DOCSLIB.ORG

Faculty Recital

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Faculty Recital ABOUT THE ARTISTS NooN Concert Keith Michael Bohm, noted for his “virtuosity” and “expressive playing” This performance is made possible in part by the generous support from the (Sacramento Bee and San Francisco Classical Voice), earned his BM from CSU, Joy S. Shinkoskey Series of Noon Concerts endowment. Sacramento, under Dr. Jack Foote, his MM degree from the University of Southern Mississippi under Dr. Lawrence Gwozdz, and a DMA from the the Department of Music presents University of Missouri-Kansas City, Conservatory of Music under Dean Tim Shinkoskey Noon Concert Timmons. He has also studied in Lörrach, Germany, with Harry Kinross White and Carina Raschèr of the Raschèr Saxophone Quartet. Dr. Bohm Faculty recital is currently an ACME Artist and has performed recitals across the United Keith Michael Bohm, saxophone, with John Cozza, piano States, including a live broadcast performance at the Kennedy Center for the Performing Arts in Washington, D.C. He has toured Europe, including the Bicentenaire de la Revolution française, the Montreux Jazz Festival in Montreux, Switzerland, and music festivals throughout Italy, and performed world Program premieres of works by American composers Samuel Adler, William J. Lackey, Jerome Begin, and Leo Eylar. Sonata No. 5 in D Minor (1725) Jean Baptiste Senaillé Introduction – Allegro spiritoso (1687–1730) Winner of the 1998 Mu Phi Epsilon International Competition, Bohm Arr. Harry Gee toured for two years as an ambassador of Mu Phi Epsilon. He has performed with the Chamber Orchestra of the South Bay, Merced Caprice et Variations (1861) Joseph Arban Symphony, Palo Alto Philharmonic, Merrimack Valley Philharmonic, Diablo Symphony, Gold Country Chamber Orchestra, UCD Orchestra, (1825–89) CSUS Symphony Orchestra, California Wind Orchestra, San Jose Wind Symphony, Tacoma Wind Symphony, Sacramento Symphonic Winds, UCD Intermezzo for Alto Saxophone and Piano (2003) Mark Carlson Wind Ensemble, CSUS Wind Ensemble, and Davis High School Wind (b. 1952) Ensemble. He has also been the principal saxophonist with the California Wind Orchestra, Mississippi Wind Band, Camellia Symphony, and Concerto in E Minor, op. 102 (1926) Jascha Gurewich Empyrean Ensemble. He is professor of saxophone at CSU, Sacramento Maestoso (1896–1938) and artist affiliate in saxophone at UC Davis, and artistic director of the Festival of New American Music at CSU, Sacramento. Night Bird for Alto Saxophone and Electronics (1997) Karen Tanaka John Cozza is in demand throughout California as a teacher, coach- (b. 1961) accompanist, chamber musician, adjudicator, and clinician; he teaches accompanying and piano at the Conservatory of Music at the University of the Sonata for Alto Saxophone and Piano (1930) Wolfgang Jacobi Pacific in Stockton, California, and is staff accompanist at CSU, Sacramento. Allegro, ma non troppo (1894–1972) He holds a DMA degree in piano performance, vocal accompanying, and chamber music from Northwestern University, and earned Bachelor’s and Master’s degrees at the University of Southern California, where he was named valedictorian of the School of Music. His principal teachers have been Daniel Pollack, Dr. David Kaiserman, and 12:05 PM thursday, January 13, 2011 Professors Hans Graf (solo piano performance) and George Ebert (chamber room 115, Music Building music) in Vienna. He attended the Hochschule für Musik as a Rotary Foundation Scholar in 1986–87, then returned for further study in 1988–91, and received the coveted DMA in both piano performance and chamber We ask that you be courteous to your fellow audience members and the performers. Please turn music. Dr. Cozza is also the current President of the Sacramento Saturday off your cell phones and refrain from texting. Audience members who are distracting to their Club, the oldest musical organization in Sacramento, and one of the oldest neighbors or the performers in any way may be asked to leave at any time. Also, this performance west of the Rockies. is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance. Notes Notes Jean Baptiste Senaillé was a French-born Baroque composer and violin Jascha Gurewich (b. Russia 1896) learned to play the saxophone in an virtuoso. He was appointed in 1713 to Les Vingt-quatre Violons du Roi, then American military band after being refused as a trumpet player. In 1920 traveled to Italy, and rejoined the “Violins of the King” in 1720. Senaillé he was hired as a saxophonist with the John Philip Sousa Band. After studied under Jean-Baptiste Anet, Giovanni Antonio Piani, and in Italy Sousa was seriously injured from a fall, Gurewich did not return to the under Tomaso Antonio Vitali. His major contribution to music consists of Sousa Band. Gurewich eventually became famous on the vaudeville and approximately fifty violin sonatas—important because Senaillé was the first movie-house circuits and