DOCSLIB.ORG

University Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Symphony Orchestra UNIVERSITY SYMPHONY ORCHESTRA KENNETH KIESLER & ADRIAN SLYWOTZKY, CONDUCTORS Wednesday, March 31, 2021 Hill Auditorium 8:00 PM An American Fanfare (1985) Adolphus Hailstork (b. 1941) Adrian Slywotzky, conductor Symphonies of Wind Instruments (1920) Igor Stravinsky (1882–1971) Adrian Slywotzky, conductor Ballade, op. 33 (1898) Samuel Coleridge-Taylor (1875–1912) Intermission Variaciones Concertantes, op. 23 (1953) Alberto Ginastera (1916–1983) Academic Festival Overture, op. 80 (1881) Johannes Brahms (1833–1897) THe use of all cameras and recording devices is strictly prohibited. Please turn off all cell phones and pagers or set ringers to silent mode. HAILSTORK, AN AMERICAN FANFARE Adolphus Hailstork is an American composer and educator. Born in Rochester, New York and raised in Albany, he grew up studying violin, piano, organ, and voice. Currently residing in Virginia Beach, Dr. Hailstork is Professor of Music and Eminent Scholar at Old Dominion University. Hailstork studied composition at Howard University, one of the foremost Historically Black Colleges and Universities, with Mark Fax and Warner Lawson. This was followed by study in France with Nadia Boulanger, at the Manhattan School of Music with David Diamond and Vittoria Giannini, and at Michigan State University for his doctoral studies with H. Owen Reed. Prior to his tenure at Old Dominion University, Dr. Hailstork taught at Michigan State University, Youngstown State University, and Norfolk State University. An American Fanfare was written in 1985 as a contest entry when an art gallery in Richmond commissioned a fanfare to celebrate its opening. The first public performance was given in January 1991 by the Virginia Symphony Orchestra. Scored for brass and percussion, the piece is based upon a stately, unison theme first heard in the trumpets. The theme is recontextu- alized and transformed by the ensemble, until eventually the trumpets emerge once again, triumphantly. Note by Robby Meese STRAVINSKY, SYMPHONIES OF WIND INSTRUMENTS With Claude Debussy’s passing in 1918, Stravinsky lost a friend, mentor, and respected col- league. Debussy, a modernist trailblazer, was a profound influence on the young Stravinsky, who had encountered Debussy’s music as a student in St. Petersburg against the recommen- dation of his teacher and primary influence, Nikolai Rimsky-Korsakov. Debussy was equally enthusiastic about Stravinsky: after the Parisian premiere of Petrushka, he wrote to Stravinksy personally to extol the work’s “sonorous magic.” Debussy even joined Stravinsky for a private piano reading of an early draft of THe Rite of Spring, which he later wrote haunted him for months “like a beautiful nightmare.” It is fitting, then, that Stravinsky memorialized Debussy’s passing with a composition, the piece which became the Symphonies of Wind Instruments. The earliest sketches of the work date from July 1919, with the majority of the piece composed between July and November of the following year. A piano arrangement of the final cho- rale, titled Fragment des Symphonies pour instruments à vent à la mémoire de C.A. Debussy, was printed in a December 1920 collection of pieces by leading composers in memory of Debussy called Tombeau de Claude Debussy. This collection was published by the new music journal La Revue musicale. The complete piece, in its full orchestration for 24 winds, was first performed at Queen’s Hall in London on June 10, 1921, conducted by Serge Koussevitsky. The piece came into being during Stravinsky’s first endeavours in neoclassicism, during which he repurposed and transformed classical musical forms. His first major foray into this are- na was in the previous year with his ballet Pulcinella. With the title of his Debussy tribute, Stravinsky meant “symphony” not in the formal sense, but in the word’s Greek etymology, meaning “sounding together.” The plural “symphonies” is meant to suggest the work’s inter- nal multiplicity and discontinuity, rather than fitting firmly into a traditional musical form. The piece juxtaposes discrete, contrasting sections that are linked by three distinct but related tempi. Stravinsky described the piece as both “a grand chant, an objective cry” and “an austere ritual which is unfolded in terms of short litanies.” Stravinsky’s reference to “ritual” is equally telling; as Malcolm McDonald notes, the