DOCSLIB.ORG

Winter Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Winter Program ANCHOR BAY BAND BOOSTER EXECUTIVE BOARD The Anchor Bay High School Instrumental Music Department Tom Stanton, President Chris Worton, Vice President - Fundraising proudly presents the Kathy Simpson, Vice President - Bingo Holly Bennett, Treasurer Dean Larson, Student Accounts CONCERT BAND Lynnette O’Brien, Secretary P. David Visnaw II, Instrumental Music Director and the ANCHOR BAY HIGH SCHOOL ADMINISTRATION SYMPHONIC BAND Ms. Judy Stefanac, Principal Mr. Hank Anderson, Assistant Principal in a Mr. Vic Balaj, Assistant Principal Mrs. Sherry Kenwood, Assistant Principal WINTER CONCERT UPCOMING INSTRUMENTAL MUSIC EVENTS 1/13/04 — Band Booster Meeting (7:00PM, ABHS Band Room) 1/22/04 — Jazz Ensemble Concert (7:30PM, ABHS) 2/12/04 - 2/14/04 — CMU Jazz Festival (Mt. Pleasant, MI) 2/24/04 — AB Pre-Festival Concert (TBA, ABHS) Wednesday, December 10, 2003 3/5/04 or 3/6/04 — MSBOA District 16 Band Festival (TBA) 7:30 P.M. 4/7/04 — Band Booster Meeting (7:00PM, ABHS) Anchor Bay High School Auditorium 5/6/04 — Band Booster Meeting (7:00PM. ABHS) 5/12/04 — Spring Instrumental Music Concert (7:30PM, ABHS) 5/13/04 — Spring Instrumental Music Concert (7:30PM, ABHS) Michael R. Sauer, Instrumental Music Director 5/20/04 - 5/23/04 — Chicago Trip! P. David Visnaw II, Instrumental Music Director 6/1/04 — Instrumental Music Banquet Jennifer Martinico, Student Teacher PROGRAM SYMPHONIC BAND CONCERT BAND PICCOLO BASS CLARINET FRENCH HORN Apryl O'Leary Heather Green* Crystal Dillon Stephanie White Melissa Meteyer* Courtney Dornburg The Coast Guard’s March.........…………......………....K. King Amanda Ruhlman Elise Holderbaum Amanda Shirey Jeff Payne*+ FLUTE Derek Jones Amanda April Jamie McCullough Apple Island Legend.......….………..….……...........J. Curnow Theresa Chirio BASSOON Genna Randazzo* Brittani Cunningham Ben Hanson+ Karen Rosenbusch Caroline Haas* Jenna Hill A Christmas Collection……………...……………..E. Del Borgo Lindsay Hornibrook ALTO SAXOPHONE Antoinette Klempay* Jackie Heide TROMBONE Carolyn Murray Cassie Bienenstein Jeanine Blom* Melinda Redwine Bobby Caretti Dan Groth Amanda Trembley Brandon DeCaluwe*+ Deanna Hines SYMPHONIC BAND PERCUSSION ENSEMBLE Nicole Vanderhoff Erica Deforest Sarah Janulis* Melinda Maddock Dani Kopson Jingle Bells?……………………….…………………arr. M. Paich Jody Shields* John McQuiston OBOE Christina Summers Meghan Root+ Chelsey Mittlestat Jarett Smith Kim Stemp TENOR SAXOPHONE CLARINET Dylan Campbell* SYMPHONIC BAND Vida Austin Patrick O'Brien* EUPHONIUM Shaina Barry Rachel Olivares Josh Bennett* English Folk Song Suite.......……............R. Vaughn Williams Amy Bowron Maxwell Price Kyle Green Jessica Haag Jessica Keller Jessica Irwin Daniel Michelson* III. March Michael Johnson II BARITONE SAXOPHONE Jeremy Rhodes Paige Laemmerman Amy Bowron Kristen Long Darryl Hentrich Tiffany Reeves Josh Stros* TUBA Cajun Folk Songs…………....……..………..……....….F. Ticheli Theresa Robichaud Bryn Watnoski* Jessica Bannasch Jason Saghy*+ Candice Forrest* Jessica White Eric Kociemba I. La Belle et le Capitaine Courtney Wynne* TRUMPET Matt Wagner*+ II. Belle Nicole Zvara Mike Abele Matt Accivatti Joshua Burns* PERCUSSION ALTO CLARINET Brian Colbert Eric Anderson Salvation is Created…..