Writing for Saxophones
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
New Century Saxophone Quartet Press
New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. -
Guide to Band and Orchestral Instruments
Mater Dei College Music Department GUIDE TO BAND AND ORCHESTRAL INSTRUMENTS PICTURE INFORMATION ENSEMBLES SEE/HEAR IT The flute is part of the woodwind family. Flute Ensemble, http://www.yout FLUTE Unlike woodwind instruments with reeds, a Junior Concert ube.com/watch?v flute is a reedless wind instrument that Band, Senior =LI3wIHFQkAk&fe produces its sound from the flow of air Concert Band, ature=related across an opening. The flute produces a Solos and beautiful, light tone and is flexible enough Chamber to be used in many contexts and ensembles. Ensembles The clarinet is a very versatile instrument. It Clarinet http://www.yout CLARINET has three very distinctive ranges that it can Ensemble, Junior ube.com/watch?v produce. The lowest register is rich and Concert Band, =9CkK-LM6Oe0 hollow in sound. The middle register is Senior Concert smooth sounding. The upper register Band, Solos Jazz sounds thin and shrill. Band The oboe has been a favourite among Junior Concert http://www.yout BASS GUITAR composers for the last 300 years. The Band, Senior ube.com/watch?v appeal is the reedy sound which is good for Concert Band, =iy3V2Tl4g3s staccato melodies. The oboe unique and Swing Band one of the most interesting instruments to learn. The saxophone is a relatively recent Saxophone http://www.yout ALTO SAXOPHONE invention - it was created in the 1840's to Ensemble, Junior ube.com/watch?v bridge the tonal gap between lower Concert Band, =Ul5K9fVwsKI woodwind section and the low brass Senior Concert section. The saxophone - informally called Band, Solos Jazz sax - uses a reed in the mouthpiece, much Band like clarinets do. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
Conn Saxophone Microtuner
THE CONN SAXOPHONE MICROTUNER After a mouthpiece is placed on the neck of a saxophone it is then moved in (farther on) to raise the pitch or out to lower the pitch. The adjustment of the pitch by varying the tubing length by one method or another is common to most wind instruments. In most, if not all, cases the properties of the mouthpieces are not affected. However, as the mouthpiece of a saxophone is moved farther on the neck, the neck then protrudes farther into the mouthpiece, causing a reduction in the chamber volume of the mouthpiece. The chamber volume is believed to affect the intonation, quality, and stability of the notes produced by the saxophone. In July 1919, Conn engineer Edward J. Gulick was granted a patent for a saxophone microtuner, the primary purpose being to provide a convenient means to adjust the overall pitch of the instrument without having to move the mouthpiece on the cork. An apparently unintended benefit was that the mouthpiece chamber volume remains unaffected. This is true provided the mouthpiece is not moved relative to the cork during the tuning process. The microtuner assembly consists of a receiver, a composite piece which I will call the armature, and a collar with a retaining nut. The receiver is an integral part of the saxophone neck and has external threads to accept the collar. An early version of the receiver is shown in Figure 1. The armature is made of three parts. First is a thin-walled cylindrical brass tube which telescopes snugly into the bore of the receiver, Second is an annular flange with a larger external diameter than the receiver. -
Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers .. -
All-Region Unified Etude