work is an instrumental liturgy, with the concluding chorale bringing the service to finality, akin to the role of a Byzantine Alleluia. As in his other neoclassical pieces, however, Stravinsky drew on Russian folk music for thematic material. In this sense, the piece marks a transition point between what is commonly thought of as Stravin- sky’s “Russian period” and his subsequent “neoclassical period.” Note by Leonard Bopp COLERIDGE-TAYLOR, BALLADE, OP. 33 Samuel Coleridge-Taylor was born in Croydon, England in 1875, and his talent was quickly recognized by the British musical elite. One of his principal composition teachers was Charles Villiers Stanford. At the suggestion of Edward Elgar, Coleridge-Taylor was commissioned to write a piece for a festival in 1898. The resultingBallade in A Minor, op. 33 was a tremendous success. A subsequent trilogy based on the story of Hiawatha, written from 1898 to 1900, secured his fame for the remainder of his life. The A minor tonality of Coleridge-Taylor’s Symphony, op. 8 (1896) is perhaps a premoni- tion of the Ballade, the work that afforded him an invaluable opportunity just two years later. Both compositions demonstrate the composer’s facility for lyrically expansive and mellifluous melody, assurance in the handling of tonality, large-scale canvases, and expert scoring. Though the spirit of the Ballade is largely that of a Scherzo, the central focus of the work is essentially the highly lyrical and extended second subject in the relative major. The Ballade, along with his other earlier works, shows the influence of Dvořák and Tchaikovsky, and seems to reflect specifically the dramatic world of Tchaikovsky’s fantasy-overture Romeo and Juliet. TheMusical Times reported that the Ballade had been remarkably successful. Coleridge-Taylor conducted the work himself at the Shire Hall in Gloucester, after the orchestra had given him a standing ovation at rehearsal. The review in the Daily Graphic said: “The work occupies barely a quarter of an hour in performance, but it is long since a Festival novelty has provided fifteen minutes packed so full of excitement and charm. In its alterations of barbaric gaiety with lan- guid swaying melody, in its wayward rhythms and strange exotic harmonies, this remarkable work provokes comparisons with the best work of the Bohemian school, and emerges with credit from the ordeal of comparison.” Note by Aleksandr Polyakov GINASTERA, VARIACIONES CONCERTANTES, OP. 23 Alberto Ginastera wrote Variaciones Concertantes during a tumultuous time in his life. Only a year before, he had been forced to resign as director of the conservatory in Buenos Aires as a result of conflicts with the Perón government. Without the conservatory job, Ginastera relied on commissions and film scoring contracts to make a living. Despite his struggle, this period yielded some of Ginastera’s most celebrated works. Ginastera’s compositional output can be divided into three distinct styles: objective nationalism, subjective nationalism, and neo-expressionism. A proud Argentinian, Ginastera often incorporated traditional melodies, harmonies, and rhythms from his culture, as evident in his early compositions. Variaciones Concertantes was written at the height of his middle period, at which time he was moving away from direct quotations of folk music. Rather, he began to depict more of the general sound world of Argentinian music. The piece opens with an ascending harp arpeggio on the pitches E-A-D-G-B-E. These notes mimic the open strings of a guitar, referencing the Gauche- sco tradition, whose nomadic lifestyle requires them to play easily transportable instruments such as the guitar. Ginastera uses these pitches not only as a melody, but also as the basis of the large-scale harmonic structure of the entire piece. Variaciones Concertantes is a set of continuous variations, each one featuring solo instruments within the orchestra, a “concerto for orchestra” of sorts. The piano theme, played by a solo cello with harp accompaniment, fades into a short interlude featuring only the strings. A sudden in- terruption by the winds kickstarts the chromatic and energetic flute variation, which connects directly to the playful clarinet variation. The next section opens with a solo viola, accompanied by eerie winding string melodies, leading to a series of recitative-like interjections by the solo- ist. A songful canon between the oboe and bassoon is then followed