DOCSLIB.ORG

LISTENING LOG: S—Z Plus COLLECTIONS Etc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LISTENING LOG: S—Z Plus COLLECTIONS Etc 20 B♭ (S ) LISTENING LOG: S—Z plus COLLECTIONS etc. KAIJA SAARIAHO Notes on Light Extended Cello Concerto, slow avant-garde textures, cello doing effects, non-thematic or motivic sound with cello thread. It reminds me of Tavener’s Protecting Veil, except for full orchestra and variousness – quasi-mystical. Not elecronic, though it sounds so. (S09) Orion Three-movement symphonic poem: Memento Mori is march-like procession, ethereal panels of glittery sound, like an updating of Debussy’s first Nocturne, builds to forte. White Sky is a similar soundworld, sustained, slow but rhythmed, to a fadeout. Hunter is energetic, groups of four mallet instruments prominent, wild horn whoops, quiet ending. I like it. (S09) Mirage Scena for soprano and solo cello on primitive-mystical-feminist text in English, delivered with utter authority by Karita Mattila. Schafer might have done it, but his procedures would have been more audible. (S09) Amers In two movements for solo cello and chamber orchestra. Saariaho describes it as a “timbral work.” No sustained line. Scrubbing and scraping cello in Libero merges into Molto energico, seemingly little increase of tempo. Matters don’t improve. I try to like Saariaho but I can’t do it. (Ja13) Château de l’Âme Group of five songs on French texts for soprano and orchestra. I can’t believe Sony would not print the texts in any form; they are modern translations of Hindu and Egyptian love poems. There are other singers embedded in the orchestral texture, not treated as a choir. The fourth song, an Egyptian prayer for the recovery of a sick child, is dramatic. All seem less resistant than much of KS’s other music. Dawn Upshaw sings magnificently. (Ja13) Graal Théâtre Violin Concerto in two movements. Violin begins a fantasia ponticello, scratchy, scrubby, crossing strings, harmonics – orchestra sustains tones, trumpet counter-line, bits from piano and percussion. Impetuoso begins with angry cadenza – orchestra sets rhythmic bass. It represents “conflict,” says KS. Kremer, and it’s admirable, but why would Saariaho limit the violin to these uncharacteristic noises? What is she afraid of? Contrast would mean so much more. Bah!! (Ja13) Nymphea (Jardin secret III) One-movement work for electric string quartet (19:25). They seem to have contact mikes, but notes do not say, nor explain how they are controlled. The players add vocal sounds – they later intone a bad existential poem into mikes. I get nothing from it. (Ag16) L’Amour de loin Major operatic hit – I am astonished at the enthusiasm of its reception, since the entire piece takes place in ultra-slow motion, and it is all recit. The nearest antecedents, perhaps are Messiaen and Debussy’s much-maligned Pelléas. The plot is a love story, however, with Liebestod overtones, cast in the form of a very simple morality tale with just three characters. The music is surprisingly tonal – Susanna Phillips exclaimed that if she sang a wrong note in rehearsal, it was immediately obvious. The electronic effects are kept firmly in the background, and I’m not sure how they were produced. Over-dependence on electronic sound has been my chief objection to Saariaho’s music in the past. And there is a unique soundworld created. I loved the libretto, a detailed analysis of physical/spiritual, embodied/disembodied, human/divine love. The music seemed longer than it had to be – but deeper acquaintance might change that. Performances were superb – though I thought Jaufré Rudel the celebrated troubadour should be more a basso cantante than Eric Owens could make of him. The use of the chorus as a classical Greek commentary worked extremely well, and I like the way Saariaho