…..Tschesnokoff / arr. Houseknecht Alaena Parsons Jeremy Glefke Billy Andrews Aaron Qualls Kelly Grossman Shawn Crowl Andrew Karasinski* Sean Demers Thaddeus Kulczycki Scott Larson* The Nutcracker Suite…………...Tschaikowsky/arr. Johnson Richard Reece Joshua Miller* Chris Roehr Joe Monsur Sarah Tucker Christopher Murray* Robert Nowak Stephanie Szabo Immediately following tonight’s concert, please join us in the cafeteria * Denotes Section Leader for an afterglow and a performance by the ABHS Jazz Ensemble. + Denotes East Shore Honors Band PROGRAM NOTES PROGRAM NOTES COAST GUARD’S MARCH SALVATION IS CREATED Karl Lawrence King began his long career in music at the age of 11 when he bought a cornet with Composed by Russian Pevel Tschesnokoff and arranged by Bruce Houseknect, Salvation Is money earned by selling newspapers. He was born in Paintersville, Ohio, in 1891, but his family Created has become a standard in wind literature. It is a Russian Orthodox Communion hymn moved to Canton, Ohio in 1902, and it was there that he began lessons on the cornet. He soon based on a simple chant melody and Psalm 74. Since the fall of the Soviet Union, Salvation is Cre- exchanged that instrument for a euphonium, which he played first in the Canton “Marine” Band and ated has become a favorite in the Russian Orthodox church. The original Russian text is as follows: later in the local Thayer Military Band. His only formal music instruction consisted of four piano Spaseniye Sodelal Yesi Posrede Zemli Bozhe. Alliluya (Salvation is created in the midst of the lessons and one harmony lesson from a musical show director, William Bradford; his academic earth, O God. Alleluia). education ended with the eighth grade. By the time he was 17 King had his first composition pub- lished. ENGLISH FOLK SONG SUITE (MOVEMENT III, MARCH) APPLE ISLAND LEGEND Ralph Vaughan Williams was born in Down, Ampney, England in 1872, and died in London in 1958. He was acknowledged as Britain’s leading composer after the death of Sir Edward Elgar in James Curnow was born in Port Huron, Michigan and raised in Royal Oak, Michigan. He lives in 1934, and he was the leader of the 20th-century English national school. From 1938 intil death, his Nicholasville, Kentucky where he is president, composer, and educational consultant for Curnow time was devoted to composition, folk song research and publication, church music, and music for Music Press, Inc., publishers of significant music for concert band, symphonic band, and brass amateur use. His main contributions include nine symphonies and other orchestral works, including band. He also serves as Composer-in-residence on the faculty of Asbury College in Wilmore, Ken- Variations on the Theme by Thomas Tallis, solo works such as the Tuba Concerto, choral works, tucky. His formal training was received at Wayne State University (Detroit, Michigan) and at Michi- operas, and several works for band, including Sea Songs, Toccata Marziale, Flourish for Wind gan State University (East Lansing, Michigan), where he was a euphonium student of Leonard Band, and Rhosymedre (arr. Beeler). His Symphony No. 8 contains Scherzo alla Marcia, a move- Falcone, and a conducting student of Dr. Harry Begian. ment composed entirely for wind section and often performed as an individual work by wind ensem- bles. This work has been commissioned by Mr. Larry Cohen and the supporters of the Orchard Lake Michigan Middle School Band program, Douglas Blackwell, conductor. At the Mid-Western Music English Folk Song Suite was composed for British military band in 1924. It is the three movements Conference in Ann Arbor, Michigan, on January 18, 1997, Apple Island Legend’s premiere perform- (March-Seventeen Come Sunday, Intermezzo-My Bonny Boy, and March-Folk Songs from ance featured the Orchard Lake Middle School Symphony Band with the composer conducting. Summerset). Based entirely on folk music sources, the work in its entirety is approximately nine and Apple Island Legend is dedicated to the many young musicians who, with bright eyes and strong one-half minutes long. hearts, share their gift of music. English Folk Song Suite, along with the two Suites by Gustav Holst, was one of