by a heavily syncopated variation featuring the trumpet and trombone. An increase of energy overflows into a relentless stream of eighth notes, played by the solo violin. The ensuing horn variation presents a melan- choly contrast, and is followed by a short wind interlude, leading to an abridged restatement of the opening cello theme, this time played by a solo double bass. The final variation, featuring the full orchestra, is full of rhythmic drive and surprising harmonic changes. The juxtaposition of 6/8 and 3/4 time (hemiola) is a hallmark of Latin American and Spanish music, inviting the listener to tap their foot, or even get up and dance! Note by Christopher Gaudreault BRAHMS, ACADEMIC FESTIVAL OVERTURE, OP. 80 Composed in the summer of 1880, the Academic Festival Overture was a “thank you” to the University of Breslau, which had awarded Brahms an honorary doctorate. The work is made up of what Brahms called a “boisterous potpourri of student drinking songs a la [Franz von] Suppe”, as he wrote in a letter to the critic Max Kalbeck. The carefully crafted blend of orches- tral colors and masterful counterpoint appears loose and episodic, thus drawing on the term “academic” for both his sources and their treatment. Brahms’s orchestrational devices highlight the comedic and nostalgic nature of university, no- tably in his treatment of the “Fuchslied,” introduced by the bassoons.
Load more

Recommended publications
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Copyright by Bonny Kathleen Winston 2003
    Copyright by Bonny Kathleen Winston 2003 The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire by Bonny Kathleen Winston, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 Dedication This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire Publication No. ________________ Bonny Kathleen Winston, D.M.A. The University of Texas at Austin, 2003 Supervisor: John M. Geringer The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection.
    [Show full text]
  • 5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-Year DMA in Piano Pedagogy University of South Carolina
    5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-year DMA in Piano Pedagogy University of South Carolina Hello everyone, my name is Qiwen Wan. I am a first-year doctoral student in piano pedagogy major at the University of South Carolina. I am really glad to be here and thanks to SCMTA to allow me to present online under this circumstance. The topiC of my lightning talk is 5 stages for teaChing Alberto Ginastera's Twelve AmeriCan Preludes. First, please let me introduce this colleCtion. Twelve AmeriCan Preludes is composed by Alberto Ginastera, who is known as one of the most important South AmeriCan composers of the 20th century. It was published in two volumes in 1944. In this colleCtion, there are 12 short piano pieCes eaCh about one minute in length. Every prelude has a title, tempo and metronome marking, and eaCh presents a different charaCter or purpose for study. There are two pieCes that focus on a speCifiC teChnique, titled Accents, and Octaves. No. 5 and 12 are titled with PentatoniC Minor and Major Modes. Triste, Creole Dance, Vidala, and Pastorale display folk influences. The remaining four pieCes pay tribute to other 20th-Century AmeriCan composers. This set of preludes is an attraCtive output for piano that skillfully combines folk Argentine rhythms and Colors with modern composing teChniques. Twelve American Preludes is a great contemporary composition for late-intermediate to early-advanced students. In The Pianist’s Guide to Standard Teaching and Performing Literature, Dr. Jane Magrath uses a 10-level system to list the pieCes from this colleCtion in different levels.
    [Show full text]
  • Proquest Dissertations
    Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto 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 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 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 f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen 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 dkl 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 sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. 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 additkxial charge.
    [Show full text]
  • COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
    Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1……………………………..
