Solo Keyboard Mixed Collections
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Deine Ohren Werden Augen Machen
Deine Ohren werden Augen machen. 40 . Programmwoche 26 . September – 2. Oktober 2020 Samstag, 26. September 2020 09.04 – 09.35 Uhr FEATURE Born to Work Eine künstlerische Auseinandersetzung mit Monotonie und Fremdbestimmung in Arbeitsprozessen Von Stefanie Heim Seit Ford und Taylor die Massenproduktion ins Leben riefen und optimierten, verrichten Arbeiterinnen und Arbeiter an Fließbändern abstrakte Tätigkeiten. Wechselnde Schichtdienste dominieren bis heute den Dienstleistungsbereich. Hinzu kommen Repressionen bei Nichterfüllung von vorgegebenen Leistungen oder Kennzahlen. Gleichzeitig finden fragwürdige Motivationen statt. Wie erleben Fabrik- und Lagerarbeiterinnen und- arbeiter heute ihren Job? Die Autorin Stefanie Heim arbeitete selbst zwei Jahre lang im hocheffizienten Versandhandel. Regie: Stefanie Heim Produktion: Bauhaus-Universität Weimar 2016 14.00 – 15.00 Uhr FEATURE Polarfieber Ein Feature über die Jagd nach den Ressourcen der Arktis Von Christian Schwalb Nirgends erwärmt sich die Erde so schnell wie an den Polen. Das Eis verschwindet und legt Bodenschätze frei. Neue Seewege öffnen sich. Ein gigantischer Wirtschaftsraum erwacht. Das Wettrennen um die Erschließung der Arktis ist eröffnet. In der Arktis wird rund ein Viertel der Öl- und Gasvorräte der Welt vermutet, dazu kommen riesige Vorkommen an seltenen Erden und anderen Schätzen. Auf den Seewegen verkürzt die Nordostpassage die Schiffsreise von Asien nach Europa dramatisch. Die Region sieht sich als zukünftigen Gewinner des Klimawandels. Trotz aller Folgen für die letzte unberührte Landschaft der Erde. Und trotz der Folgen für die Heimat von 30 indigenen Völkern, die hier seit Jahrhunderten von Jagd und Rentierhaltung leben. Überall - von Nordamerika über Lappland bis nach Sibirien - werden mittlerweile Planungen für Häfen, Bahnstrecken und Kraftwerke vorangetrieben, finanziert von internationalen Investoren. -
CHAN 10092 BOOK.Qxd 23/4/07 10:52 Am Page 2
CHAN 10092 Front.qxd 23/4/07 10:51 am Page 1 CHAN 10092 CHANDOS james macmillan into the ferment • the berserking • britannia premiere recording martin roscoe piano CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 2 James MacMillan (b. 1959) 1 Britannia (1994) 12:42 The Berserking (1989)* 31:22 Andrew FarringtonAndrew A Concerto for Piano and Orchestra 2 e = 140+ Energico – 9:10 3 q = 60 – 12:52 4 e = 104 9:20 premiere recording Into the Ferment (1988, revised 2002) 23:27 for ensemble and orchestra 5 ‘The Storm’ – 1:43 orchestra and ensemble 6 ‘Here are we met, three merry boys’ – 2:26 3 orchestral trombones and ensemble 7 ‘In dispraise of whisky’ – 1:56 orchestra only 8 ‘We are na’ fou’!’ – 3:03 ensemble only James MacMillan 9 ‘It is the moon, I ken her horn’ – 2:57 orchestra and ensemble 3 CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 4 MacMillan: Into the Ferment etc. Listeners who know James MacMillan But the central idea behind all three works is 10 ‘Three merry boys again’ (sometime later) – 2:25 through his most popular works – such as not religious exultation, but other, much more orchestra only The Confession of Isobel Gowdie (1990) for worldly kinds of intoxication: the hyped-up, 11 ‘Wha’ first shall rise to gang awa’’ – 2:58 orchestra or the percussion concerto Veni, Veni, alcohol-fuelled exhilaration of a football crowd ensemble only Emmanuel (1992) – will no doubt have a clear in The Berserking (1989), the swaggering self- 12 ‘Man to man… shall brithers be…’ – 3:41 understanding of this composer’s central beliefs aggrandisement of militant nationalism in orchestra only and concerns. -
Catalog 2008–09