the first works in Apple Island is located in the center of Orchard Lake and lies within the boundaries of the City of this century’s repertoire of compositions specifically composed for wind band. Vaughan Williams’s Orchard Lake Village, Michigan. It is a small island and with a cedar forest, which is now uninhab- use of folk music materials can be attributed to his nearly life-long interest and research in English ited but once was a Cherokee and Chippewa Indian reservation. Apple Island has a number of folk songs. Folk sources can be found in many of his other works from this period, as Nationalism in legends of its own. Best known of all seems to be that Chief Pontiac (Bowon-diac 1720-1769), a music flourished during the years between the two world wars. person of great energy, intelligence and oratorical skill, used the island as a retreat and is actually buried somewhere near Chief Pontiac’s Mound. Apple Island Legend strives to capture the THE NUTCRACKER SUITE (Selections from) beauty of the island and the surrounding area and to pay homage to the colorful and charismatic Peter IlyichTchaikovsky was born in Votkinsk, Russia in the western Ural area of the life of the Native American chant (not exact quotes) that is still used today in their sacred religious country. He studied law in Saint Petersburg and took music classes at the Saint Petersburg Conser- ceremonies. vatory. There his teachers included Russian composer and pianist Anton Rubinstein, from whom Tchaikovsky subsequently took advanced instruction in orchestration. In 1866 composer-pianist A CHRISTMAS COLLECTION Nicholas Rubinstein, Anton's brother, obtained for Tchaikovsky the post of teacher of harmony at the Moscow Conservatory. There the young composer met dramatist Aleksandr Nikolayevich Os- Elliot Del Borgo is a highly respected composer of scores for orchestra, chorus, and chamber trovsky, who wrote the libretto for Tchaikovsky's first opera, The Voyevoda (1868). From this period groups, as well as for over 135 works for wind band. He is also an experienced teacher and is also date Tchaikovsky’s operas Undine (1869) and The Oprichnik (1872); the Piano Concerto no.
Load more

Recommended publications
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
    The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant.
    [Show full text]
  • Percy Grainger and Ralph Vaughan Williams
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2009-01-01 Percy Grainger and Ralph Vaughan Williams: A Comparative Study of English Folk-Song Settings for Wind Band Shawna Meggan Holtz University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Folklore Commons, and the Music Commons Recommended Citation Holtz, Shawna Meggan, "Percy Grainger and Ralph Vaughan Williams: A Comparative Study of English Folk-Song Settings for Wind Band" (2009). Open Access Theses & Dissertations. 2710. https://digitalcommons.utep.edu/open_etd/2710 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. PERCY GRAINGER AND RALPH VAUGHAN WILLIAMS: A COMPARATIVE STUDY OF ENGLISH FOLK-SONG SETTINGS FOR WIND BAND SHAWNA MEGGAN HOLTZ Department of Music APPROVED: _________________________________ Ron Hufstader, Ph. D., Chair ________________________________ David Ross, D.M.A. _________________________ Kim Bauer, M.F.A. ________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © By Shawna Holtz 2009 To Joshua Coleman PERCY GRAINGER AND RALPH VAUGHAN WILLIAMS: A COMPARATIVE STUDY OF ENGLISH FOLK-SONG SETTINGS FOR WIND BAND by SHAWNA MEGGAN HOLTZ, B.M.E. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO December 2009 TABLE OF CONTENTS Page TABLE OF CONTENTS.……...………………………………………………………………..…v LIST OF FIGURES………………………………………………………………………………..vi CHAPTER I.
