Khari R. Joyner, DMA Cello
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100Th Season Anniversary Celebration Gala Program At
Friday Evening, May 5, 2000, at 7:30 Peoples’ Symphony Concerts 100th Season Celebration Gala This concert is dedicated with gratitude and affection to the many artists whose generosity and music-making has made PSC possible for its first 100 years ANTON WEBERN (1883-1945) Langsaner Satz for String Quartet (1905) Langsam, mit bewegtem Ausdruck HUGO WOLF (1860-1903) “Italian Serenade” in G Major for String Quartet (1892) Tokyo String Quartet Mikhail Kopelman, violin; Kikuei Ikeda, violin; Kazuhide Isomura, viola; Clive Greensmith, cello LUDWIG VAN BEETHOVEN (1770-1827) Trio for piano, violin and cello in B-flat Major Op. 11 (1798) Allegro con brio Adagio Allegretto con variazione The Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, piano; Jamie Laredo, Violin; Sharon Robinson. cello GYORGY KURTAG (b. 1926) Officium breve in memoriam Andreae Szervánsky 1 Largo 2 Piú andante 3 Sostenuto, quasi giusto 4 Grave, moto sostenuto 5 Presto 6 Molto agitato 7 Sehr fliessend 8 Lento 9 Largo 10 Sehr fliessend 10a A Tempt 11 Sostenuto 12 Sostenuto, quasi guisto 13 Sostenuto, con slancio 14 Disperato, vivo 15 Larghetto Juilliard String Quartet Joel Smirnoff, violin; Ronald Copes, violin; Samuel Rhodes, viola; Joel Krosnick, cello GEORGE GERSHWIN (1898-1937) arr. PETER STOLTZMAN Porgy and Bess Suite (1935) It Ain’t Necessarily So Prayer Summertime Richard Stoltzman, clarinet and Peter Stoltzman, piano intermission MICHAEL DAUGHERTY (b. 1954) Used Car Salesman (2000) Ethos Percussion Group Trey Files, Eric Phinney, Michael Sgouros, Yousif Sheronick New York Premiere Commissined by Hancher Auditorium/The University of Iowa LEOS JANÁCEK (1854-1928) Mládi (Youth) Suite for Wind Instruments (1924) Allegro Andante sostenuto Vivace Allegro animato Musicians from Marlboro Tanya Dusevic Witek, flute; Rudolph Vrbsky, oboe; Anthony McGill, clarinet; Jo-Ann Sternberg, bass clarinet; Daniel Matsukawa, bassoon; David Jolley, horn ZOLTAN KODALY (1882-1967) String Quartet #2 in D minor, Op. -
TESTAMENT Booklet Note English
TESTAMENT booklet note English SBT 1310 Maurice Gendron which formed most of the basis of the pastiche, but persuaded Pablo Casals to conduct his recording of it. Gendron published a number of The French school of cello playing had a most distinguished history in the transcriptions and was a superb deviser of cadenzas for classical twentieth century. First came Maurice Maréchal (1892-1964) and then the concertos such as those by Haydn – he also made the first critical edition trio of Pierre Fournier (1906-86), André Navarra (1911-88) and Paul of the D major Concerto. He taught in Saarbrücken (from 1954), at the Tortelier (1914-90). They have often been represented as the Three Menuhin School and at the Paris Conservatoire (1970-87), but acquired a Musketeers of the cello; and their d’Artagnan was the slightly younger reputation as a tyrannical taskmaster and did not produce any notable Maurice Gendron. For various reasons his career did not have the staying pupils. In the early 1970s he suffered a fearful car accident in which a power of theirs, and so this reissue – which takes us back to quite an shoulder was severely damaged. He fought his way back and in 1985 early stage in his progress – is particularly timely. reappeared in London for a 40th anniversary recital, but was not the same Born in Nice on 26 December 1920, Gendron was brought up in a force as before. He died on 20 August 1990 at the riverside home in poor household by his mother and grandmother, his father having Grez-sur-Loing where he and his wife, a former violinist, had lived for deserted them. -
Audition Requirements
Master of Music Audition Requirements Woodwinds Voice Flute Oboe Strings Clarinet Violin Saxophone Viola Bassoon Cello Double Bass Brass Guitar Horn Trumpet Conducting Tenor Trombone Choral Bass Trombone Instrumental (Wind) Tuba Instrumental (Orchestral) Percussion Piano Master of Music applicants with areas of specialization in Composition, Jazz Composition, Music Education, Musicology, and Piano Pedagogy can find entrance requirements in the School of Music Graduate Student Handbook. Flute Faculty: Dr. Suyeon Ko; Email: [email protected] • Mozart: Concerto in G Major or D Major, K. 313 or K. 314 (Movements I and II) • A 19th- or 20th-century French work from Flute Music by French Composers or equivalent • An unaccompanied 20th- or 21st-century