DOCSLIB.ORG

FLANAGAN-THESIS-2020.Pdf (9.044Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FLANAGAN-THESIS-2020.Pdf (9.044Mb) The History of the Texas Tech University Orchestra, 1925-1964 by Laura Flanagan, B.M. A Thesis In Music Education Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC EDUCATION Approved Dr. Blair Williams Chair of Committee Dr. Janice Killian Dr. Peter Martens Mark Sheridan Dean of the Graduate School May, 2020 Copyright 2020, Laura Flanagan Texas Tech University, Laura Flanagan, May, 2020 ACKNOWLEDGEMENTS Thank you so much to Lynn Whitfield, archivist, Texas Tech University, as well as Elissa Strommen, James Parker, Randy Vance, Andy Wilkinson and the staff of the Southwest Collection/Special Collections Library at Texas Tech University. Thank you also to Terry Brown, archivist for the Houston Symphony Orchestra and to Galen Wixon, CEO of the Lubbock Symphony Orchestra, and to Rob Farrar at the School of Music. My sincerest thanks to Ed Ellsworth for sharing the wonderful picture of his father, Paul Ellsworth in Mexico, and the list of repertoire the orchestra played during his tenure. Thank you for your permission to use these items in this document. Many thanks to Dr. Jane Ann Wilson, Dr. Dwight Pounds, Dr. Jan Garverick and Mr. Boyce Wyrick for your guidance in locating information from the early years of the Texas Tech Symphony Orchestra. An enormous thank you to my advisor, Dr. Blair Williams, and my entire thesis committee for their assistance and professionalism in guiding me through this process. Last, but most importantly, thank you to my husband, Gary Flanagan. ii Texas Tech University, Laura Flanagan, May, 2020 TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................. ii ABSTRACT ...................................................................................................................... vi LIST OF TABLES .......................................................................................................... vii LIST OF FIGURES ....................................................................................................... viii CHAPTER 1: INTRODUCTION .................................................................................... 1 Background…………………………………………………………………………….. 2 Brief History of Music in Lubbock and at Texas Tech………………………………… 3 Need for the Study………………………………………………………………………4 Research Questions…………………………………………………………………….. 5 Methodology…………………………………………………………………………… 6 Definitions……………………………………………………………………………… 6 Limitations……………………………………………………………………………... 8 Delimitations…………………………………………………………………………… 8 Summary……………………………………………………………………………….. 9 CHAPTER 2: REVIEW OF RELATED LITERATURE ........................................... 10 Introduction…………………………………………………………………………… 10 Methodology for Finding Related Research………………………………………….. 10 Non-Western Classical Ensembles…………………………………………………….14 Professional Bands and Orchestras…………………………………………………… 14 Community Bands and Orchestras……………………………………………………. 18 Secondary School Bands, Orchestras, and their Organizations………………………. 21 University or Collegiate Music Ensembles…………………………………………… 26 Summary……………………………………………………………………………… 32 iii Texas Tech University, Laura Flanagan, May, 2020 CHAPTER 3: METHODOLOGY AND MATERIALS .............................................. 34 Research Questions…………………………………………………………………… 34 Archival Resources and Methodology………………………………………………... 35 Summary……………………………………………………………………………… 36 CHAPTER 4: DATA ..................................................................................................... 38 Introduction…………………………………………………………………………… 38 1925-1934: Orchestra appears on the band calendar…………………………………. 38 1934-1949: The orchestra accompanies the choir…………………………………….. 40 Julien Paul Blitz ......................................................................................................... 40 Dewey O. “Prof” Wiley ............................................................................................. 44 Blitz & Dewey as Colleagues .................................................................................... 44 Change in Leadership ................................................................................................ 51 1949-1954: A period of transition for the orchestra…………………………………...53 Dr. Gene LeClair Hemmle ......................................................................................... 53 Robert Dean: Additional String Instruction ............................................................... 59 Degree Program Changes .......................................................................................... 60 1954-1964: The formation of the Texas Tech Symphony Orchestra…………………. 62 Paul Raymond Ellsworth ........................................................................................... 