    [Show full text]
  • Tchaikovsky Tchaikovsky
    TCHAIKOVSKY Orchestral works including Symphonies 1 – 6 BIS-CD-1797/98 GOTHENBURG SYMPHONY ORCHESTRA / NEEME JÄRVI BIS-CD-1897-98_f-b.indd 1 10-11-15 12.06.43 TCHAIKOVSKY, Pyotr Ilyich (1840–93) The Six Symphonies Orchestral Works Gothenburg Symphony Orchestra The National Orchestra of Sweden Neeme Järvi conductor Total Playing Time: 7h 32m 43s 2 Disc 1 [77'10] Symphony No. 1 in G minor, ‘Winter Daydreams’, Op. 13 39'49 (1866/74) 1 I. Allegro tranquillo (‘Dreams of a Winter Journey’) 11'23 2 II. Adagio cantabile, ma non tanto (‘Land of Desolation, Land of Mists’) 9'59 3 III. Scherzo. Allegro scherzando, giocoso 7'27 4 IV. Finale. Andante lugubre – Allegro maestoso 10'41 The Snow Maiden, Op. 12 (1873) 16'33 Orchestral excerpts from the incidental music to Ostrovsky’s play 5 Introduction. Moderato assai 5'30 6 Entr’acte. Moderato assai 1'16 7 Melodrama. Andantino, quasi Allegretto 4'56 8 Dance of the Buffoons. Allegro vivace 4'39 9 Romeo and Juliet (1869/70/80) 19'29 Fantasy Overture after Shakespeare Andante non tanto quasi Moderato – Allegro giusto 3 Disc 2 [72'27] Symphony No. 2 in C minor, ‘Little Russian’, Op. 17 32'42 (1879 version) 1 I. Andante sostenuto – Allegro vivo 10'42 2 II. Andantino marziale, quasi moderato 6'19 3 III. Scherzo. Allegro molto vivace 5'00 4 IV. Finale. Moderato assai – Allegro vivo 10'24 5 Overture in F major (1866 version) (M.P. Belaieff) 11'47 6 Festive Overture on the Danish National Anthem 12'09 in D major, Op.
    [Show full text]
  • Transcultural Representation Of
    TRANSCULTURAL REPRESENTATION OF CIRCASSIAN MUSIC IN MILY BALAKIREV’S ISLAMEY: ORIENTAL FANTASY (1869) BY ANASTASSIA GRANKINA Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for Master’s of Arts degree in Musicology Department of Music Faculty of Arts University of Ottawa © Anastassia Grankina, Ottawa, Canada, 2015 TABLE OF CONTENTS TABLE OF CONTENTS…………………………………………………………………………ii ABSTRACT……………………………………………………………………………………...iv ACKNOWLEDGEMENTS………………………………………………………………………v INTRODUCTION ...........................................................................................................................1 Chapter Outline ............................................................................................................................3 CHAPTER 1: Said’s theory: Orientalism as a European construct and the image of Circassians as constructed by the Russian Empire .................................................................................................5 Edward Said and Orientalism ....................................................................................................6 Application of Said’s theory to the fields of literature and history and Said’s limitations in his own work on Orientalism……………………………………………………………………..15 “Western” representations of the Orient in the literary studies……………………….15 Reconsideration of Europe’s textual representation of the foreign lands as part of colonial history………………………………………………………………………...18 Orientalism and Gender: Said’s
    [Show full text]
  • RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
    RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]
  • RTE NSO 4 Dec Prog:Layout 1