incorporated Orientalist North African suggestions into her quasi-troubadour music (which also allowed her moments of regular rhythm and more upbeat tempo. I liked Robert Carson’s set design with its sea of LED lights and the fragile boat – though not so much a machinery of the movable staircase. I was not particularly looking forward to seeing this opera, but it was well worth the effort. (MedHD, D16) HARALD SÆVERUD Symphony No 8 “Minnesota” Big piece premiered in Minneapolis, more populist than I expected: mild harmonically, energetic rhythmically – recalls Harris with brass motifs over sustained strings in outer movements. Big buildup at end. Nice lyric Andante, upbeat Scherzo, colorful orchestration. Strong piece. (S09) Cello Concerto Earlier work that liner notes say is on the outer edge of Sæverud’s experimentation: it actually seems fairly conservative. Concerto with smallish orchestra (as rescored by HS’s student) but dense textures in outer movements, skipping 6/8 rhythms B quite beautiful melody in Andante. Do Norwegian composers all favor curt endings? (S09) Peer Gynt Music, op 28 An effort to create non-Romantic music for Ibsen’s masterpiece: just three numbers, but they’re rhythmic, melodic, and dry. The last is a nifty parody of Yankee Doodle, Marseillaise, and a couple of other anthems. Peer Gynt as arms dealer. I like it better than I expected, but it won’t replace you know who. (Jy12) The Ballad of Revolt, op 22 Wartime piece, written to protest privately the German occupation, darkly serious, then a minor key folkdance – very effective. (Jy12) JOSEPH BOLOUGNE, Chevalier de SAINT-GEORGES Quartet in G minor Three movements: Solo bits get traded around so everyone gets a chance. Textures simple. Allegro begins in minor, then happily maggiore. Nice easy listening. LOUIS de SAINT-LUBIN Fantaisie sur un theme de Lucia de Lammermoor, op 46 Unaccompanied violin, 7': the theme is the Sextet. Saint-Lubin is a forgotten virtuoso, neither his work nor his career researched. This piece would be a technical challenge for Paganini -- Yikes! -- but there's also a Gallic elegance. (Je18) Theme original et Etude de Sigmund Thalberg, op 45 Inventive rewriting for solo violin of one of Thalberg's piano etudes, 6'. Anastasia Khitruk has done her homework. She's terrific! (Je18) Adagio religioso, op 44 Lovely cantabile, Saint;Lubin was not a pupil of Paganini but of Spohr. (Je18) Grand Duo Concertante in A, op 49 De facto Violin Sonata in four movements, 28'. The title asserts the equality of the two instruments, and the models are Schubert and Beethoven. Both parts are flashy enough, but brilliance is subordinate to the compositional design. Scherzo is Beethovenish, superb – crazy ending. Andante has a saccharine tune with contrasting sections in minor. Allegretto Finale begins with oom-pah theme in minor, a lot of display for the piano. The rondo theme inevitably makes its last appearance in major. Engaging, viable piece. (Je18) Potpourri on Themes from Auber's La Fiancée, op 35 Liner notes makes a pitch for the opera (unlikely enough), a hit just before Le Muette and Fra Diavolo. The Fantasy squeezes a lot of tunes and a set of variations into 14', and the piano gets as much workout as the violin. (Je18) 2 Salonstucke Each piece is prefaced by a Chopinesque Nocturne and finishes with a faster part, a Rondino in 3, chirpy and carefree, and a Polonaise, severe in minor. (Je18) CAMILLE SAINT-SAËNS Rigaudon Unknown gem heard on radio. Q: check it out. (Jy08 – Muskoka) A: Sarabande et Rigaudon, op 93. Piano Concerto No 1 in D, op 17 Youthful work has more character than most forgotten piano concertos. Simple ballet-like material in opening, with all sorts of novel piano-orchestra textures. Slow movement unique, questioning, almost sinister. Finale pure bravura, wonderful