62 Records of Tech Orchestra Concerts and Activities from 1954-1964 ....................... 65 Students’ hometowns ................................................................................................. 72 Scholarships for Music Students ............................................................................... 74 Continued Involvement of the Department of Music in the Lubbock Symphony Orchestra .................................................................................................................... 75 Support of the Public School Orchestra Programs .................................................... 75 Outreach Beyond Lubbock ........................................................................................ 76 Summary……………………………………………………………………………… 78 CHAPTER 5: CONCLUSIONS ................................................................................... 79 Findings……………………………………………………………………………….. 80 Challenges in the Research…………………………………………………………… 81 Archival ..................................................................................................................... 82 iv Texas Tech University, Laura Flanagan, May, 2020 Texas Tech University: School of Music Records, President’s Office Records and Vice President’s Office Records ..................................................................... 82 Personal Collections ............................................................................................... 83 Institutional Research & Information Management Records ................................ 83 Oral Histories ......................................................................................................... 84 Other Potential Sources of Archival Information ...................................................... 84 Symphonic Archives .............................................................................................. 84 Local and Regional Newspapers ............................................................................ 85 Other Unexamined Sources of Information ............................................................... 86 Summary .................................................................................................................... 86 Emerging Questions & Related Areas of Research…………………………………... 87 Blitz’s Limited Success ............................................................................................. 87 Ellsworth’s Success ................................................................................................... 88 Emerging Areas for Further Research…………………………………………………90 Conclusion……………………………………………………………………………..91 REFERENCES ................................................................................................................ 92 APPENDIX .................................................................................................................... 109 v Texas Tech University, Laura Flanagan, May, 2020 ABSTRACT As of 2020, a number of paintings and photographs adorn the wall outside of Hemmle Recital Hall within the Texas Tech University School of Music. These represent many of the early faculty members of the Department of Music, including Dr. Gene Hemmle and Professor Paul Ellsworth. Dr. Gene Hemmle was the Director of the Department of Music from 1949-1979. Ellsworth is recorded in the 1968 Department of Music Report as being hired to start the Texas Tech Symphony Orchestra in 1954. However, orchestra is listed in the Texas Tech course catalog as early as 1925. This study will focus on the history of the Texas Tech Symphony Orchestra (TTSO) from the founding of Texas Technological College in 1925 until the Texas Tech Symphony Orchestra’s Concert Tour of Mexico in 1964. This time period represents a formative period in the history of the Department of Music and the TTSO as documented by the portraits on the wall outside of Hemmle Recital Hall and supported by the additional information found. This study will examine the time period from 1925-1964 in the TTSO’s history through the use of archival databases and resources including the Texas Tech University Archives, the Southwest Collection/Special Collections Library, periodicals, concert programs, oral histories, and ephemera. Special attention shall be given to the orchestra’s role in training students for careers as music educators in public school bands and orchestras. This will include educational outreach programs connected with the TTSO. vi Texas Tech University, Laura Flanagan, May, 2020 LIST OF TABLES Table 1. Keywords Utilized for the WorldCat Search 11 Table 2. WorldCat Keyword Search Results 11 Table 3. University Archive Search
Load more

Recommended publications
  • Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
    et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers.