    [Show full text]
  • Rhythmic and Metric Structure in Alberto Ginastera's Piano Sonatas
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2011 Rhythmic And Metric Structure In Alberto Ginastera's Piano Sonatas Rachel Hammond University of Central Florida Part of the Music Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Hammond, Rachel, "Rhythmic And Metric Structure In Alberto Ginastera's Piano Sonatas" (2011). Electronic Theses and Dissertations, 2004-2019. 2044. https://stars.library.ucf.edu/etd/2044 RHYTHMIC AND METRIC STRUCTURE IN ALBERTO GINASTERA’S PIANO SONATAS by RACHEL HAMMOND B.M. Stetson University, 2008 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music in the Department of Music in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2011 ABSTRACT Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career.
    [Show full text]
  • 171 //#/ /Yo, 76/5" the FOURTEEN SERESTAS of HEITOR VILLA
    171 //#/ /yo, 76/5" THE FOURTEEN SERESTAS OF HEITOR VILLA-LOBOS (1887-1959) THESIS > Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Noe Sanchez, B.M. Denton, Texas August, 1999 Sanchez, Noe, The Fourteen Setesta's of Heitor Villa- T.obos (1887-1959) . Master of Music (Musicology), August, 1999, 156 pp., 16 charts, 12 musical scores, 14 translations, discography, bibliography, 66 titles. The Fourteen Serestas of Heitor Villa-Lobos comprise a group of songs that expresses Villa-Lobos's compositional technique for the voice. These songs are challenging as a topic because not much historical or analytical research has been done on them. I approach the topic by providing historical background on the modinha and how it relates to the serSsta. This is followed by a descriptive analysis in the order of the set, which includes musical examples, chart diagrams, and comparisons of the serestas to other works. I hope to have contributed valuable information to the research of these songs since Villa-Lobos wrote over ninety solo vocal songs which still await analysis and discussion. This thesis is a contribution toward narrowing this gap. 171 //#/ /yo, 76/5" THE FOURTEEN SERESTAS OF HEITOR VILLA-LOBOS (1887-1959) THESIS > Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Noe Sanchez, B.M. Denton, Texas August, 1999 Copyright by Noe Sanchez 1999 111 ACKNOWLEDGMENT S I would like to thank Dr.
    [Show full text]
  • Art Works Grants
    National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.
    [Show full text]
  • The Musical Language of Alberto Ginastera's Panambí and The
    THE MUSICAL LANGUAGE OF ALBERTO GINASTERA’S PANAMBÍ AND THE INFLUENCE OF CLAUDE DEBUSSY’S LA MER AND IGOR STRAVINSKY’S LE SACRE DU PRINTEMPS Kenneth R. Lovern Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Paul Dworak, Major Professor Bernardo Illari, Committee Member David Schwarz, Committee Member Frank Heidlberger, Chair of Music History, Theory and Ethnomusicology Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Graduate School Lovern, Kenneth R. The musical language of Alberto Ginastera’s Panambí and the influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre du Printemps. Master of Arts (Music Theory), December 2015, 84 pp., 49 illustrations, bibliography, 25 titles. Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better understanding of the suite’s composition. Chapter II includes analyses of the suite that illustrate important elements that contribute to the structure and sound of the Panambí suite.
