The Covent Garden String Quartet Repertoire List
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Aaron Copland: Famous American Composer, Copland Was Born in Brooklyn, New York, on November 14, 1900. the Child of Jewish Immig
Aaron Copland: Famous American Composer, Copland was born in Brooklyn, New York, on November 14, 1900. The child of Jewish immigrants from Lithuania, he first learned to play the piano from his older sister. At the age of sixteen he went to Manhattan to study with Rubin Goldmark, a respected private music instructor who taught Copland the fundamentals of counterpoint and composition. During these early years he immersed himself in contemporary classical music by attending performances at the New York Symphony and Brooklyn Academy of Music. He found, however, that like many other young musicians, he was attracted to the classical history and musicians of Europe. So, at the age of twenty, he left New York for the Summer School of Music for American Students at Fountainebleau, France. In France, Copland found a musical community unlike any he had known. While in Europe, Copeland met many of the important artists of the time, including the famous composer Serge Koussevitsky. Koussevitsky requested that Copland write a piece for the Boston Symphony Orchestra. The piece, “Symphony for Organ and Orchestra” (1925) was Copland‟s entry into the life of professional American music. He followed this with “Music for the Theater” (1925) and “Piano Concerto” (1926), both of which relied heavily on the jazz idioms of the time. For Copland, jazz was the first genuinely American major musical movement. From jazz he hoped to draw the inspiration for a new type of symphonic music, one that could distinguish itself from the music of Europe. In the late 1920s Copland‟s attention turned to popular music of other countries. -
Wichita Symphony Orchestra Gershwin's Magic Key Young
Wichita Symphony Orchestra Gershwin’s Magic Key Young People’s Concerts January 26-28, 2016 Family Concert January 30, 2016 George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928) as well as the opera Porgy and Bess (1935). He began his career as a song plugger in a music store on Tin Pan Alley (played songs for people to decide if they would buy the song sheet), but soon started composing Broadway theatre works with his brother Ira Gershwin. Ira wrote the lyrics/words while George wrote the music. He moved to Paris to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Porgy and Bess is now considered one of the most important American operas of the twentieth century. In his jazz compositions he captured music from immigrants so not to lose that rich music, the voice of the American soul. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor. Gershwin's compositions have been adapted for use in many films and for television, and several became jazz standards recorded in many variations. Many celebrated singers and musicians have covered his songs. The Roaring Twenties is a term for the 1920’s in the Western world. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Knowledge Organiser
Key Composers Purpose Bernard Hermann James Horner Music in a film is there to set the scene, enhance the AoS3 – Film Music mood, tell the audience things that the visuals cannot, or John Williams Danny Elfman manipulate their feelings. Sound effects are not music! John Barry Alan Silvestri Jerry Goldsmith Howard Shore Key terms Hans Zimmer Leitmotif – A theme for a character Mickey-mousing – When the music fits precisely with action Musical Elements & Common Associations (Musical Cliche’s) Underscore – where music is played at the same time as action Tempo Fast Excitement, action or fast-moving things (eg. A chase scene) Slow Contemplation, rest or slowing-moving things (eg. A