Catalog 2008–09 Featuring an Introduction to The Suzuki® Method alfred.com SHINICHI SUZUKI October 17, 1898–January 26, 1998 History of The Suzuki® Method One Man’s Vision Shinichi Suzuki—violinist, educator, philosopher, and humanitarian, was born in 1898, the son of Japan’s fi rst violin manufacturer. Suzuki worked in the violin factory as a child, but was not interested in playing the violin until he was seventeen. Suzuki then studied violin in Japan for some years before going to Germany in the 1920s for further study. When he returned to Japan, Suzuki and his brothers formed a string quartet that toured extensively. He also taught violin at universities in Tokyo and elsewhere. During this period, Suzuki became interested in the education of young children. Beginnings After World War II, Suzuki carried his interest and sympathy for children into his work as a musician and teacher. Encouraged by the ability of children to assimilate their mother tongue, he saw a great opportunity to enrich here are moments in history when a place, a their lives through music. He based his approach on the belief that musical ability is not an inborn talent, but an time, a man and an idea converge to produce T ability that can be developed—that the potential of every results of great signifi cance. Such a moment child can grow if the child is given the proper training and learning environment. Noting that children the world occurred when Shinichi Suzuki began his over learn to speak their native language with ease, Suzuki experiments in violin teaching in Japan. -
String Methods & Collections
248 STRING METHODS & COLLECTIONS Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 5 SUZUKI Performed by Shinichi Suzuki Performed by Koji Toyoda ■ Volume 2 .................$15.95 00-0486____ ■ Volume 5 .................$15.95 00-0918____ Suzuki Violin School UPC: 654979003014 UPC: 029156269178 Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 6 Suzuki Violin School CD, Volume 1 Performed by David Nadien Performed by Koji Toyoda Performed by David Cerone World-renowned violinist David Cerone has produced ■ Volume 2 (includes separate accompaniment tracks) ■ Volume 6 .................$15.95 00-0919____ a recording of the music from this volume of the .......................................$15.95 00-0347____ UPC: 029156269840 UPC: 029156150254 immensely successful Suzuki Violin School. The CD Suzuki Violin School CD, Volume 7 features an exquisite rendition of the violin part with piano Suzuki Violin School CD, Volume 2 Performed by Koji Toyoda accompaniment. Titles include: Twinkle, Twinkle, Little Star Performed by William Preucil, Jr. and Cary Lewis Variations (Suzuki) • Song of the Wind • Etude (Suzuki) • ■ Volume 7 .................$15.95 00-0920____ Minuet 1 (Bach) • The Happy Farmer (Schumann) NEW! Volume 2 (Revised) UPC: 029156269857 .......................................$15.95 00-28262____ and more. Suzuki Violin School CD, Volume 8 ■ UPC: 038081308241 Volume 1 .................$15.95 00-0596____ Performed by Koji Toyoda UPC: 029156670684 Suzuki Violin School CD, Volume 3 ■ Performed by David Cerone Volume 8 .................$15.95 00-0921____ Suzuki Violin School CD, Volume 1 UPC: 029156982428 Performed by Shinichi Suzuki World-renowned violinist David Cerone has produced a recording of the music from this volume of the Suzuki Violin School MIDI Disk Acc. -
Beethoven's 250 Anniversary
PIANO MAGAZINE WINTER 2020–2021 | VOL 12 | NO 5 CELEBRATING TH BEETHOVEN’S 250 ANNIVERSARY AND MUSICAL INNOVATORS WINTER 2020–2021 Anne-Marie Commissioning Stories McDermott: Composition & Celebrating | VOL 12 | NO 5 $12.99 VOL of Pianists’ Creativity Artist, Leader, Innovator Underrepresented Composers CLAVIERCOMPANION.COM / a magazine for people who are passionate about the piano PIANO MAGAZINE PUBLISHER The Frances Clark Center for Keyboard Pedagogy EDITOR-IN-CHIEF / CHIEF CONTENT DIRECTOR WHAT YOU’LL Pamela D. Pike FIND INSIDE SENIOR EDITOR / DIRECTOR OF DIGITAL CONTENT Andrea McAlister • SENIOR EDITORS Steve Betts RESOURCES TO SUPPORT Craig Sale OUR COMMUNITY IN COLUMN EDITORS MUSICAL ENGAGEMENT Linda Christensen, Technology & ADVOCACY Vanessa Cornett, Healthy Playing, Healthy Teaching Barbara Kreader Skalinder, Teaching • Artina McCain, Diversity, Equity, and Inclusion Nicholas Phillips, Recordings COVERAGE OF THE Suzanne Schons, Books, Materials, and Music NEWEST TRENDS & IDEAS Helen Smith Tarchalski, Keyboard Kids IN PERFORMANCE Jerry Wong, International Richard Zimdars, Poetry Corner AND PEDAGOGY EXECUTIVE DIRECTOR & CEO • Jennifer Snow PRACTICAL SOLUTIONS DESIGN & PRODUCTION FOR PIANO TEACHING studio Chartreuse & LEARNING PROFILES COPY EDITORS Rebecca Bellelo • Kristen Holland Shear THOUGHT-PROVOKING DIGITAL OPERATIONS Shana Kirk IDEAS FROM A RANGE OF CONTRIBUTORS ADVERTISING COORDINATOR Anna Beth Rucker • CUSTOMER SUPPORT Morgan Kline REVIEWS OF THE LATEST MUSIC, RECORDINGS, CIRCULATION The Frances Clark Center for Keyboard Pedagogy BOOKS, TECHNOLOGY, & EDUCATIONAL EDITORIAL BOARD Nancy Bachus PRODUCTS Alejandro Cremashi Barbara Fast Rebecca Grooms Johnson Scott McBride Smith Winter Issue 2020-2021 Vol 12 No 5 / 1 CONTENTS Anne-Marie McDermott: ARTIST, LEADER, INNOVATOR by Andrea McAlister 12 Photo: Group lesson at NSMS (1960s) EXPLORE LEARN TEACH 9 EDITOR’S LETTER 32 THE GIFT OF NEW 36 BECOMING WEAVERS: Pamela D. -