work • Five orchestral excerpts from Baxtresser, Orchestral Excerpts for Flute, or equivalent • Sight reading Oboe Faculty: Emily Hart; Email: [email protected] • Choose two from the following: ◦ Saint-Saëns or Poulenc sonata (Movement I) ◦ Mozart or Haydn concerto (Movement III) ◦ Any Telemann or Vivaldi concerto or sonata (Movements I and II) ◦ Britten Six Metamorphoses (any three movements) • Choose two of the following orchestral excerpts (all excerpts may be found in the Rothwell books, Difficult Passages, published by Boosey and Hawkes): ◦ Brahms: Violin Concerto (slow movement excerpt) ◦ Rossini: La Scala di Seta (slow and fast excerpts) ◦ Beethoven: Symphony No. 3 (excerpts from Movements III and IV) ◦ Prokofiev: Symphony No. 1 (excerpts from Movements III and IV) • Sight reading Clarinet Faculty: Eric Ginsberg; Email: [email protected] • Choose two movements from one of the following: ◦ Mozart: Concerto in A Major, K. 622 ◦ Weber: Concerto No. 1 in F Minor, Op. -
César Franck's Violin Sonata in a Major
Honors Program Honors Program Theses University of Puget Sound Year 2016 C´esarFranck's Violin Sonata in A Major: The Significance of a Neglected Composer's Influence on the Violin Repertory Clara Fuhrman University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/honors program theses/21 César Franck’s Violin Sonata in A Major: The Significance of a Neglected Composer’s Influence on the Violin Repertory By Clara Fuhrman Maria Sampen, Advisor A thesis submitted in partial fulfillment of the requirements as a Coolidge Otis Chapman Scholar. University of Puget Sound, Honors Program Tacoma, Washington April 18, 2016 Fuhrman !2 Introduction and Presentation of My Argument My story of how I became inclined to write a thesis on Franck’s Violin Sonata in A Major is both unique and essential to describe before I begin the bulk of my writing. After seeing the famously virtuosic violinist Augustin Hadelich and pianist Joyce Yang give an extremely emotional and perfected performance of Franck’s Violin Sonata in A Major at the Aspen Music Festival and School this past summer, I became addicted to the piece and listened to it every day for the rest of my time in Aspen. I always chose to listen to the same recording of Franck’s Violin Sonata by violinist Joshua Bell and pianist Jeremy Denk, in my opinion the highlight of their album entitled French Impressions, released in 2012. After about a month of listening to the same recording, I eventually became accustomed to every detail of their playing, and because I had just started learning the Sonata myself, attempted to emulate what I could remember from the recording. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
É M I L I E Livret D’Amin Maalouf
KAIJA SAARIAHO É M I L I E Livret d’Amin Maalouf Opéra en neuf scènes 2010 OPERA de LYON LIVRET 5 Fiche technique 7 L’argument 10 Le(s) personnage(s) 16 ÉMILIE CAHIER de LECTURES Voltaire 37 Épitaphe pour Émilie du Châtelet Kaija Saariaho 38 Émilie pour Karita Émilie du Châtelet 43 Les grandes machines du bonheur Serge Lamothe 48 Feu, lumière, couleurs, les intuitions d’Émilie 51 Les derniers mois de la dame des Lumières Émilie du Châtelet 59 Mon malheureux secret 60 Je suis bien indignée de vous aimer autant 61 Voltaire Correspondance CARNET de NOTES Kaija Saariaho 66 Repères biographiques 69 Discographie, Vidéographie, Internet Madame du Châtelet 72 Notice bibliographique Amin Maalouf 73 Repères biographiques 74 Notice bibliographique Illustration. Planches de l’Encyclopédie de Diderot et D’Alembert, Paris, 1751-1772 Gravures du Recueil de planches sur les sciences, les arts libéraux & les arts méchaniques, volumes V & XII LIVRET Le livret est écrit par l’écrivain et romancier Amin Maalouf. Il s’inspire de la vie et des travaux d’Émilie du Châtelet. Émilie est le quatrième livret composé par Amin Maalouf pour et avec Kaija Saariaho, après L’Amour de loin, Adriana Mater 5 et La Passion de Simone. PARTITION Kaija Saariaho commence l’écriture de la partition orches- trale en septembre 2008 et la termine le 19 mai 2009. L’œuvre a été composée à Paris et à Courtempierre (Loiret). Émilie est une commande de l’Opéra national de Lyon, du Barbican Centre de Londres et de la Fondation Gulbenkian. Elle est publiée par Chester Music Ltd. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Kaija Saariaho