funeral procession) Fanfare – short melodies from brass sections playing arpeggios and often accompanied with percussion Melody Ascending Upward movement, or a feeling of hope (eg. Climbing a mountain) Descending Downward movement, or feeling of despair (eg. Movement down a hill) Instruments and common associations (Musical Clichés) Large leaps Distorted or grotesque things (eg. a monster) Woodwind - Natural sounds such as bird song, animals, rivers Harmony Major Happiness, optimism, success Bassoons – Sometimes used for comic effect (i.e. a drunkard) Minor Sadness, seriousness (e.g. a character learns of a loved one’s death) Brass - Soldiers, war, royalty, ceremonial occasions Dissonant Scariness, pain, mental anguish (e.g. a murderer appears) Tuba – Large and slow moving things Rhythm Strong sense of pulse Purposefulness, action (e.g. preparations for a battle) & Metre Harp – Tenderness, love Dance-like rhythms Playfulness, dancing, partying (e.g. a medieval feast) Glockenspiel – Magic, music boxes, fairy tales Irregular rhythms Excitement, unpredictability (e.g. -
Gershwinicity
Gershwinicity SOMMCD 0631 Songs by GEORGE GERSHWIN (1898-1937) arranged for Clarinet, Saxophone and Piano by Iain Farrington Art Deco Trio Peter Sparks clarinet a Kyle Horch alto b, soprano c saxophones Iain Farrington piano d 1 I got rhythmacd 2:02 bm It ain’t necessarily socd 2:42 2 They all laughedacd 3:57 bn Someone to watch over mead 4:52 3 The man I lovead 3:31 bo I’ve got a crush on youbd 3:45 4 Nice work if you can get itabd 3:46 bp But not for mead 2:49 5 Summertimecd 7:56 bq Gershwinicity 14:18 6 They can’t take that away from meabd 4:51 Let’s call the whole thing off – A foggy day in London town – 7 Fidgety feetd 3:20 Fascinating rhythm – 8 Love is here to staybd 5:06 Embraceable you – Lady be good abcd 9 I’ll build a stairway to Paradiseabd 4:07 bl Do it againd 3:51 Total duration: 71:00 All songs © Warner Chappell Music All First Recordings Recorded at The Menuhin Hall, Stoke d’Abernon, Surrey, on September 4-5, 2020 Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Front cover: THEPALMER / istockphoto.com Design: Andrew Giles Booklet Editor: Michael Quinn DDD Visit www.somm-recordings.com for further information © & 2021 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND · Made in EU wider degree of interpretation between performers, as a song becomes a fast-paced frenzy with one performer, or a slow, melancholic confession in orn in 1898, George Gershwin was brought up amidst the noise, energy another. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Mikael Herrström CV.Xls
Discography Mikael Herrström Producer, mixer, engineer ARTIST SONG/ALBUM CREDIT COMPANY YEAR AWARDS M.Hederos/M.Hellberg coming album Producer, engineer, mix 2019 The Sandmen [Dk] Himmelstormer [album] Producer, engineer, mix 500% 2019 Fire! Orchestra Arrival [album] Engineer Rune Grammofon 2019 Lisa Ullén Album Engineer 2018 Manifest award Elin Larson Album Engineer 2018 Peter Von Poehl Various tracks Engineer 2018 Godnattvisor Stefan Sundström, Malena Ernman mfl Producer, engineer, mix Barnens Jukebox 2017 Candlemass The Door to Doom [track] Engineer Napalm Records 2017 Nicolai Dunger Sången om det högsta tornet [single] Engineer Hi-Hat 2017 Tonje Unstad [No] Svermere [album] Producer, engineer, mix Novise 2016 Sven Bertil Taube Hommage vol 2 [album] Engineer Universal 2016 Olle Jönsson Various tracks Engineer Warner Music 2016 Sarah Riedel Various tracks Engineer Playground 2016 The Vanjas No Tomorrow Boy, Criminal, Push it, Good Bye producer, engineer, mix Some More 2015 Tonje Unstad coming album producer, mix Duippidit 2015 Mikael Herrström A No Family Affair [album] producer, writer, vocals, mix Comsat Angel 2015 Come Shine [No] Red and Gold [album] engineer Jazzland Recordings 2014 Henrik Dorsin Finns här några snälla barn? [album] engineer Universal 2014 Lise & Gertrud Birkastan [single] co-producer, mix, engineer Universal 2014 Lise & Gertrud Lyckan kommer från ett annat land [album] engineer Universal 2014 Vasas Flora och Fauna Släkt med Lotta Svärd [album] engineer Startracks 2014 Lasse Stefanz Honky Tonk Rebels [album] engineer -