James Macmillan 29
premiere recordings a scotch bestiary piano concerto no. 2 wayne marshall bbc philharmonic CHAN 10377 james macmillan 29 CCHANHAN 1103770377 BBOOK.inddOOK.indd 228-298-29 114/8/064/8/06 114:55:414:55:41 James MacMillan (b. 1959) premiere recordings Andrew Farrington Andrew A Scotch Bestiary (2003– 04)* 33:35 Enigmatic variations on a zoological carnival at a Caledonian exhibition for organ and orchestra Dedicated to Gillian Moore MBE I. The menagerie, caged 21:01 1 The book is opened. Andante – 1:28 2 1 Ode to a cro-magnon hyena. Adagio – 2:33 3 A page is turned. Tempo I – 0:42 4 2 Reptiles and Big Fish (in a small pond). Largo – Andante – Largo – Andante – Tempo di valse (Allegro) – Andante – Largo – 1:57 5 3 Her Serene and Ubiquitous Majesty, Queen Bee. Senza misura. Prestissimo possibile, sempre legatissimo – [ ] – Adagio – 2:10 6 Another page is turned. Tempo I – 0:57 7 4 The red-handed, no-surrender, howler monkey. [ ] – Tempo di marcia – 1:36 8 5 Uncle Tom Cat and his Chickens. Adagio – 2:00 9 Yet another page is turned. Tempo I – 0:41 James MacMillan 3 CCHANHAN 1103770377 BBOOK.inddOOK.indd 22-3-3 114/8/064/8/06 114:55:294:55:29 10 6 Scottish Patriots. [ ] – [ ] – Maestoso – 2:11 MacMillan: Piano Concerto No. 2/A Scotch Bestiary 11 7 The Reverend Cuckoo and his Parroting Chorus. [ ] – 1:34 12 8 Jackass Hackass. Prestissimo possibile (moto perpetuo) – 1:41 2004 was the year when Cumnock Fair came to were both having their cake and eating it 13 The book is closed. -
Emerson, Lake & Palmer Can Still Turn Us on with These Top 5 Song Lyrics
Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics Sign in Akro… Welc… TRENDING TOPICS: metal | Concerts | Celine Dion | Music | festivals | Sports | Comedy | AXS Buzz | rock | pop | Los Angeles | Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics windhoek35 YouTube merson, Lake & Palmer no longer tour as a trio, but Keith Emerson and Greg Lake have recorded and toured together as a duo. In 2010 Keith and Greg released an album titled Live E from Manticore Hall. Performing a two man version of the iconic Emerson, Lake & Palmer songs, the album was recorded during their American tour. The power trio was one of the most commercially successful and popular progressive rock bands of their era. Their music relied heavily on the use of the Moog synthesizer, Hammond organ and Keith Emerson’s http://www.axs.com/emerson-lake-palmer-can-still-turn-us-on-with-these-top-5-song-lyrics-60805[7/13/2015 9:31:39 PM] Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics use of what has been described as the “flamboyant virtuoso” use of the piano. Classical music, hard rock and jazz were the dominating influences in the music created by ELP. Keith Emerson, Greg Lake and Carl Palmer made up the British trio, but it found its origins at the Fillmore West in San Francisco. Emerson and Lake, who were looking for projects outside their current bands, worked together and found their styles were “compatible and complementary.” Music impresario Robert Stigwood suggested that they add Carl Palmer as their drummer. -
Franz Schubert Complete Works for Violin and Piano Julia
Volume 1 Franz Schubert Complete Works for Violin and Piano Julia Fischer - Martin Helmchen HYBRID MUL TICHANNEL Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) Schubert composed his Violin Sonatas Complete Works for Violin and Piano, Volume 1 in 1816, at a time in life when he was obliged he great similarity between the first to go into teaching. Actually, the main Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1) Tmovement (Allegro molto) of Franz reason was avoiding his military national 1 Allegro molto 4. 10 Schubert’s Sonata for Violin and Piano in service, rather than a genuine enthusiasm 2 Andante 4. 25 D major, D. 384 (Op. posth. 137, No. 1, dat- for the teaching profession. He dedicated 3 Allegro vivace 4. 