performed a well-reviewed debut recital at New to combine aspects of the French style with Italian conventions. They contain York’s Aeolian Hall in 1926. The advent of sound movies in 1927 and the the elegant melodies, violin virtuosity, and enigmatic dance rhythms of the stock market crash of 1929 affected the music industry and no mention of French and the imitation and melodic thoroughbass of the Italian manner. Gurewich can be found after 1927. He died in 1938 at the age of forty-two. Introduction – Allegro spiritoso is the fast, lively movement from the Sonata The Concerto in E Minor, op. 102, was composed in 1926 and dedicated to No. 5 in D Minor for Violin, which has been published for a wide variety of Lieutenant Commander John Philip Sousa. Gurewich was a huge fan of the instruments, from violoncello to saxophone to euphonium. This transcription Romantic masters, and he composed in the style of Brahms, Mendelssohn, for alto saxophone and piano was arranged by saxophonist Harry Gee. Chopin, Kreisler, and Saint Saëns, including over twenty works for the saxophone. The Concerto is the only work not out of print. The opening Joseph Jean Baptist Laurent Arban was a cornetist, conductor, Maestoso has a rich and robust texture, along with a fury of a cadenza. pedagogue, and the first famed virtuoso of the cornet à piston, or valved cornet. He was influenced by Paganini’s virtuosic technique on the violin, Karen Tanaka (b. Tokyo, 1961) is acclaimed as one of Japan’s leading and he developed the same on his instrument in an attempt to “prove” the living composers. She has composed extensively for both instrumental and cornet as a true solo instrument. Born in Lyon, he studied trumpet with electronic media. “Her music is delicate and emotive, beautifully crafted, Francois Dauverné at the Paris Conservatoire, 1841–45, was appointed showing a refined ear for both detail and large organic shapes.” Her professor of saxhorn at the École Militaire in 1857, and became professor recent works, The Song of Songs, Night Bird, and Metal Strings, develop new of cornet at the Paris Conservatoire in 1869. His Grande méthode complète directions by using the latest technology and reflecting different aspects of pour cornet à pistons et de saxhorn (published in Paris, 1864), often referred contemporary culture. In recent years, Tanaka’s love of nature and concern to as the “Trumpeter’s Bible,” is still studied by modern brass players. His for the environment has influenced many of her works, including Frozen variations on The Carnival of Venice remain one of the great showpieces for Horizon, Water and Stone, and the tape piece Questions of Nature. cornet soloists today. Night Bird for Alto Saxophone and Electronics was composed in 1996 and was Arban’s Caprice et Variations was composed for Adolphe Sax in 1861, as commissioned and dedicated to French saxophonist Claude Delangle. Night contest music for the Paris Conservatoire, and follows the Romantic style of Bird is a love song filled with tender whispers of lovers: “I have tried to weave instrumental variations. colors and scent into the sound of the alto saxophone and tape.” Tanaka’s highly individual musical world makes clear the reference to the image of Intermezzo for Alto Saxophone and Piano was composed in 2003 for seduction so often associated with the saxophone. saxophonist Douglas Masek, a colleague of Carlson at UCLA. Its beautiful and haunting melody returns throughout the composition. Mark Carlson’s German composer, Wolfgang Jacobi considered himself a neoclassicist lyrical, emotionally powerful, and stylistically unique music has earned him and wrote about 200 compositions and several textbooks. Unfortunately, the admiration of audiences and musicians throughout the United States, some of these works have not survived. Many of the early works were lost Canada, Mexico, and Europe. A versatile composer and recipient of over during the Second World War, or did not stand up to Jacobi’s self-criticism fifty commissions, he has written nearly 100 works—art songs, chamber and were destroyed by him. music, choral music, concertos, and songs for musical theater. His CD “The Hall of Mirrors” won the Chamber Music America/WQXR Record Award The Sonata for Alto Saxophone and Piano was composed in 1930 at the for 2001. His music is published by Yelton Rhodes Music, Pacific Serenades request of his friend, German saxophonist, Sigurd Raschèr. Raschèr played Music, C. Swigart Music, Black Squirrel Music, and Thorpe Music. He the three-movement work all over the world and helped establish Jacobi’s teaches music at UCLA, is the founder and artistic director of the Los recognition as a composer. The opening, Allegro ma non troppo, is a fast, Angeles chamber music ensemble Pacific Serenades, and is also active as a exciting movement that uses a repetitive melodic and rhythmic motif. It flutist, performing primarily chamber music. combines a rhythmic fury with melodic angst. .