arpeggiated passage, return of opening horn calls. Super piece! (Ap09) Piano Concerto No 3 in E♭, op 29 Begins with mysterious phrases over rolling piano, wholly unlike classical sounding first two, rises to big Coda. Interesting experiment, doesn’t quite work. Andante too laid back, Finale seems mechanical. This is S-S at low ebb (?). The odd one out of the five. (Ap09) Piano Concerto No 5 in F, op 103 “Concerto Egyptièn” I heard this as a kid in Minneapolis and thought it was all scales, an “accompaniment of an accompaniment.” Later, I heard it and rather liked it, but then heard it on the radio and failed to place it. Maybe I’d not listened carefully, or maybe I was thrown off by the “Egyptièn” tag. But it’s Saint-Saëns in good form, nice material, especially second subject and falling chromatic closing figure, worked assiduously. Andante has some North African feel (liner notes insist it’s Spanish), quite pronounced in B section. Ciccolini gets weird tones from his piano. Jovial hullabaloo of a Finale. My favorite is still No 4. (Ap09) Mélodies Appealing melodies, widely varied, unexpected modulations, phrase extensions, variants, brilliant piano parts. Many Victor Hugo settings. The first has staccato voice line. “Adieu patrie” is close to Duparc. “Le pas d’armes” a wonderful Romantic ballad. “A quoi bon entendre” is proto-Fauré. The great “Danse macabre” (great encore piece!). A number of songs in antique style that Saint-Saëns does so perfectly (LeRoux possesses a convincing trill). Song with violin obligato, virtuosic – and one with flute. A wonderful Spanish guitar song. Ends with extraordinary patter song on Ronsard. This disc is a pure revelation. (Ja10) Mélodies persanes, op 26 Four Orientalist songs: dancing girls, warlike men on horseback, an exquisite study in monotony, and an extraordinary account of drug delirium with perpetuo moto accompaniment. (These are only four of six in the set.) (Ja10) Requiem, op 54 The opening seems familiar, but the old LP had none of the emotional tug. Dies irae is rather generic, just where Mozart and Verdi let loose the cannons, but the Oro supplex takes on greater life, and the beautiful Agnus Dei.
Load more

Recommended publications
  • Choral Music of Ernst Toch
    THE CHORAL MUSIC OF ERNST TOCH By MIRIAM SUSAN ZACH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTL^L FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1993 Copyright 1993 by Miriam Susan Zach ACKNOWLEDGMENTS The author is grateful to Mikesch Miicke, life-partner and architect, for his patience, encouragement, and introduction to Venturi's thought. His ability to clarify mysteries of computers and the German language made this dissertation a reaUty. She would like to express her deepest gratitude to her parents, Margaret Munster Zach and Herbert William Zach, for a lifetime of support and for advocating the research, teaching, and performance of music. She feels fortunate to have had the opportunity to study music history and Uterature wdth Dr. David Z. Kushner, a master teacher, pianist, and researcher, a mentor who cares. The author is grateful to Dr. Otto W. Johnston for his persistence to help her develop a cogent argument, for responding promptly with thoughtful insights that focused fragmentary ideas, and his humor during the long process. She would also like to take this opportunity to thank Dr. Budd Udell, Dr. Arthur Jennings, Dr. PhyUis Dorman, Dr. Russell Robinson, and Professor Reid Poole for their counsel and collective effort to teach her how to fish. She would like to honor Dr. Robert and MilUe Ramey for their encouraging presence and thoughtfulness. Marsha Berman and Stephen Fry at the UCLA Toch Archive gave their time and expertise during the author's two visits to the collection, and made long-distance research possible.