    [Show full text]
  • Alberto Ginastera's Sonata for Guitar Op. 47: an Analysis
    Alberto Ginastera's Sonata for Guitar Op. 47: an analysis Item Type text; Dissertation-Reproduction (electronic) Authors King, Charles, 1956- 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 28/09/2021 09:55:28 Link to Item http://hdl.handle.net/10150/565537 ALBERTO GINASTERA'S SONATA FOR GUITAR OP. 47: AN ANALYSIS by Charles King Copyright © Charles King 1992 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Charles Kina______________ ______ entitled ALBERTO GINASTERA1S SONATA FOR GUITAR______________ OPUS 47: AN ANALYSIS_________________________________ and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts____________________ 12/3/91 Date 12/ 3/91 Date 12/3/91 Grayson Hirst Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. * I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 12/3/91 * Director Thomas Patterson Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
    BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 PRELUDE CONCERT III ^ Thursday, January 21, at 6 COMMUNITY CHAMBER CONCERT II Sunday, January 24, at 3, at the Museum of Afro American History, Boston The Community Chamber Concerts are supported by State Street Bank. CHAMBER MUSIC TEA III Friday, January 29, at 2:30 LUCY SHELTON, soprano NANCY BRACKEN, violin FENWICK SMITH, flute EDWARD GAZOULEAS, viola FRANK EPSTEIN, percussion CAROL PROCTER, cello ANN HOBSON PILOT, harp ANDERSON Vocalise for violin and harp (1980) THOMSON Five Phrases from Song of Solomon, for soprano and percussion Thou that dwellest in the gardens Return, O, Shulamite! O, my dove I am my beloved's By night on my bed LUCY SHELTON, soprano WILLIAMS "Adolescence/' for soprano, flute, and cello, from Seven for Luck (1998) Ms. SHELTON ROUSSEL Serenade, Opus 30, for flute, harp, violin, viola, and cello Allegro Andante Presto GINASTERA Cantos del Tucuman (1938), for soprano, flute, violin, harp, and percussion Yo naci en el valle Solita su alma Vida, vidita, vidala, vidalita Algarrobo, algarrobal Ms SHELTON HM Weeks 13/14 TNf mm NOTES Thomas Jefferson Anderson was born August 17, 1928, in Coatesville, Pennsylva- nia. He was the first black composer-in-residence at the Atlanta Symphony Orches- tra, holding that post from 1969 to 1971. He then served as chairman of the music department at Tufts University in Somerville, MA, from 1972 to 1980. As with many American composers of his generation, jazz was a big influence, and Anderson toured with a jazz band in his youth.
    [Show full text]
  • The\-A'a 111 ~~ of Music PRESENT Cuarteto Latinoamericano
    I-IOUSton Friends ofMusicj,l 1J. the\-a'a 111 ~~ of Music PRESENT Cuarteto Latinoamericano Saul Bitran, violin Aron Bitran, violin Javier Montiel, viola Alvaro Bitran, cello with Guest Artist Dennis Parker, cello Presented with the support of the Intitute of Hispanic Culture WEDNESDAY, OCTOBER 30, 1991 8:00P.M. STUDE CoNCERT HALL AT ALICE PRATT BROWN HALL RICE UNIVERSITY Thirty-second Season - Second Concert HOUSton Friends ofttfJ; s~ SchOol (>fMusic PRESENT Cuarteto Latinoamericano PROGRAM HEITOR VILLA LOBOS QUARTET #1 (1887-1957) uThe Little Brazilian Suite,, ALBERTO GINASTERA QUARTET #1 Op. 20 (1916-1983) Allegro violento ed adagio Vivacissimo Calmo e poetico A/Jegramente rustico INTERMISSION FRANZ SCHUBERT QUINTET IN C, 0.956 (Op. 163) (1791-1828) Allegro ma non troppo Adagio Scherzo: Presto-- Trio: Andante sostenuto Allegretto with Mr. Dennis Parker The Cuarteto Latinoamericano records for the Elan label. The Cuarteto Latinoamericano is the Resident Quartet at Summerfest in Pittsburgh, at Carnegie Mellon University, and at the San Miguel de Allende Chamber Music Festival in Mexico. The Cuarteto Latinoamericano is represented by Ann Summers International, Toronto and Rome. Photographing and sound recording are prohibited. We further request that audible paging devices not be used during performances. Paging arrangements may be made with ushers. If it is anticipated that tickets will not be used, subscribers are encouraged to turn them in for resale. This is a tax-deductible donation. Call 285-5400. KUHF88;7FM The radio voice of Houston Friends of Music PROGRAM NOTES HECTOR VILLA LOBOS ALBERTO EVARISTO GINASTERA (1887-1957) (1916-1983) STRING QUARTET #I STRING QUARTET #1, OP.
    [Show full text]