Load more

Recommended publications
  • Wind Symphony School of Music Illinois State University
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-29-2012 Student Ensemble: Wind Symphony School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Student Ensemble: Wind Symphony" (2012). School of Music Programs. 611. https://ir.library.illinoisstate.edu/somp/611 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University College of Fine Arts School of Music WIND SYMPHONY Stephen K. Steele, Conductor James F. Keene, Guest Conductor Carl Schimmel, Guest Composer Thomas Giles, Concerto Winner The Illinois State University Bands dedicate this concert and future performances to Allison Christine Zak Center for the Performing Arts Sunday Afternoon April 29, 2012 3:00 p.m. This is the two hundred and fourteenth program of the 2011-2012 Season. Program Carl Schimmel Oulipian Episodes (2012) (born 1975) I. Mots-Croisés II. "Intermezzo" from Orlando III. Malakhités IV. “Laborynthus” from Suite Sérielle 94 V. “Entr’acte” from This Golden Sickle in the Field of Stars VI. Incertum, op. 74 VII. La Toupie Premiere Performance Ingolf Dahl Concerto for Alto Saxophone (1912-1970) and Wind Orchestra (1949) I. Recitative II. Adagio (Passacaglia) III. Rondo alla marcia: Allegro Thomas Giles, Concerto Competition Winner Intermission Award Ceremony Percy Grainger Lincolnshire Posy (1937) (1882-1961) I.
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 Permalink https://escholarship.org/uc/item/6cz1t09s Author Veirs, Russell Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts By Russell Dewain Veirs 2013 © Copyright by Russell Dewain Veirs 2013 ABSTRACT OF THE DISSERTATION Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 by Russell Dewain Veirs Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Gary Gray, Co-Chair Professor Douglas Masek, Co-Chair Adolf Busch, well-known as a violinist, contributed a major work to the saxophone‟s chamber repertoire in 1925 while living in Germany. This piece, Quintet, op. 34 for alto saxophone, two violins, viola, and cello, lay hidden until many decades later when it resurfaced for performance in the United States. Busch‟s use of the saxophone was advanced for the time, and his inclusion of the instrument in a quintet with strings was unique. Scattered information regarding the genesis of the piece, its advanced use of the saxophone at the time, and the discrepancies between the published score and parts all called for exploration. This study investigates the sparse history of the piece, using numerous primary and secondary sources, and offers performance suggestions so that today‟s saxophonist can deliver a performance reflecting the musical life surrounding the instrument at time of its composition.
    [Show full text]
  • MMTA Winter 2004 Newsletter
    MISSISSIPPI MUSIC TEACHER The official publication of the Mississippi Music Teachers Association An affiliate of Music Teachers National Association Volume 20, Issue 1 Winter, 2004 I N T H I S I S S U E @ President’s Message @ Board Reports @ Affiliate Reports @ 2003 Convention Results @ Convention Scrapbook @ News from MTNA @ Upcoming Events @ 2004 Membership Directory @ Certification News @ Our 30-Year Honoree @ MTNA Convention Information Janet Gray, Jacquelyn Thornell and Barbara Tracy enjoy posing at the 2003 Convention. I’d buy cookies from these ladies! Another admiring student in The talented studio of Jan Mesrobian. Erin Dyer with Stacy Rodgers Graham Purkerson’s studio. Great Certification News! Calling all uncertified MMTA members!!! On January 10, 2004, the MMTA Board voted to set aside $1400 to reimburse the first 10 newly certified teachers in the next two years. This is how the program will work: 1. Decide to get your certification 2. Do it before January 10, 2006 3. Submit documentation to the MMTA Executive Committee that you paid the $140 in fees If you are among the first 10 MMTA members to apply for this program, you will be reimbursed for your certification fees. Thanks to Sharon Lebsack who became aware of this program in the Arizona MTA and shared this great idea with our board! MMT Newsletter 1 President’s Message Happy New Year, and welcome to the 50th year of the Mississippi Music Teachers Association! Plans are in the making for a festive convention worthy of this milestone, and I want you to think now about your role in the proceedings.