    [Show full text]
  • Program Summary (20 February 2014)
    Program Summary (20 February 2014) At 8:20 pm, President Byrnes introduced George Barnstone, who organized the introduction of guests. Our speaker, Carl Cunningham, was introduced by Dr. Don Looser. (Dr. Looser is vice-president emeritus of Houston Baptist University, and author of An Act of Providence, which is a history of HBU’s first 50 years.) Carl Cunningham is the retired fine arts critic for the Houston Post,a position he held for 30 years until the Post folded in 1995. Carl arrived in Hous- ton when Jones Hall opened in 1966. Carl was affiliated with the University of St. Thomas for nearly 20 years. Carl’s degree was from Notre Dame. Carl is co-author of two books on the Houston Symphony. The title of this evening’s talk was The Houston Symphony: Celebrating a Century.Themember- ship warmly welcomed the speaker. This is the 663rd meeting of the Houston Philosophical Society. Carl began by explaining that he wrote about half of the book, together with colleagues Terry Brown and Ginny Garrett. Terry and Ginny assembled an impressive collection of stories and pictures as part of the Symphony’s history. The first symphony director was Julien Blitz from 1913-1916. Julien had moved to the warm climate of Houston several years earlier. The symphony resulted from a friendship of Blitz and Ima Hogg. The venue was the Majestic Theater, which is now part of the Houston Chronicle building downtown. Blitz resigned when the orchestra was not able to expand beyond the 34 members. The orchestra disbanded at the end of WWI, and only started up again in 1931.
    [Show full text]
  • THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2010 "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS Ken Baake Texas Tech University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Baake, Ken, ""IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS" (2010). Great Plains Quarterly. 2575. http://digitalcommons.unl.edu/greatplainsquarterly/2575 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS KENBAAKE Stories of development from childhood to narratives, its protean form identified repeat­ adulthood or of journeying through a 1ife­ edly in world mythologies by scholar Joseph changing experience to gain new knowledge Campbell. According to Campbell, the hero are replete in oral and written tradition, as comes in many forms, bearing "a thousand exemplified by the Greek epic of Odysseus and faces," but always with the same underlying countless other tales. Often the hero journeys experience-moving from a call to journey naively to an alien land and then, with great and often an initial refusal, then acceptance difficulty, returns home wiser but forever followed by a crossing of the threshold into scarred.
    [Show full text]
  • 0848033066644.Pdf
    Béla Bartók Concerto for Orchestra, Sz. 116, BB 127 Houston Symphony Orchestra / Leopold Stokowski, Conductor 1 I. Introduzione 09:00 2 II. Giuoco delle coppie 05:54 3 III. Elegia 06:38 4 IV. Intermezzo interrotto 03:58 5 V. Finale 09:00 BARTÓK The late Béla Bartók planned his Concerto The Concerto for Orchestra belongs to for Orchestra so that each group of instru- an important group of works which Bartók CONCERTO FOR ORCHESTRA ments gets a chance to shine. They shine wrote during those last five tragic years with particular luminosity in this stunning in America, when he was plagued by ill- LEOPOLD STOKOWSKI new performance by a fine American orches- ness and acute poverty. It was composed in CONDUCTING THE HOUSTON tra, directed by a man famous all his life as October 1943, on a commission from the SYMPHONY ORCHESTRA an orchestral colorist and reproduced with Koussevitzky Music Foundation, established flawless realism by Everest. by the late Serge Koussevitzky in memory of his wife Natalie. The work was given its The case of Béla Bartók is a tragic one. For world premiere by the Boston Symphony years, he carried on painstaking research, in Orchestra, Koussevitzky conducting, on conjunction with his colleague and fellow December 1, 1944. On that occasion, Bartók Hungarian, Zoltan Kodaly. During that time, provided the orchestra’s program annotator, the two men unearthed, collected and made John N. Burk, with the following informa- known to the outside world the true folk tion: music of Hungary, Rumania and Yugoslavia, separating it from the influences of Gypsy “The general mood of the work repre- music, with which it had become infiltrated.