00 ing from 1816) and the first movement of the sonatas to his brother Ferdinand, who Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2) the Sonata for Piano and Violin in E minor, was three years older and also composed, 4 Allegro moderato 6. 48 K. 304 by Wolfgang Amadeus Mozart must although his real interest in life was playing 5 Andante 7. 29 have already been emphasised hundreds the organ. 6 Menuetto (Allegro) 2. 13 of times. The analogies are more than sim- One always hears that the three early 7 Allegro 4. 36 ply astonishing, they are essential – and at violin sonatas were “not yet true master- the same time, existential. Deliberately so: pieces”. Yet just a glance at the first pages of Sonata (Sonatina) for Violin and Piano in G minor, D. -
The Glasgow Season 2014/2015
A World of Music at Glasgow City Halls THE GLASGOW SEASON 2014/2015 BOX OFFICE: 0141-353 8000 bbc.co.uk/bbcsso #bbcssothursday ‘It has been my intention to bring some of the fi nest singers, soloists and conductors to Scotland and to showcase the brilliance, fl exibility and commitment of this remarkable group of musicians.’ THE GLASGOW SEASON 2014/2015 In September 2014 it will be fi ve years since I took up the post of Chief I’m also delighted that this year I’ll be celebrating an important birthday Conductor with this wonderful orchestra. Our relationship continues in Scotland with arguably the fi nest present a conductor could ask for to blossom, and I am immensely proud of our achievements so far. It - Beethoven’s Ninth Symphony. The orchestra and I will be joined by has been my intention to bring some of the fi nest singers, soloists and a world-class line-up of soloists, and our friends the Edinburgh Festival All concerts are scheduled conductors to Scotland and to showcase the brilliance, fl exibility and Chorus, for what promises to be a very memorable occasion. I hope you to be recorded for future commitment of this remarkable group of musicians. The 2014/15 season can be there. transmission or broadcast is no exception. BBC Scottish Symphony Orchestra facebook.com/bbcsso live on BBC Radio 3. Our theme this season in Glasgow is ‘discovery’ so whether you’re a BBC Scotland twitter.com/bbcsso We open with Dmitri Shostakovich’s Tenth Symphony and will later regular subscriber to the Thursday Night Series or an occasional visitor perform his enigmatic Fifteenth, as well as the First Piano Concerto to our wonderful home at City Halls, I’m certain you will fi nd something City Halls, Candleriggs youtube.com/bbcsso with Garrick Ohlsson; we’ll be exploring connections between the new in the evenings ahead to intrigue, delight and surprise you. -
Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on. -
Raphael Wallfisch
Peter Donohoe Suite 114 Piano Business Design Centre 52 Upper Street London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)20 7359 0112 Concerto Repertoire [email protected] www.ikonarts.com Alwyn, William Piano Concerto No.1 Piano Concerto No.2 Arnold, Malcolm Fantasy on a Theme of John Field Bach, J.S. Concerto No.1 in D minor, BWV 1052 Barber, Samuel Piano Concerto, Op.38 Bartók, Béla Piano Concerto No.1, Sz.83 BB 91 Piano Concerto No.2, Sz.95 BB 10 Piano Concerto No.3, Sz.119 BB 127 Bax, Arnold Symphonic Variations for Piano and Orchestra Beethoven, Ludvig Van Piano Concerto 1, Op.15 Piano Concerto 2, Op.19 Piano Concerto 3, Op.37 Piano Concerto 4, Op.58 Piano Concerto 5, Op.73 Fantasia in C minor, Op.80 Violin Concerto (piano version), Op.61a Berg, Alban Chamber Concerto for Piano, Violin & 13 Wind Instruments Bernstein, Leonard Prelude Fugue & Riffs for Solo Clarinet and Jazz Ensemble Symphony No.2 The Age of Anxiety Bliss, Arthur Piano Concerto in B flat major Concerto for 2 Pianos and Orchestra Brahms, Johannes Concerto No.1, Op.15 Concerto No.2, Op.83 Britten, Benjamin Piano Concerto, Op.13 Diversions for Piano (left hand) and Orchestra, Op.21 Young Apollo, Op.16 Scottish Ballad for 2 Pianos and Orchestra, Op.26 Bush, Alan Africa Piano Concerto Symphony No. 2 Busoni, Ferruccio Piano Concerto, Op.39 Chopin, Frédéric Piano Concerto No.1, Op.11 Piano Concerto No.2, Op.21 [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 Andante Spianato e Gran’ Polonaise Brilliante, Op.22 Darnton, Christian Concertino in C major for Piano and String -
Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano.