Mozart Requiem: 1OO Voices
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AN ANALYSIS of “SEVEN LAST WORDS from the CROSS” (1993) by JAMES MACMILLAN by HERNHO PARK DISSERTATION Submitted in Partial
AN ANALYSIS OF “SEVEN LAST WORDS FROM THE CROSS” (1993) BY JAMES MACMILLAN BY HERNHO PARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Barrington Coleman, Chair Professor Carlos Carrillo, Director of Research Professor Michael Silvers Professor Fred Stoltzfus ABSTRACT James MacMillan is one of the most well-known and successful living composers as well as an internationally active conductor. His musical language is influenced by his Scottish heritage, the Catholic faith, and traditional Celtic folk music, blended with Scandinavian and European composers including Olivier Messiaen (1908-1992), Alfred Schnittke (1943-1998), and Igor Stravinsky (1882-1971). His cantata for choir and strings Seven Last Words from the Cross, was commissioned by BBC (British Broadcasting Corporation) television, composed in 1993, and premiered in 1994 by Cappella Nova and the BT (British Telecom) Scottish Ensemble. While this piece is widely admired as one of his best achievements by choral conductors and choirs, it is rarely performed, perhaps due to its high level of difficulty for both the string players and singers. The purpose of this dissertation is to present an analysis of the Seven Last Words from the Cross by James MacMillan aimed to benefit choral conductors rather than audiences. Very little has been written about MacMillan's choral works. My hope is to establish a foundation on which future scholars may expand and explore other choral works by MacMillan. -
Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role. -
Jordan Alfredson, Bassoon Brenda Brent, Piano
Kennesaw State University College of the Arts School of Music presents Senior Recital Jordan Alfredson, bassoon Brenda Brent, piano Saturday, April 19, 2014 2:00 p.m. Music Building Recital Hall One Hundred Tenth Concert of the 2013-14 Concert Season Program GORDON JACOB (1895-1984) Concerto for Bassoon I. Allegro II. Adagio III. Allegro giocoso GABBIER NOËL-GALLON (1891-1966) Récit et Allegro WILLSON OSBORNE (1906-1979) Study for Bassoon (original 1952 version) JOHANN BAPTIST WANHAL (1739-1813) Concerto for Two Bassoons I. Allegro Moderato Shelby Jones, bassoon FRANCIS POULENC (1899-1963) Trio for Oboe, Bassoon, and Piano I. Presto II. Andante III. Rondo Alejandro Sifuentes, oboe This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Alfredson studies bassoon with Laura Najarian. Program Notes Concerto for Bassoon GORDON JACOB (1895-1984) This reduction of Gordon Jacob’s Concerto for Bassoon, Strings and Percussion consists of three movements in which Jacob takes full advantage of the bassoon’s potential for comedy, while also exploring its more lyrical side. The cheerful first movement begins with a scale that is progressively taken apart and put back to- gether. A middle interlude creates a slightly heavier mood while the soloist takes up a more melancholy theme. But, after a period of quickening, the cheerful opening theme returns. In the second movement, the piano provides an ethereal accompa- niment of a gentle, plaintive melody played by the bassoon. The third movement is an exciting presentation of the bassoon's technical abilities. A slower middle section again displays Jacob’s more emotional side. -
Mariinsky Orchestra
CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal -
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. -
Essential Excerpts for Tuba from Original Works Written for Wind Ensemble
HARVEY, BRENT MEADOWS, D.M.A. Essential Excerpts for Tuba from Original Works Written for Wind Ensemble. (2007) Directed by Dr. Dennis W. AsKew. 54 pp. The need for a standard course of study to assist in preparing students for military band auditions is apparent due to the current number of tuba positions in premier military service band organizations. This examination of Essential Excerpts for Tuba from Original Works Written for Wind Ensemble is intended to be an important document in the field of tuba performance and teaching for practice, preparation, and study of the original wind symphony literature written for tuba. The excerpts included in this text are selected based on a general survey created by the author. The Tuba Excerpt Survey, completed by retired and current premier military service band tuba players and select college and university tuba professors, generated a standard list of excerpts that produced the desired information that finalized the specified essential tuba excerpts to be included and reviewed in this document. By setting performance boundaries, inspecting the musical details of the excerpts, and separating an undergraduate curriculum into appropriate levels of study, a classification and distribution of the found scores and excerpts among different levels is established in this text. Upon examination of these excerpts, additional methodologies and corollary studies have been integrated into the paper to further facilitate student practice and preparation of these essential excerpts for tuba among original -
Shostakovich Symphony No 4
Thursday 1 November 2018 7.30–10pm Barbican Hall LSO SEASON CONCERT SHOSTAKOVICH SYMPHONY NO 4 Kodály Dances of Galánta James MacMillan Trombone Concerto SHOSTA (UK premiere) Interval Shostakovich Symphony No 4 Gianandrea Noseda conductor Peter Moore trombone 6pm Barbican Hall LSO Platforms: Guildhall Artists KOVICH Free pre-concert recital Kodály Duo for violin and cello Welcome LSO News Online lost in action in 1915. The LSO has a long- THE DONATELLA FLICK LSO LSO BLOG: standing relationship with James MacMillan CONDUCTING COMPETITION JAIME MARTÍN & PHILIPPE JORDAN dating back to the mid-1990s. The World’s Ransoming was premiered by Principal Cor This month 20 emerging conductors from As part of their LSO debuts last month, we Anglais Christine Pendrill, and in 2008 the across Europe will take part in the 15th spoke to two conductors, Jaime Martín and Orchestra gave the first performance of the Donatella Flick LSO Conducting Competition. Philippe Jordan, about their programming, St John Passion, an 80th birthday gift to Across two days of intense preliminary working with the Orchestra and how they Principal Conductor Sir Colin Davis. rounds they’ll compete for the chance to came to music. impress our panel of esteemed judges in Shostakovich’s Symphony No 4 closes the Grand Final here in the Barbican Hall To learn about how Jaime Martín this evening’s concert, with the Orchestra on Thursday 22 November. programmed his concert of dance-inspired Welcome to this evening’s LSO concert at the swelling to over 100 musicians for one music, and what Philippe Jordan listens to Barbican, where we are joined by Principal of the composer’s wildest symphonic Visit lso.co.uk/conducting-competition to in his spare time, visit lso.co.uk/blog. -
University of Aberdeen Programme
To Book Tickets an internat ional Admission to Music Prize events are free unless otherwise stated. To avoid disappointment we strongly recommend you book in advance compe tiion through the University of Aberdeen Events Office: for c om pose rs Telephone: 01224 273874 Email: musicprize @abdn.ac.uk BBC Scottish Symphony Orchestra Concert Aberdeen Box Office Telephone: 01224 641122 www.boxofficeaberdeen.com For more information about sound festival : Telephone: 01330 825431 or visit www.sound-scotland.co.uk To book tickets for sound events, please book through the Aberdeen Box Office on 01224 641122 Join our mailing list To keep up to date with University events, please join our mailing list by visiting www.abdn.ac.uk/events or write to Events, Office of External Affairs, University of Aberdeen, King’s College, Aberdeen AB24 3FX or email events @abdn.ac.uk 20 – 22 Novemmusicber 2009 prize AIYF Compose! The University of Aberdeen Music Prize and Aberdeen International Youth Festival join forces to host a competition for young composers. To find out more about upcoming competitions, please contact the University Events Office by email: musicprize @abdn.ac.uk , In association with telephone +44 (0)1224 273874 musicprize we lcome to the third University of performed by the BBC Scottish Aberdeen Music Prize – Symphony Orchestra in 2010 an international celebration and broadcast on BBC Radio 3. of music composition. The University of Aberdeen Once again the weekend Music Prize is one of the most offers an exciting programme talked-about composition of events, many of which prizes in the world, and by we are pleased to present joining forces with sound , in association with sound , Aberdeen is firmly established North East Scotland’s Festival as a centre for creative of New Music. -
Good King Wenceslas
Good King Wenceslas !1 GoodWords: John Mason Neale, King 1853; Music: “Tempus Wenceslas Adest Floridum,” a 13th Century spring carol G D G C D G C G D Em C G Good King Wenceslas looked out, At Saint Agnes’ fou-oun-tain.” C D G On the Feast of Stephen, G D G C D G D G C D “Bring me flesh and bring me wine, When the snow lay round a-bout, C D G C D G Bring me pine-logs hither. Deep and crisp and even. G D G C D G Em Thou and I shall see him dine, Brightly shown the moon that night, C D G C D G When we bear them thither.” Though the frost was cruel, G Em G C D G D Page and monarch, forth they went, When a poor man came in sight, C D G G C G D Em C G Forth they went together; Gathering winter fu - u - el. G C D G D Through the rude wind’s wild lament, G D G C D G C G D Em C G “Hither page and stand by me, And the bitter we- a- ther. C D G If thou knows’t it telling. G D G C D G D G C D “Sire, the night is darker now, Yonder peasant, who is he, C D G C D G And the wind grows stronger; Where and what his dwelling?” G D G C D G Em Fails my heart, I know not how; “Sire, he lives a good league hence, C D G C D G I can go no longer.” Underneath the mountain, G Em G C D G D “Mark my footsteps my good page, Right against the forest fence, C D G Tread thou in them boldly; !2 G C D G D C D G Thou shalt find the winter’s rage, Which the saint had printed. -