    [Show full text]
  • Piet Wackie Eysten Jubileumboek Van De Stichting Voor Kamermuziek
    Jubileumboek van de stichting voor kamermuziek Piet Wackie eysten ‘String quartets trudge onstage hundreds of times a year and play music of the gods for a passionate and intensely involved audience. Not much to write about…’ Arnold Steinhardt, Indivisible by Four Inhoudsopgave 1. Een ‘voorloopige commissie’ 5 2. De Vereeniging voor Kamermuziek te ’s-Gravenhage 13 3. De eerste seizoenen 19 4. Koninklijke belangstelling 25 5. Programmering 29 6. Het 12½-jarig jubileum 35 7. Een nieuwe voorzitter 39 8. Het 25-jarig jubileum 45 9. Oorlogsjaren 51 10. Na de oorlog 57 11. De vijftiger jaren 63 12. Blijvend hoog niveau 67 13. De kosten 73 14. Ledenwerving 79 15. De ‘Vereeniging’ wordt een stichting 83 16. Bestuurswisselingen en stijgende prijzen 87 17. Donkere wolken 93 18. Een website tot slot 101 Inhoudsopgave / 3 Dr. D.F. Scheurleer Daniël François Scheurleer werd op 13 november 1855 geboren in Den Haag, waar zijn vader firmant was van het sinds 1804 in Den Haag gevestigde bankiershuis Scheurleer & Zoonen. De jonge Daniël trad bij zijn vaders firma in dienst, nadat hij in Dresden aan het ‘Handelslehranstalt’ een opleiding had gevolgd en bij de Dresdner Bank een stage had doorlopen. Na het overlijden van zijn vader in 1882 werd hij, nog slechts 26 jaar oud, directeur van het familiebedrijf. De firma hield zich vooral bezig met vermogensbeheer van welgestelde Hagenaars uit de hogere kringen. De schrijver Louis Couperus bankierde zijn leven lang bij Scheurleer & Zoonen. Couperus en zijn vrouw verkeerden op vriendschappelijke voet met de heer en mevrouw Scheurleer. In zijn testament bepaalde Couperus dat het vermogensbeheer van de stichting die hij met dat testament in het leven riep, zou worden gevoerd door ‘de tegenwoordige en toekomstige individueele leden van de firma Scheurleer & Zoonen’.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • A Survey and Guide to the Most Frequently Programmed Lieder In
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 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]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES 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 School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof.
    [Show full text]
  • Spring 2021 Course Descriptions
    PhD/DMA Programs in Music – Spring 2021 Course Descriptions MUS 81502: Performance Practice: Baroque – Professor Gwendolyn Toth This course, intended for performance majors at the doctoral level, is designed to provide students with an in-depth understanding of what performance practice means and why we study it. Specific course content includes knowledge of the conventions of musical performance during the period 1550-1800, with emphasis on the changes from Renaissance to early baroque, early baroque to high baroque, and high baroque to early classical. Students will also gain acquaintance with the development of musical instruments, music printing, and musician status, as well as changing audiences, during the time frame. First-hand sources of principal pedagogical publications of the period will be used to the extent possible. Students should gain an understanding of performance practice principles (rhetoric, phrasing, ornamentation, improvisation, instrumentation) in different periods from 1550-1800; but equally, will examine applications of performance practice in today’s modern concert world internationally through critical listening. Students should attain sufficient knowledge to run an early music ensemble/collegium or teach a beginning course on historical performance. The format of the course will include introductory lectures, extensive readings, occasional assigned practical written exercises, in-class listening and discussion, area-specific (keyboard, winds, strings, voice) papers comparing recorded modern performances, and a comprehensive final exam. MUS 71500: D.M.A. Topics (Spring) – Professor Anne Stone The second semester DMA Topics course will focus on the various types of scholarly writing encountered by performers in doctoral work and beyond. In addition to reading and analysis/discussion of writing on music from multiple genres by both scholars and performers, weekly writing assignments will include in- class writing, evaluation of classmates’ work, and ongoing work on longer assignments.
    [Show full text]
  • Tbeatthe HEAT!
    THE SUNDAY STAR, Washington, D. C. SPMMT, «. TURNTABLE TALK E-4 MAKC* IMS | NEWS OF MUSIC Here Are New Sounds Mozart Cycle Billed JjfH At 4 For Speeding Guests RHBB plC' -• ww*lfe*' By JAMES G. DEANE ! work Is familiar In a version By Dirksen, Lywen Up InStamford. Conn., when for concert orchestra arranged he Is not out in the West In- with the composer’s approval By DAT THORPE States for an average of $16.43. dies or some other exotic spot by Gordon Jacobs, a pupil. The Certainly the most unusual Those interested in entering the contest should write Helen with a microphone and tape original Is no less Ingratiating. musical event for which the - N' Havener, National Federation recorder, there is a man named All told, there are really II Mocart anniversary will be Clubs, of Music 445 West Emory Cook who has a pen- pieces on the disc, which the responsible this year Is the Twenty-third street. New York chant fer miking recordings Eastman Symphonic Wind cycle of Mozart violin 11. N. Y. nobody else would think of. ' Ensemble performs with gus- and keyboard sonatas to be The other contest is the Merriweather Post Award of For posterity, Mr. Cook has to. The recorded sound is a ' played this spring and fall by ! SSOO cash and a S6OO scholar- magnetically enshrined the i model. Richard Dirksen and Werner ship ** * * SOPRANO WITH ARMY the Phillips Gal- to the Juilliard School of sound of ocean waves, earth- at Music. The National Sym- NEW BCHUBERTIAN BAND—Evelyn Sachs, who fcry quakes.