    WATCH rte.ie/culture LISTEN RTÉ lyric fm RIMSKY-KORSAKOV Polonaise from Christmas Eve TCHAIKOVSKY Introduction, Melodrama and Dance of the Tumblers from The Snow Maiden Suite TCHAIKOVSKY Symphony No. 1, ‘Winter Daydreams’ David Brophy conductor FRIDAY 4 DECEMBER 2020, 7pm RDS CONCERT HALL 1 Nikolai Rimsky-Korsakov 1844-1908 Polonaise (Christmas Eve) Rimsky-Korsakov’s opera Christmas Eve was first performed in St Petersburg in 1895. It is based on a story by Gogol, recounting Russian folk tales featuring the Devil and the mischief he can get up to on Christmas Eve by playing on the imaginations of simple peasants. The opera consists of a number of tableaux in one of which the Polonaise is performed as an act of homage to the Empress. Note by Richard Pine © RTÉ 2 Pyotr Ilyich Tchaikovsky 1840-1893 The Snow Maiden Suite i. Introduction ii. Melodrama iii. Dance of the Tumblers The auguries for Tchaikovsky’s Snegurochka (The Snow Maiden) were favourable, the project re-uniting him with the playwright Alexander Ostrovsky with whom he had enjoyed a long creative partnership. The pair had first collaborated nearly a decade before when Tchaikovsky composed an Overture (his first large-scale orchestral piece) for Ostrovsky’s play, The Storm in 1864. They reunited several times more, Tchaikovsky providing incidental music for another play and Ostrovsky contributing to the libretto of the composer’s now all but lost first opera, The Voyevoda. In the early years of the 1870s, Ostrovsky again provided the libretto for Tchaikovsky’s The Oprichnik, their relationship surviving the composer’s mislaying of the libretto and, in embarrassed panic, substituting his own hastily written text.
    [Show full text]
  • The Impact of Russian Music in England 1893-1929
    THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton.
    [Show full text]
  • EXPLORING ST. PETERSBURG a WORKSHOP for TEACHERS St
    EXPLORING ST. PETERSBURG A WORKSHOP FOR TEACHERS St. Petersburg: the historical context of its musical heritage Saturday, October 11, 2003 Lesson Plans by Carol Mohrlock Ann Arbor Public Schools Slauson Middle School [email protected] Music CD Sylvia Meloche and Yevgenia Kleyman For information on other teaching materials and workshops, Contact Sylvia M. Meloche Outreach Coordinator Center for Russian & East European Studies The University of Michigan 1080 S. University, Suite 4668 Ann Arbor MI 48104 tel: 734.647.4185 [email protected] http://www.umich.edu/~iinet/crees/ Table of Contents Introductory Lesson – What Do You Know? Map Work of Russia Peter the Great Peter the Great, Lesson from DiscoverySchool.com Evaluating Discrimination and Human Dignity Russia’s Climate and Folk Music Appreciation of Folk Music Reading about Musical Folk Instruments Getting to Know St. Petersburg Multiple Expressions of “Moscow Nights” Rhythm and Melodic Phrase in “Little Birch Tree” from www.teachervision.com Nineteenth-century Classical Music and St. Petersburg Vocabulary Activity Population and St. Petersburg A Look at Two Twentieth-century Russian Composers Additional Information Russian Music Discography Russian Cyrillic Alphabet with English Phonetic Sound Equivalents Russian Words Two Russian Recipes Introductory Lesson Title: What do you Know? Overview: This lesson is for students to think of: • what they already know of Russia • to share information about Russia in a small group setting • to have clarification on some of their questions • to learn some new facts about Russia Lesson Focus: • The 5 themes of Geography as they relate to Russia • Strand II of Geographic Perspective, “Students will use knowledge of spatial patterns on earth to understand processes that shape human environments to make decisions about society.” Materials: • overhead map of Russia • teacher created facts of Russia • paper What to Do: 1.