    [Show full text]
  • The Houston Symphony
    UNIVERSITY MUSICAL SOCIETY THE HOUSTON SYMPHONY Christoph Eschenbach Conductor and Pianist Thursday Evening, March 7, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Carnival Overture, Op. 92 Dvorak Concerto for Piano and Orchestra No. 23 in A major, K. Mozart Allegro Adagio Allegro assai Christoph Eschenbach INTERMISSION Symphony No. 1 in C minor, Op. 68 ........ Brahms Un poco sostenuto, allegro Andante sostenuto Un poco allegretto e grazioso Adagio, piu andante; allegro non troppo, ma con brio Christoph Eschenbach plays the Steinway piano available through Hammell Music, Inc., Livonia. The Houston Symphony's 1991 Northeast Tour is sponsored by Enron Corporation. The Houston Symphony records exclusively for Virgin Classics. The Houston Symphony is represented by Columbia Artists Management Inc., New York City. The box office in the outer lobby is open during intermission for tickets to upcoming concerts. Copies of this title page are available in larger print; please contact an usher. Twenty-ninth Concert of the 112th Season 112th Annual Choral Union Series Program Notes Carnival Overture, Op. 92 Carnival was dedicated to the Czech ANTONIN DVORAK (1849-1904) University in Prague and was conducted by the composer at the premiere in April 1892 as part of a farewell concert prior to his ature, Life, and Love" that American tour. All three overtures figured is the title Dvorak initially prominently in the concerts that Dvorak planned for a series of three conducted during that visit, but Carnival concert overtures he com­ established its preeminence then and has held posed in 1891 and 1892. Per­ it steadfastly. hapsN because Simrock published them with Dvorak's score calls for piccolo, flutes, separate opus numbers, In Nature's Realm, oboes, English horn, clarinets, bassoons, four Op.
    [Show full text]
  • History of the Houston Symphony
    HISTORY OF THE HOUSTON SYMPHONY Founded in 1913 by the guiding hand of Miss Ima Hogg, the Grammy Award—winning Houston Symphony has played a central role in Houston’s cultural and civic life for more than 100 years. It is now one of America's oldest performing arts organizations with a distinguished musical history. The orchestra has grown and matured under the direction of leaders such as Ernst Hoffmann (1936-47), Efrem Kurtz (1948-54), Ferenc Fricsay (1954), Leopold Stokowski (1955-61), Sir John Barbirolli (1961-67), André Previn (1967-69), Lawrence Foster (1971-78), Sergiu Comissiona (1979-88), Christoph Eschenbach (1988-99) and Hans Graf (2001-13). Andrés Orozco-Estrada began his role as the 15th music director of the Houston Symphony in September 2014. Steven Reineke serves as Principal POPS Conductor, Robert Franz is Associate Conductor, and Dr. Betsy Cook Weber directs the Houston Symphony Chorus. The orchestra’s inaugural performance was held at The Majestic Theater in downtown Houston June 21, 1913. Two decades later, the Palace Theatre served as the location for six concerts in 1931-32. City Auditorium and the Houston Music Hall showcased Symphony performances from the late 1930s through the early 1960s. The orchestra’s current home, Jones Hall for the Performing Arts, was dedicated Oct. 2, 1966, with a special performance by the Houston Symphony under the baton of Sir John Barbirolli. In October 2016, a concert featuring the Houston Symphony, esteemed violinist Itzhak Perlman and Music Director Andrés Orozco-Estrada celebrated the 50th anniversary of Jones Hall. In 1937, the Houston Symphony began a series of special student matinee concerts coordinated with Houston Independent School District.