    [Show full text]
  • Richard Strauss
    Richard Strauss Meister der Inszenierung Bearbeitet von Daniel Ender 1. Auflage 2014. Buch. 349 S. Hardcover ISBN 978 3 205 79550 6 Format (B x L): 13,5 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Daniel Ender Richard Strauss Meister der Inszenierung BÖHLAU VERLAG WIEN · KÖLN · WEIMAR Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Richard Strauss, 1929 (© ullstein bild – Laszlo Willinger) © 2014 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Umschlaggestaltung: Michael Haderer, Wien Layout: Bettina Waringer, Wien Korrektorat: Katharina Krones, Wien Druck und Bindung: CPI Moravia Gedruckt auf chlor- und säurefreiem Papier ISBN 978-3-205-79550-6 Inhalt Ein öffentliches Leben. Zur Einleitung Ein Kind seiner Zeit . 9 Die inszenierte Biographie . 18 Selbst- und Fremdbilder . 23 1. Vom Epigonen zum Genie „Ein sogenannter Charakter“. Umwelt und Familie. 33 „Nicht von hervorstechender Originalität“. Der Weg in die Öffentlichkeit . .42 „Zum Zukunftsmusiker gestempelt“.
    [Show full text]
  • Alexander Glazunov
    Call & Response 2011 Music With Exotic Influences Glazunov, Schulhoff, Bloch, Debussy & Jeffery Cotton Listener’s Guide Join us for a performance of music inspired by the Exotic Call & Response 2011 Concert May 5, 2011, Herbst Theatre, San Francisco Details inside… Call & Response 2011: Music with exotic influences Concert Thursday, May 5, 2011 Herbst Theatre at the San Francisco War Memorial 401 Van Ness Avenue at McAllister Street San Francisco, CA 7:15pm Pre-Performance Lecture by composer Jeffery Cotton 8:00pm Performance Buy tickets online at: www.cityboxoffice .com or by calling City Box Office: 415-392-4400 Page Contents 3 The Concept: evolution of music over time and across cultures 4 Jeffery Cotton 6 Alexander Glazunov 8 Erwin Schulhoff 10 Ernest Bloch 12 Claude Debussy 2 Call & Response: The Concept Have you ever wondered how composers, modern composers at that, come up with their ideas? How do composers and other artists create new work? Our Call & Response program was born out of the Cypress String Quartet’s commitment to sharing with you and your community this process in music and all kinds of other artwork. We present newly created music based on earlier composed pieces. Why “Call & Response”? We usually associate the term “call & response” with jazz and gospel music, the idea being that the musician plays a musical “call” to which another musician “responds,”—a way of creating a new sound relating in some way to the original. In this program, the “call” is that of Cypress String Quartet searching for connections across musical, historical, and social boundaries.
    [Show full text]
  • Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019
    Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 The competition is open to all Colburn School students enrolled for the Spring 2019 semester in the Conservatory, Music Academy, and Community School of Performing Arts. Divisions Prizes Pre-college (Music Academy and Community All finalists will receive a cash award (minimum School) $150 for each student). Solo musicians or College (Conservatory) members of a group judged by the adjudicating panel to be the most outstanding in the pre- Accompanists college and college divisions will receive a Pre-college entrants performing solo repertoire minimum of $1,500 each. with piano may engage a professional accompanist. Pianists in chamber ensembles About the Initiative must be students. All college entrants must LA Opera Music Director James Conlon formed be students in the Conservatory (this includes the groundbreaking Recovered Voices project collaborating pianists). to shine a spotlight on the music by composers suppressed by the Nazi regime. In honor of Deadline his efforts, the Ziering-Conlon Initiative for Entries to be submitted no later than March Recovered Voices sponsors seminars, academic 11, 2019 via YouTube video. Those selected conferences, and competitions in an effort to for the live, public finals on Monday evening, present a deeper understanding of the history March 25, will be notified no later than 9 pm of the music from the first half of the 20th on Tuesday, March 19. All entrants must be century. available to perform at the March 25 finals. Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 List of Repertoire Submitting Your Video Performance The works on the provided list were selected When recording your performances, place as representative, and all are approved for this the video-recording device in such a way that showcase competition.