    [Show full text]
  • Osscs.Org Program Notes in June 1880, Tchaikovsky Received a Request for a Work “15 to 25 Minutes Long, with Or Without a Chorus
    War and Peace Saturday, October 3, 2015 • 7:30 PM First Free Methodist Church Orchestra Seattle Seattle Chamber Singers Clinton Smith, conductor GEORG FRIDERIC HANDEL (1685–1759) Music for the Royal Fireworks, HWV 351 Ouverture: Adagio — Allegro Bour´ee La Paix La R´ejouissance Menuet I Menuet II PYOTR ILYICH TCHAIKOVSKY (1840–1893) Festival Overture in E[ major (“The Year 1812”), Op. 49 Largo — Poco p`ıumosso — Andante — Allegro giusto — Largo — Allegro vivace —Intermission— RALPH VAUGHAN WILLIAMS (1872–1958) Dona Nobis Pacem “Agnus Dei” (Lento) “Beat! Beat! Drums!” (Allegro moderato) Reconciliation (Allegro moderato) Dirge for Two Veterans (Moderato alla marcia) “The Angel of Death Has Been Abroad” “O Man Greatly Beloved” Elizabeth Zharoff, soprano Joo Won Kang, baritone This performance of the Royal Fireworks Music commemorating the 25th anniversary of the reunification of Germany is presented in partnership with the Consulate General of the Federal Republic of Germany and the Honorary Consul of the Federal Republic of Germany. Please silence cell phones and other electronics, and refrain from the use of cameras and recording devices during the performance. Special thanks to First Free Methodist Church for all of their assistance in making OSSCS’s 46th season possible, and for providing refreshments during intermission. Donations left at the refreshments tables help support FFMC and its programs. Orchestra Seattle • Seattle Chamber Singers Clinton Smith, music director • George Shangrow, founder PO Box 15825, Seattle WA 98115 • 206-682-5208 • www.osscs.org Program Notes In June 1880, Tchaikovsky received a request for a work “15 to 25 minutes long, with or without a chorus .
    [Show full text]
  • Download Booklet
    CYAN MAGENTA YELLOW BLACK regionals 2012 1. The Devil and the Deep Blue Sea* © Chester Music Derek Bourgeois 17.12 Championship section: Williams Fairey Band conducted by Major Peter Parkes 2. Mountain Views © Obrasso Verlag Bertrand Moren 10.29 First section: Black Dyke Band conducted by Dr Nicholas J. Childs 3. Cross Patonce* © Studio Music Goff Richards 12.18 Second section: Leyland Band conducted by Richard Evans 4. Olympus © Harper Music Publications Philip Harper 11.25 Third section: Cory Band conducted by Dr Robert Childs 5-7. English Folk Song Suite © Boosey & Hawkes Ralph Vaughan Williams 9.53 5. March – Seventeen Come Sunday 3.10 6. Intermezzo – My Bonny Boy 3.11 7. March – Folk Songs from Somerset 3.32 Fourth section: Black Dyke Band conducted by Dr Nicholas J. Childs *Tracks 1 and 3 by kind permission of Polyphonic Recordings Tracks 2, 5, 6 and 7 recorded at Morley Town Hall, July 2011 Track 4 recorded Urdd Hall, Cardiff July 2011 DOY CD286 Code No. Booklet-Pgs12&1 CYAN MAGENTA YELLOW BLACK and completed a hat-trick of European the various sections, the band has won regionals 2012 titles in 2010. prizes at all the major competitions in Bands in the Championship section will composition with Herbert Howells and the brass band arena. Leyland Band won have the challenge of Derek Bourgeois’ conducting with Sir Adrian Boult. He has In 2002 the band was selected to play for the the 1994 British Open Championships, regionals 2012 music. The Devil and the Deep Blue Sea composed six symphonies, eight concertos, Queen’s Jubilee celebrations and have since the All England Masters in 1989, 1992 was originally written for the National Brass several other extended orchestral works, performed in many of the world’s finest and 2003 and the 2005 National Brass Band Championships held at the Royal five major works for chorus and orchestra concert venues including the Grieg Hall, Band Championships.
    [Show full text]