    [Show full text]
  • Country-Musik?"-Some Notes on the Popular Music of Texas and the Gulf Coast in West Germany
    "COUNTRY-MUSIK?"-SOME NOTES ON THE POPULAR MUSIC OF TEXAS AND THE GULF COAST IN WEST GERMANY by Richard C. Helt The lead article in the October 1976 issue of country corner, one of two nationally circulated country music periodicals in West Germany, details the rift between the Nashville country music "establishment" and the "out- laws'' of the fledgling Texas progressive country movement, and portrays in enthusiastic metaphors the music of the "sogenannte Texas Outlaw Souxld" ("the so-called Texas Outlaw Sound") of Waylon Jennings, Willie Nelson, and colleagues: "In der Tat, im Rieseneintopf der Produkte aus den Studios von Music City, U. S. A. muten die Klange der 'Rebellen' wie exotische Farbtupfer an . ."("It's a fact that the sounds of the 'rebels'come across as exotic spots of color in the gigantic ragout of products which come out of the studios of Music City, u.s.A.").' Similarly, the other German Cotlntrjl- Zeitschr(ff (("country journal"), Hillbillj~,featured a lengthy report on Jennings in its September issue of the same year, including an introductory editorial'comment on the central role played by the singer in the formation of the new movement: Diese T~telstory1st etnem modernen Kunstler gew~dmet.der 7war schon se~tgeraumer Zeit eln profil~erterVertreter d~eserMusik 1st. aber doch immer wieder neue Wege suchte-und auch fand. Ausdruck dieser Unruhe war selne mangebliche Bete~l~gungan der Begrundung der v~eld~skutierten"Outlaw-Bewegung," mlt der e~nigeprogresswe Country-Mustker aus den e~ngefahrenenstarren Gle~sender In Nashv~lleetabl~erten Country Music ausbrachen und nach Texas gingen Man kann Waylon Jenn~ngsfast als "Anfuhrer" d~eserOutlaws beze~chnen,("Th~s t~tle story 1s dedicated to a modern artist who, desp~tehis having been for some time a well-known representatwe of this genre [Nashville sound], has always sought new paths-and found them.
    [Show full text]
  • Society of Composers, Nc 2005 Region VI Conference
    The University of Texas at San Antonio presents the Society of Composers, nc 2005 Region VI Conference UTSA Department of Music February 24-26, 2005 Daniel Adams • Aaron Alon • Karim Al-Zand • Peter Askim .• Daniel Barnard • Mike Barnett • Kenneth R. Benoit • Douglas Bianclu • Per Bloland • Clifton Callender • Alan Chan • George B. Chave • Adam Cotton • James Crowley • Doug Davis • Juan Luis de Pablo Enriquez Rohen • S ue Dellinger • Rhodell T. Fields • Robert Fleisl1er • Mark Francis • Bruce Hamilton • Trent Hanna • David Heuser • Robert Hutchinson • Austin Jaquith • Donivan Johnson • David Korevaar • Timothy Kramer • Frank La Rocca • HyeKyung • Sabin Levi • Stepben Lilly • Carleton Macy • Melissa Maier • Cbarles Norman Mason • Ken Metz • Shirely Mier • Gary Masse • Kirk O'Riordan • Taiga Zafer Ozdemir • Daniel Perttu • Ricbard Power • Bill Ryan • Phillip Sckoeder • Paul Siskind • Rob $ mitb • Mark Snyder • Lesley Sommer •John Stafford II • Jack Stamps • Paul Steinberg • Greg A Steinke • Erich Stem • George Tanner • Michael Sidney Timpson • Michael Twomey • Guy Vollen • Andrew Walters • Marc Wooldridge :--c1 Society of Composers, Inc. [ SCI Sodety of Composers, inc. Region VI Conference at the University of Texas at San Antonio Department of Music David Heuser, Host Region VI Co-chairs: Phillip Schroeder and Samuel Magrill President: Thomas Wells Table of Contents Message from the Department Chair. .... ... .. .. .. .. ... .. .. .. 3 Message from the Host . ... ........... ..... .... .... ..... ... .. ... 4 Conference Schedule .. .