    [Show full text]
  • 2015-2016 Lynn University Wind Ensemble-Wind Works Wit'wit
    Lynn Wind Ensemble Wind Works wit' Wit LYNN Conservatory of Music Wind Ensemble Roster FLUTE T' anna Tercero Jared Harrison Hugo Valverde Villalobos Scott Kemsley Robert Williams Al la Sorokoletova TRUMPET OBOE Zachary Brown Paul Chinen Kevin Karabell Walker Harnden Mark Poljak Trevor Mansell Alexander Ramazanov John Weisberg Luke Schwalbach Natalie Smith CLARINET Tsukasa Cherkaoui TROMBONE Jacqueline Gillette Mariana Cisneros Cameron Hewes Halgrimur Hauksson Christine Pascual-Fernandez Zongxi Li Shaquille Southwell Em ily Nichols Isabel Thompson Amalie Wyrick-Flax EUPHONIUM Brian Logan BASSOON Ryan Ruark Sebastian Castellanos Michael Pittman TUBA Sodienye Fi nebone ALTO SAX Joseph Guimaraes Matthew Amedio Dannel Espinoza PERCUSSION Isaac Fernandez Hernandez TENOR SAX Tyler Flynt Kyle Mechmet Juanmanuel Lopez Bernadette Manalo BARITONE SAX Michael Sawzin DOUBLE BASS August Berger FRENCH HORN Mileidy Gonzalez PIANO Shaun Murray Al fonso Hernandez Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. Unauthorized recording or photography is strictly prohibited Lynn Wind Ensemble Kenneth Amis, music director and conductor 7:30 pm, Friday, January 15, 2016 Keith C. and Elaine Johnson Wold Performing Arts Center Onze Variations sur un theme de Haydn Jean Fran c;; aix lntroduzione - Thema (1912-1997) Variation 1: Pochissimo piu vivo Variation 2: Moderato Variation 3: Allegro Variation 4: Adagio Variation 5: Mouvement de va/se viennoise Variation 6: Andante Variation 7: Vivace Variation 8: Mouvement de valse Variation 9: Moderato Variation 10: Mo/to tranquil/a Variation 11 : Allegro giocoso Circus Polka Igor Stravinsky (1882-1971) Hommage a Stravinsky Ole Schmidt I. (1928-2010) II. Ill. Spiel, Op.39 Ernst Toch /.
    [Show full text]
  • LEONARD BERNSTEIN Symphony No
    GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians.
    [Show full text]
  • Edition 2 | 2018-2019
    Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem WHAT’S INSIDE III ...................MESSAGE FROM THE MUSIC DIRECTOR V .............MESSAGE FROM THE EXECUTIVE DIRECTOR VII ...................... MESSAGE FROM THE BOARD CHAIR X ..............................................DAVID ALAN MILLER XIII ................................... ORCHESTRA PERSONNEL JANUARY 5-6, 2019: XIX ........................................... BEETHOVEN’S SEVENTH FEBRUARY 9-10, 2019: XXVII ............................................ ROMANTIC CHOPIN MARCH 9, 2019: XXXV .............................................................BOLÉRO XLV ..................................... 2018-2019 SPONSORS XLIX .....................................CONDUCTOR’S CIRCLE L ................................................ INDIVIDUAL GIVING LIII .................IN HONOR, CELEBRATION, & MEMORY LIV ...............................................ENCORE SOCIETY FOUNDATIONS, CORPORATIONS & LV ..................................... GOVERNMENT AGENCIES LV ............................................IN-KIND DONATIONS LVII.........................................................BOARD
    [Show full text]