Alto Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato œ # 4 œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™nœ & #4 œ™ œœ œ #œ œ œ mf marcato 5 œ œ # œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œœœ œ ™nœ œœœœ œœ œ œ & # œ#œ œ œ nœ ™ œ p 9 œ # œ œœbœ œ œ œ œnœ bœ™ œœ œ œ œ œnœ œ œ œœœ#œœ & #nœ œ œ™ œ œ nœœ nœ ™ cresc. 13 ## œ & J ‰ Œ Ó f Baritone Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato # 4 œ œ œ œ™ œœ œ œ œ œ œ & #4 œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ #œ œ œ œ™nœ mf marcato œ ™ œ 5 nœ # œœœ œ œœœ œ œ™ œ & # œ œ œ œ™ œ œ œ œ œ œ#œ œ œ™nœ œ œ œ œ œ œ ™ œœ œ ™ œ p 9 # œ œ œ œ œnœ & #nœ œ œ™ œbœ œ œ œ œ œ œnœ bœ™ œœ œ nœœ nœ œœœ cresc. œ nœ œ™ #œœ 13 # & # j ‰ Œ Ó fœ Bassoon All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato ? 4 œ œ œ œ b4 œ œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ nœ œ œ œ™bœ mfœ marcatoœ œ ™ œœ œ ™ œ œ 5 ? œ œœœ œ œœ b œ œ œ œ œ œ™ œœ œ œ œ œ œ #œ œ™nœ œœœ œœ œ ™ œ ™ œ œœ nœœ™ p 9 ? œ œ™ œ bbœ œ œœbœ œ œ œ œnœ bœ™ œœ œ œbœ œ œœœnœ cresc. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
Media Release
Media Release FOR IMMEDIATE RELEASE: August 13, 2015 Contact: Edward Wilensky (619) 232-7636 [email protected] Soprano Patricia Racette Returns to San Diego Opera “Diva on Detour” Program Features Famed Soprano Singing Cabaret and Jazz Standards Saturday, November 14, 2015 at 7 PM at the Balboa Theatre San Diego, CA – San Diego Opera is delighted to welcome back soprano Patricia Racette for her wildly-acclaimed “Diva on Detour” program which features the renowned singer performing cabaret and jazz standards by Stephen Sondheim, Cole Porter, George Gershwin, and Edith Piaf, among others, on Saturday, November 14, 2015 at 7 PM at the Balboa Theatre. Racette is well known to San Diego Opera audiences, making her Company debut in 1995 as Mimì in La bohème, and returning in 2001 as Love Simpson in Cold Sassy Tree (a role she created for the world premiere at Houston Grand Opera), in 2004 for the title role of Katya Kabanova, and in 2009 as Cio-Cio San in Madama Buttefly. She continues to appear regularly in the most acclaimed opera houses of the world, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Los Angeles Opera, and Santa Fe Opera. Known as a great interpreter of Janáček and Puccini, she has gained particular notoriety for her portrayals of the title roles of Madama Butterfly, Tosca, Jenůfa, Katya Kabanova, and all three leading soprano roles in Il Trittico. Her varied repertory also encompasses the leading roles of Mimì and Musetta in La bohème, Nedda in Pagliacci, Elisabetta in Don Carlos, Leonora in Il trovatore, Alice in Falstaff, Marguerite in Faust, Mathilde in Guillaume Tell, Madame Lidoine in Dialogues of the Carmélites, Margherita in Boito’s Mefistofele, Ellen Orford in Peter Grimes, The Governess in The Turn of the Screw, and Tatyana in Eugene Onegin as well as the title roles of La traviata, Susannah, Luisa Miller, and Iphigénie en Tauride. -
Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones Are Commonly Pitched in Bb and Eb
Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones are commonly pitched in Bb and Eb. Piano, flutes, guitars, basses and other stringed instruments sound in “concert pitch.” This is WHY it is called a Bb Soprano Saxophone. When you play “C” Concert pitched instruments are “non-transposing instruments.” on the soprano saxophone, a concert Bb is what you hear. Saxophones are “transposing instruments” (except C Melody When you play a C on Eb Alto Saxophone, you hear a concert Eb. Saxophone). Further Understanding Transposition Does this confuse you? Don’t worry. The following article will attempt to explain in a no-nonsense way just how to understand When reading concert pitched (non-transposed) music on the transposition on any saxophone. saxophone, you must transpose it at sight or take the time to rewrite it in the correct transposition. First, it is important to understand that the concept of transposition is often dealt with far into the study of saxophone. If you are reading The soprano saxophone has the easiest transposition. You simply read from a saxophone method book or reading music written for your up one whole step from concert pitch. You can also think of it another specific saxophone, the transposition has been done for you in your way. Change the key signature and read up to the next line or space. copy of the music. For example: You are given a piece of music that The example below should help clarify the process. says “Eb Alto Saxophone” in the top, left hand corner.