    [Show full text]
  • Texas Co-Op Power • July 2012
    LOCAL ELECTRIC COOPERATIVE EDITION JULY 2012 PECOSPECOS CANTALOUPESCANTALOUPES FEEDINGFEEDING AA CROWDCROWD COOLCOOL ROOFSROOFS SPEAKINGSPEAKING UPUP forfor HERITAGEHERITAGE Alabama-Coushatta Tribe Is Striving To Preserve Its Native Tongue and Traditions BornBorrnnnw withwiiittthh farmingffaarmmiiinngg ini youryyoouurr bblood?lood? RRuralural LandLand LLoansoans CountryCountry HHomeome LoansLoans FarmFarm & RRanchanch LoansLoans LivestockLivestock & EEquipmentquipment LLoansoans OperatingOperating CapitalCapital WWee’rree tthhhee answweeerrr.. RRealeal EEstatestate AAppraisalppraisal SServiceservices C apital Farm Credit has made agricultural production, real AAgribusinessgribusiness FFinancinginancing estate and agribusiness loans ffoor 95 years. We embrace our LLeasingeasing cooperative structure and our commitment to return profits to our customers. Through our patronage program, we return almost 100 percent of our net earnings back to our customers ̶ a distinct benefit of doing business with us. CapitalFarmCredit.com 8777..944.5500 TEXAS’T E X A S ’ LARGESTL A R G E S T RURALR U R A L LENDERL E N D E R July 2012 VOLUME 69 NUMBER 1 FEATURES 8 Speaking Up for Heritage By Helen Cordes Photos by Dave Shafer The Alabama and Coushatta tribes have long been linked, even before they started arriving in East Texas’ Big Thicket in the late 1700s. Today, as one tribe, these proud people are fighting to preserve their native tongue and venerable way of life. 14 The Truth About Pecos Cantaloupes By Lonn Taylor Most Pecos cantaloupes are now grown in Pecos County, not Pecos (which is in Reeves County). But the location change hasn’t 88 diminished their famous sweetness. DEPARTMENTS ONLINE Footnotes by Martha Deeringer Elizabeth Bacon Custer 29 TexasCoopPower.com The following July stories are available Recipe Roundup Food for a Multitude 31 on our website.
    [Show full text]
  • Beethoven's Fifth
    SPECIAL EVENT BEETHOVEN’S FIFTH WITH THE NASHVILLE SYMPHONY CLASSICAL SERIES THURS., OCTOBER 5, AT 7 PM | FRI. & SAT., OCTOBER 6 & 7, AT 8 PM | SUN., OCTOBER 8, AT 3 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor THANK YOU TO JAMES EHNES, violin OUR PARTNER CHRISTOPHER ROUSE Symphony No. 5 Nashville Symphony co-commission BENJAMIN BRITTEN Concerto No. 1 for Violin and Orchestra, Op. 15 SERIES PRESENTING PARTNER I. Moderato con moto II. Vivace III. Passacaglia: Andante lento (un poco meno mosso) James Ehnes, violin INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 Allegro con Brio Andante con moto Allegro Allegro Christopher Rouse’s Symphony No. 5 is being recorded live for commercial release. to conduct a partnership with the To ensure the highest-quality recording, please keep noise to a minimum. Nashville Symphony to make our community a better place to live and work. INCONCERT 15 TONIGHT’S CONCERT CHRISTOPHER Composed: 2014-15 First performance: February 9, 2017, with Jaap ROUSE van Zweden conducting the Dallas Symphony AT A GLANCE Orchestra First Nashville Symphony performance: Born on February 15, 1949 CHRISTOPHER ROUSE in Baltimore, Maryland, These concerts mark the first performances by Symphony No. 5 where he currently the Nashville Symphony resides Estimated length: 25 minutes CLASSICAL • Christopher Rouse is one of America’s leading composers, with numerous works and a Pulitzer Prize to his credit. The New York Philharmonic’s recording of his Symphonies No. 3 and 4 was named one of NPR’s Best 50 Albums of 2016. Symphony No. 5 • Co-commissioned by the Nashville Symphony, American composer Christopher Rouse’s Symphony No.
