, and Roger Sessions, composition. Helps served as Professor of Piano at the New England Conservatory, the San Francisco Conservatory, Princeton University, Stanford University, the University of California at Berkeley, and the Manhattan School of Music. He was Professor of Music at the University of South Florida in Tampa, Florida from 1980 until his death at 72 in 2001. He performed internationally as a soloist and chamber musician. He composed piano, chamber, and symphonic works. Most of them were published by C. F. Peters, Associated Music Publishers, E.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. 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 original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The 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 thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • A Comparison of the Leschetizky and Whiteside Methods of Piano Technique
    3-7 A01I A COMPARISON OF THE LESCHETIZKY AND WHITESIDE METHODS OF PIANO TECHNIQUE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Master of Music By Alice Faye Wilkinson, B. A. Denton, Texas August, 1965 PREFACE Although technique is one of the most important phases of any applied music study, methods of piano technique repre sent somewhat an enigma. Teachers who are uninformed con cerning different technical approaches to piano instruction are likely to produce students.who will never reach their full potential. If we as teachers could come to regard technique as a means to a musical end, instead of regarding it as an end in itself, then perhaps we would become more objective in our teaching. Technique is usually understood in a limited sense ag physical agility, but the troubled query of which exercises yield the best result is still of importance to students, teachers, and performers. The fact that there are points of contention among teachers and professional artists as to just how the piano should be played should stimulate all amateur or professional musicians to become more enlightened concern ing various methods. It is easy to ascertain many basic laws governing the art of pianism because a great deal has been systematically organized and written concerning ideas on piano technique. Methods devised by Theodore Leschetizky, a Romanticist, and Abby Whiteside, a contemporary, are examples. The idea for this investigation was inspired by the writers attempt to acquire a more complete knowledge of piano teaching techniques.
    [Show full text]
  • Robert Helps New Music for the Piano
    NWCR874 Robert Helps New Music for the Piano Paul A. Pisk 9. Nocturnal Interlude ............................................. (3:51) Mel Powell 10. Etude (1957) ........................................................ (1:46) Morton Gould 11. Rag-Blues-Rag .................................................... (4:25) Alan Hovhaness 12. Allegro on a Pakistani Lute Tune, Op. 104, No. 6 (1952) .......................................... (2:02) George Perle 13. Six Preludes, Op. 20B (1946) .............................. (4:20) Norman Cazden 14. Sonata, Op. 53, No. 3 (1950) ............................... (7:41) Joseph Prostakoff 15. Two Bagatelles [[d.?]] ......................................... (3:41) I. Adagio molto e espressivo II. Con moto Peggy Glanville-Hicks 16. Prelude for a Pensive Pupil (1963) ..................... (2:28) Ernst Bacon Ingolf Dahl 17. The Pig Town Fling [[d.?]] .................................. (3:17) 1. Fanfares (1958) .................................................. (2:50) Robert Helps Kent Kennan 18. Image (1957) ....................................................... (3:01) 2. Two Preludes (1951) ........................................... (3:20) Mark Brunswick I. Rather freely; with a feeling of yearning and unrest 19. Six Bagatelles (1958) .......................................... (4:40) II. Boldly, with vigor I. Andante Samuel Adler II. Allegro non troppo 3. Capriccio (1954) ................................................. (1:14) III. Lento Hall Overton IV. Allegro vivace 4. Polarities No. 1 (1958) ......................................
    [Show full text]
  • Downloadable
    50TH ANNIVERSARY 40 TH NATIoNAl CoNFereNCe AMerICAN HArP SoCIeTY New York, NY JuNe 30 - JulY 3, 2012 Sponsors Thank you to our sponsors PRESENTING SPONSOR GOLD SPONSOR SILVER SPONSOR ASSOCIATE SPONSORS JOHN ESCOSA MEMORIAL FUND, AHS INC. AND FAITH CARMEN NORTH JERSEY CHAPTER OF THE AHS SAMUEL MILLIGAN THE VIRGINIA HARP CENTER 40 Th NATIONAL CONfERENCE Of ThE AmERICAN hARP SOCIETy 2 Table of Contents Welcome .................................................................................................... 4 The American harp Society ..................................................................... 7 Special Thanks .......................................................................................... 13 Exhibitors .................................................................................................. 14 AhS founders ..................................................................................... 16 General Information .................................................................................. 18 Schedule at a Glance .............................................................................. 20 Anne Adams Awards and the AhS foundation Awards ........................ 23 Pre-Conference Schedule ...................................................................... 25 Saturday, June 30 .................................................................................... 26 Sunday, July 1 ......................................................................................... 35 monday, July 2 .......................................................................................
    [Show full text]