A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K. Phillips Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PERFORMANCE GUIDE TO THE MUSIC FOR FLUTE AND PIANO BY PHILIPPE GAUBERT By TAMMARA K. PHILLIPS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 The members of the Committee approve the treatise of Tammara K. Phillips defended on October 16, 2006. __________________________________________ Eric Ohlsson Professor Directing Treatise __________________________________________ Patrick Dunnigan Outside Committee Member __________________________________________ Eva Amsler Committee Member __________________________________________ Deborah Bish Committee Member __________________________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This treatise is dedicated to my father. iii ACKNOWLEDGEMENTS I gratefully acknowledge my treatise advisor, Dr. Eric Ohlsson, for his generous help in editing and completing this project. I would also like to thank the members of my committee: Professor Eva Amsler, Professor Deborah Bish, Dr. Patrick Dunnigan, and Dr. Frank Kowalsky. My thanks and appreciation to all my committee members for being so flexible and accommodating with their time, and allowing me to complete this project in such a short amount of time. For the indispensable advice and support of my flute professor, Eva Amsler, I am deeply appreciative. I am especially indebted to my family. -
Jacob Druckman
JACOB DRUCKMAN: LAMIA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDÉE [1] THAT QUICKENING PUlsE (1988) 7:41 JACOB DRUCKMAN 1928–1996 Francesco Cavalli/Jacob Druckman: [2] DELIZIE CONTENTE CHE L’ALME BEATE (arr. 1985) 2:48 THAT QUICKENING PULSE [3] NOR SPELL NOR CHARM (1990) 11:37 DELIZIE CONTENTE CHE L’ALME BEATE Marc-Antoine Charpentier/Jacob Druckman: NOR SPELL NOR CHARM SUITE FROM MÉDÉE (arr. 1985) [4] I. Ouverture 2:14 SUITE FROM MÉDÉE [5] II. Prélude 2:45 [6] III. Rondeau pour les Corinthiens 1:50 LAMIA [7] IV. Loure 4:46 [8] V. Passepied & Choeur 3:24 LAMIA (1986) LUCY SHELTON soprano [9] I. Folk conjuration to make one courageous 2:09 [10] II. Metamorphoses, Book VII; BOSTON MODERN ORCHESTRA PROJECT Folk conjuration to dream of one’s future husband 7:01 [11] III. Folk conjuration against death or other absence GIL ROSE, CONDUCTOR of the soul 4:59 [12] IV. Stanza degli Incanti de Medea; Tristan und Isolde; Periapt against theeves 5:08 TOTAL 56:24 COMMENT By Jacob Druckman Lamia was the name of a sorceress of Greek mythology and has come to mean “sorcer- ess” in the generic sense. The concept of the work grew out of a particular performance of my Animus II by my dear friend and colleague, the great American mezzo-soprano Jan DeGaetani at the Aspen Colorado Music Festival in 1972. Ms. DeGaetani, who has magnificently performed and recorded several of my works, gave a particularly magical performance that night in which everything that sounded and befell seemed to be the direct result of her will and her powers. -
An Evening of Carols
The South Dakota School of Mines and Technology presents the thirty-third annual Holiday Cathedral Choral Concert Concert Choir University Choir Master Chorale directed by James D. Feiszli An evening of carols Cathedral of Our Lady of Perpetual Help, Rapid City, SD December 5 & 6, 2015, 7:30pm Carols evolved from folkdance traditions. Sung at winter and spring solstice celebrations, carols existed before pre- Christian times. The early church overlaid pre-Christian celebrations with Christian holidays (“holy-days”), but the elements of boisterous joy and dance remained in the songs that became popular with the uneducated populace of Western Europe. Since the general populace did not speak, read, or write Latin, macaronic carols (songs using both Latin and the local language) arose. Nativity plays in the Middle Ages frequently used carols to teach biblical doctrine to the illiterate. This development is partially responsible for the spread of the carol through Europe. As Europe emerged from the Middle Ages and Renaissance, the influence of the Church waned – particularly after the Reformation and the secularism of the Enlightenment. Holiday celebrations became associated with other ancient traditions which, in turn, led to a re-birth of carols as Christian musicians and clergy sought to reclaim the awe and joy of the Christmas season. The four-part hymn-like carols of the nineteenth century became what most of us think about when we hear the term. Tonight we present an entire concert of carols both old and modern from Europe and the U.S. I – Candlelight Carols Jesus Christ the Apple Tree ……………….….. Elizabeth Poston Infant Holy, Infant Lowly ………………………… David Willcocks Carol of the Drum ………………..…………… Katherine K.