    [Show full text]
  • The Marriage of Figaro Overture PHILADELPHIA ORCHESTRA Piano Concerto No. 20 in D Minor K.46
    GUILD MUSIC GHCD 2405 Stokowski GHCD 2405 2013 Guild GmbH © 2013 Guild GmbH Guild GmbH Switzerland Wolfgang Amadeus MOZART (1756-1791) 1 The Marriage of Figaro Overture 4:12 PHILADELPHIA ORCHESTRA 12 February 1960 – ‘Live’ broadcast from the Academy of Music, Philadelphia STEREO Piano Concerto No. 20 in D minor K.466 2 I. Allegro 14:52 4 III. Allegro assai 7:46 3 II. Romanze 7:53 MARIA ISABELLA DE CARLI, piano THE INTERNATIONAL FESTIVAL YOUTH ORCHESTRA 31 August 1969 – Non-commercial ‘souvenir’ recording made in the ballroom of the Hotel Reine Victoria, St. Moritz, Switzerland STEREO 5 Sleigh Ride (German Dance No. 3, K.605) 3:06 LEOPOLD STOKOWSKI AND HIS SYMPHONY ORCHESTRA 2 March 1949 – RCA recording made in New York and issued on LM-1238 Piano Concerto No. 24 in C minor K.491 6 I. Allegro 13:42 8 III. Allegretto 8:21 7 II. Larghetto 7:07 EZRA RACHLIN, piano HOUSTON SYMPHONY ORCHESTRA 24 October 1960 – ‘Live’ broadcast from the Music Hall, Houston 9 Turkish March (Rondo alla Turca from Piano Sonata No. 11 in A, K.331) 2:44 (Orchestrated by Stokowski) NBC SYMPHONY ORCHESTRA 9 February 1955 – RCA recording made in New York and issued on LM-2042 but labelled as being by ‘Leopold Stokowski and his Symphony Orchestra’ GUILD MUSIC GHCD 2405 Stokowski A GUILD HISTORICAL RELEASE • Master source: Recordings from the collection of Enno Riekena • Remastering: Peter Reynolds • Final master preparation: Reynolds Mastering, Colchester, England • Photographs: Edward Johnson • Design: Paul Brooks, Design and Print, Oxford • Art direction: Guild GmbH • Executive co-ordination: Guild GmbH ■ Guild GmbH, Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 (0) 52 742 85 00 Fax: +41 (0) 52 742 85 09 (Head Office) ■ Guild GmbH, PO Box 5092, Colchester, Essex CO1 1FN, Great Britain ■ e-mail: [email protected] World WideWeb-Site: http://www.guildmusic.com WARNING: Copyright subsists in all recordings under this label.
    [Show full text]
  • South Central Chapter the COLLEGE MUSIC SOCIETY
    South Central Chapter THE COLLEGE MUSIC SOCIETY 21st Regional Conference March 9–11, 2006 Texas State University San Marcos, Texas S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE School of Music 601 University Drive San Marcos, TX 78666-4616 Office: 512-245-2651 Fax: 512-245-8181 March 9-11, 2006 Dear Conference Participants, We are delighted to welcome you to our campus for the 21st College Music Society (CMS) South Central Chapter Conference, held as a joint conference with the Texas Chapter of the National Association of Composers USA (NACUSA Texas). We will offer a rich program of 11 lecture-recitals, 17 research papers, nine posters, two panels, and six concerts. Among the many performances of compositions by CMS and NACUSA Texas composers, we will be able to enjoy 10 world premiere performances. We are especially delighted to welcome our Keynote Speaker, the well-known American composer Charles H. Ruggiero, who will present the keynote lecture on “Creative Collaborations: A Composer’s Perspective.” Two of his compositions will be performed by saxophonist Joseph Lulloff and pianist Jun Okada. Furthermore, an invited recital will be given by flutist Danilo Mezzadri, accompanied by pianist Faith DeBow. As part of the conference, the Annual NACUSA Texas Membership Meeting will take place on Thursday, March 9, after the evening concert. The Annual CMS South Central Membership Meeting will take place on Friday, March 10, immediately following the Conference Luncheon. Let us tell you a bit more about our university and our School: Texas State University has about 27,000 students and is the flagship of the Texas State University System, the oldest multi-campus system in Texas with currently nine institutions.
    [Show full text]