    [Show full text]
  • The Missing Saxophone Recovered(Updated)
    THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C.
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • Proquest Dissertations
    The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • Harry White, Saxophone and Todd Sisley, Piano
    Syracuse University SURFACE at Syracuse University Setnor School of Music - Performance Programs Setnor School of Music 10-13-2016 Around the World in 80 Minutes: Harry White, Saxophone and Todd Sisley, Piano Harry White Todd Sisley Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Around the World in 80 Minutes: Harry White, Saxophone and Todd Sisley, Piano. 10-13-2016 https://surface.syr.edu/setnor_performances/322 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE at Syracuse University. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE at Syracuse University. For more information, please contact [email protected]. Around the World in 80 Minutes Guest Artist HARRY WHITE - saxophone TODD SISLEY – piano Setnor Auditorium October 13, 2016 8:00PM Please be sure to turn off all electronic devices, and please refrain from making extraneous noise, talking, taking flash photographs, or moving about the auditorium during the performance. It is important for performers and audience members to have the best possible concert- going experience in Setnor Auditorium. Thank you. FRANCE quatre vocalises du Répertoire Moderne de Vocalises-Etudes de A.L. RUSSIA Hettich Der Traum, Op. 48, Nr. 5 SERGEI RACHMANINOW Air (1929) DARIUS MILHAUD Vocalise, Op. 34, Nr. 14 (1873-1943) (1892-1974) alla gitana (1909) PAUL DUKAS NORWAY (1865-1935) Three Songs from Op. 48 EDWARD GRIEG Lauf der Welt (1843-1907) à la mémoire d’Evelyne Brélia (1929) FRANCIS POULENC Zur Rosenzeit (1899-1963) Ein Traum Pièce en forme de Habanera (1907) MAURICE RAVEL FRANCE (1875-1937) Cinq danses exotiques (1961) JEAN FRANÇAIX I Pambiche (1912-1997) HOLLAND II Baiao La Malinconia (1948) HENK BADINGS III Mambo (1907-1987) IV Samba lenta V Merengue SPAIN USA Pequeña Czarda (1949) Pedro Itturalde Second Prelude (1926) GEORGE GERSHWIN (b.
    [Show full text]
  • A Guest Artist Concert
    Ouachita Baptist University Scholarly Commons @ Ouachita Concert Performances, Programs, and Posters Division of Music 9-21-1993 An American Salute: A Guest Artist Concert Lawrence Gwozdz Thomas Chase Barry McVinney Follow this and additional works at: https://scholarlycommons.obu.edu/music Part of the Music Education Commons, and the Music Performance Commons Guest Artist Recital Tuesday, September 21, 1993 7:30p.m. Mabee Fine Arts Center QUACH ITA BAPTIST UNIVERSITY Recital Hall Lawrence Gwozdz, Saxophonist Thomas Chase, Pianist assisted by Barry McVinney, Flute PROGRAM ..An American Salute .. •suite in E-flat (1985) Robert Donahue J Fanfare Galop Arioso Quadrille Finale •sonata Elegiaca for Alto Saxophone and Piano (1987) Walter Hartley Andante sonora Presto misterioso Adagio-Allegro moderato Romance ( 1966) William Grant Still *Trio for Vio6n (Aute), Alto Saxophone and Piano (1983) John Worley Allegro moderato ("avec joie de vivre") Song for Gail Rondo allegro ("with caprice and humor") Three American Gospel Songs Amazing Grace John Newton Rock of Ages Augustus Toplady Shall We Gather at the River? Robert Lowry Sarabande and Gigue (1976) Fisher lull *Dedicated to Lawrence Gwozdz The audience is invited to a reception in the Gallery immediately following the program. OUACHITA BAPTIST UNIVERSITY SCHOOL OF MUSIC ARKADELPHIA, ARKANSAS Lawrence Gwozdz, Saxophonist Lawrence Gwozdz, Saxophonist, holds an international reputation for his success in revealing the inherent qualities of the saxophone, as historically intended by its inventor, Adolphe Sax. His concerts have included solo performances atthe Yehudi Menuhin Festival (Switzerland), Tonhalle Zurich, St. Martin-in-the-Fields (london), the International Chamber I Solisti di Zagreb (Yugoslavia), etc. European reviews declared: "Gwozdz proved himself to be a most highly versed soloist with amazing technique and tonal beauty ..
    [Show full text]
  • New Class Gives Students Public Art Experience
    ® PUBLISHED BY THE UNIVERSITY OF NEBRASKA–LINCOLN HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS www.unl.edu/finearts SUMMER 2007 Fine & Performing Arts F&PANewsletter New class gives students public art experience A new class entitled “Art in together and is universally the Community,” taught by understood.” Associate Professor of Art The second public art Sandra Williams, is giving art project was a 6’ x 15’ mural at students real-world experience Humann Elementary School in community art projects and in Lincoln, where students grant writing. worked with 1st through 5th The class completed public graders in Kathy Stewart’s art projects in Lincoln’s Park art classes. Here, the students and Humann Middle Schools created a flat mosaic of a this spring and worked with Nebraska landscape that will nearly 1,000 school children at be displayed in the school’s the two schools. Thirteen UNL cafeteria. students signed up for the The Humann students course this semester. Williams also drew four pictures of said about half were studio art Nebraska featuring a Sandhill majors from the Department Crane, Chimney Rock, the top of Art and Art History, and the of the State Capitol Building other half were art education with the Sower sculpture, majors in the College of and a farm scene. These four Education and Human drawings formed the basis Sciences. of four additional murals “The whole concept of created by the students, service-learning has been which will also be displayed very valuable in my own in the hallways at Humann. experience,” Williams said. Park Middle School students work with UNL students on their mural.
    [Show full text]
  • Notes from Mason 2012
    NOTES FROM MASON Music News Summer 2012 State University of New York at Fredonia 2 Dear Alumni & Friends, In this issue of Notes from Mason, you’ll get to read about many of the activities of the past year. We decided to devote considerable space to the profound experience of Yo-Yo Ma’s visit. As I have said to many people over the months since, I’m not sure I understand how someone can come to a community that has such high expectations of him, and then surpass them all for everyone with such ease and grace. It really was a great few days for those involved, so we want to be able to give all of you the opportunity to get at least a glimpse of what they were like. from the director the from That event represents something of an arrival point in our evolution. The steady increase in the number of performances, recitals, and guest master classes has been coupled with and inspired by new faculty and students eager to achieve the high standards expected of them. Music education has always been our focus, and around this has grown increasingly vibrant programs that complement our core. Some students now enjoy the benefits of a conservatory while they pursue their tangible career track, all from a liberal arts college foundation. The faculty has talked in recent years about national reputation, international auditions, ensemble touring, fund-raising, community engagement, entrepreneurship and marketing. Such discussions live in our consciousness now, and in the coming months you are likely to see these bearing fruit, starting with the establishment of the College of Visual and Performing Arts.
    [Show full text]
  • A Comparative Analysis of Roman Palester's Concertino Pour Saxophone Alto Et Orchestre a Cordes
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2009 A Comparative Analysis of Roman Palester's Concertino Pour Saxophone Alto Et Orchestre A Cordes Brian Donald Kauth University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Kauth, Brian Donald, "A Comparative Analysis of Roman Palester's Concertino Pour Saxophone Alto Et Orchestre A Cordes" (2009). Dissertations. 1001. https://aquila.usm.edu/dissertations/1001 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A COMPARATIVE ANALYSIS OF ROMAN PALESTER'S CONCERTINO POUR SAXOPHONE ALTO ET ORCHESTRE A CORDES by Brian Donald Kauth Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2009 COPYRIGHT BY BRIAN DONALD KAUTH 2009 The University of Southern Mississippi A COMPARATIVE ANALYSIS OF ROMAN PALESTER'S CONCERTINO POUR SAXOPHONE ALTO ET ORCHESTRE A CORDES by Brian Donald Kauth A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved May 2009 ABSTRACT A COMPARATIVE ANALYSIS OF ROMAN PALESTER'S CONCERTINO POUR SAXOPHONE ALTO ET ORCHESTRE A CORDES by Brian Donald Kauth May 2009 The music of Roman Palester (1907-1989) is little known outside his native Poland.
    [Show full text]