100% Print Rights Administered by ALFRED 633 SQUADRON MARCH
100% Print Rights administered by ALFRED 633 SQUADRON MARCH (Excluding Europe) Words and Music by RON GOODWIN *A BRIDGE TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS A CHANGE IS GONNA COME (from “ Malcolm X”) Words and Music by SAM COOKE A CHI (HURT) (Excluding Europe) Words and Music by JIMMIE CRANE and AL JACOBS A CHICKEN AIN’T NOTHING BUT A BIRD Words and Music by EMMETT ‘BABE’ WALLACE A DARK KNIGHT (from “ The Dark Knight ”) Words and Music by HANS ZIMMER and JAMES HOWARD A HARD TEACHER (from “ The Last Samurai ”) Words and Music by HANS ZIMMER A JOURNEY IN THE DARK (from “ The Lord of the Rings: The Fellowship of the Ring”) Music by HOWARD SHORE Lyrics by PHILIPPA BOYENS A MOTHER’S PRAYER (from “ Quest for Camelot ”) Words and Music by CAROLE BAYER SAGER and DAVID FOSTER *A WINDOW TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS ACCORDION JOE Music by CORNELL SMELSER Lyrics by PETER DALE WIMBROW ACES HIGH MARCH (Excluding Europe) Words and Music by RON GOODWIN AIN'T GOT NO (Excluding Europe) Music by GALT MACDERMOT Lyrics by JAMES RADO and GEROME RAGNI AIN’T MISBEHAVIN’ (from “ Ain’t Misbehavin’ ) (100% in Scandinavia, including Finland) Music by THOMAS “FATS” WALLER and HARRY BROOKS Lyrics by ANDY RAZAF ALL I DO IS DREAM OF YOU (from “ Singin’ in the Rain ”) (Excluding Europe) Music by NACIO HERB BROWN Lyrics by ARTHUR FREED ALL TIME HIGH (from “ Octopussy ”) (Excluding Europe) Music by JOHN BARRY Lyrics by TIM RICE ALMIGHTY GOD (from “ Sacred Concert No. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
The Dale Warland Singers Presents GLORIOUS GERSHWIN MUSIC by GEORGE GERSHWIN LYRICS by IRA GERSHWIN
The Dale Warland Singers presents GLORIOUS GERSHWIN MUSIC BY GEORGE GERSHWIN LYRICS BY IRA GERSHWIN FRIDAY, MAY 13, 1988 ORCHESTRA HALL 8:00 P.M. THE DALE WARLAND SINGERS Dale Warland, Music Director Sigrid Johnson, Assistant Conductor "jerry Rubino, Pianist and Cabaret Singers Conductor GUEST ARTISTS MOORE BY FOUR Sanford Moore, director/piano Ginger Commodore, soprano Yolande Bruce-Crim, mezzo-soprano Connie Evingson, alto Dennis Spears, baritone Soli Hughes, guitar Jay Young, bass Robert Commodore, drums Paul Oakley, piano Don Stille, synthesizer Tom Hubbard, bass Gordy Knudtson; drums Randy Winkler, production SPECIAL MUSICAL ARRANGEMENTS Steve Barnett Jerry Rubino •This evening's concert is the result of the creative collaboration of many in- dividuals. Particular recognition is extended toJerry Rubino of the DWS ar- tistic staff for his leadership in providing the program conception and musical direction to this event as well as his outstanding musical arrangements. Glorious Gershwin is sponsored by IDS Financial Services Inc. and WAYL Radio . AM 980-FM94 (Special thanks to jefferson Transporunton Group for providing hus servic-e••for (he: pre-concert gala dinner; All musical arrangements are byJerry Rubino unless otherwise noted. I. Strike Up the Band I Got Rhythm Fascinating Rhythm (Mattson) Cabaret Singers By Strauss (Gershwin) Sigrid Johnson, soprano Strike Up the Band (King) II. He Loves and She Loves Nice Work If}fJu Can Get It Soon Ruth Spiegel, soprano; David Benson, bass Looking for a Boy Melissa O'Neill, soprano The Man I Love Lynette johnson, alto Oh, Lady Be Good Tim Sawyer, tenor; Gary Kortemeier, tenor; Michael Dailey, baritone; Brad Bak, bass Somebody Loves Me (Lyrics by B.G.