Kaija Saariaho TRIOSDANN • FREUND • HAKKILA • HELASVUO JODELET • KARTTUNEN • KOVACIC 1 KAIJA SAARIAHO (1952) 1 Mirage (2007; chamber version) for soprano, cello and piano 15’17 Pia Freund, Anssi Karttunen, Tuija Hakkila Cloud Trio (2009) for violin, viola and cello 16’12 2 I. Calmo, meditato 3’01 3 II. Sempre dolce, ma energico, sempre a tempo 3’46 4 III. Sempre energico 2’34 5 IV. Tranquillo ma sempre molto espressivo 6’50 Zebra Trio: Ernst Kovacic, Steven Dann, Anssi Karttunen 6 Cendres (1998) for alto flute, cello and piano 9’57 Mika Helasvuo, Anssi Karttunen, Tuija Hakkila Je sens un deuxième coeur (2003) for viola, cello and piano 19’07 7 I. Je dévoile ma peau 4’21 8 II. Ouvre-moi, vite! 2’16 9 III. Dans le rêve, elle l’attendait 4’10 10 IV. Il faut que j’entre 2’34 11 V. Je sens un deuxième coeur qui bat tout près du mien 5’45 Steven Dann, Anssi Karttunen, Tuija Hakkila 2 Serenatas (2008) for percussion, cello and piano 16’03 12 Delicato 2’49 13 Agitato 3’13 14 Dolce 1’22 15 Languido 5’41 16 Misterioso 2’56 Florent Jodelet, Anssi Karttunen, Tuija Hakkila STEVEN DANN, viola PIA FREUND, soprano TUIJA HAKKILA, piano MIKAEL HELASVUO, alto flute FLORENT JODELET, percussion ANSSI KARTTUNEN, cello ERNST KOVACIC, violin 3 n the programme note for her string trio piece Cloud Trio, Kaija Saariaho (b. 1952) discusses how Ishe came about the title of the work, recalling her impressions of the French Alps and the cloud formations drifting over the mountains. -
Suite No. 1 in G Major, BWV 1007
Suite No. 1 in G Major, BWV 1007 [18:08] (1 Prelude [2:47]; 2 Allemande [5:00]; 3 Courante [2:28]; 4 Sarabande [2:57]; 5 Minuet I and II [3:27]; 6 Gigue [1:30]) Suite No. 2 in D Minor, BWV 1008 [20:13] (7 Prelude [3:42]; 8 Allemande [3:43]; 9 Courante [2:01]; 10 Sarabande [4:55]; 11 Minuet I and II [3:18]; 12 Gigue [2:34]) Suite No. 6 in D Major, BWV 1012 [33:35] (13 Prelude [5:27]; 14 Allemande [8:52]; 15 Courante [3:52]; 16 Sarabande [5:48]; 17 Gavotte I and II [5:00]; 18 Gigue [4:37]) Suite No. 3 in C Major, BWV 1009 [22:50] (1 Prelude [3:58]; 2 Allemande [3:45]; 3 Courante [3:10]; 4 Sarabande [4:43]; 5 Bourrée [I and II 4:14]; 6 Gigue [2:59]) Suite No. 4 in E flat major, BWV 1010 [26:04] (7 Prelude [5:20]; 8 Allemande [4:39]; 9 Courante [3:34]; 10 Sarabande [4:26]; 11 Bourrée I and II [5:24]; 12 Gigue [2:40]) Suite No. 5 in C minor, BWV 1011 [28:08] (13 Prelude [6:30]; 14 Allemande [6:57]; 15 Courante [2:14]; 16 Sarabande [4:41]; 17 Gavotte I and II [5:08]; 19 Gigue [2:33]) "Nothing in the world is more precious to me than these suites". So commented the great Russian cellist Rostropovich as he reflected on a lifetime of association with these works although he did not record them as a complete cycle until he was 63. -
Winter Festival 2017
Winter Festival 2017 January 13, 14, and 15 A Celebration of Learning, Friendships, and Fun MinJu Choi piano Terry Durbin David Evenchick violin cello Ann Montzka-Smelser Ching-chu Hu violin composition Friday Night Fun Night Masterclasses Play-in with All Students and Clinicians Old MacDurbin Had a Farm Concert featuring Minju Choi, piano Bridget AliceAnn O’Neill Saturday Jankowski cello piano Masterclasses Group Classes Enrichment Classes Clinicians Concert Sunday Roger Stieg Kate Cremean violin Masterclasses music and movement Group Classes Enrichment Classes Parents’ Session with Ann Montzka-Smelser Instrument Specific Play-in Leslie Maaser flute Wendy Stern Registration is due December 7, 2016 flute Winter Festival Clinicians MinJu Choi, piano, recently hailed as “positively mesmerizing at the piano” by The Times-Tribune, has performed throughout North America, Europe, and Asia as a recitalist, orchestral soloist, and chamber musician. She has appeared as a soloist with the Indianapolis and Shreveport Symphonies, the Northeastern Pennsylvania Philharmonic, and the Music Academy of the West and Juilliard Orchestras. Ms. Choi has been presented in recitals in cities in the U.S. and abroad, including Paris, New York City, Philadelphia, and Chicago. She has been presented in prestigious venues such as Avery Fisher Hall, Chicago Cultural Center, Steinway Hall, and the Vancouver Chamber Music Festival. She has been heard as a soloist and chamber musician in live and recorded performances on radio stations around the country including WQXR New York Radio, WFMT Chicago Radio, WQSC Santa Barbara, KDAQ Shreveport, and WICR Indianapolis. Ms. Choi was a featured artist at the Vancouver Recital Society’s Chamber Music Festival, in which her performances were broadcast on the CBC Canada Radio. -
Female Composer Segment Catalogue
FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.