MCMULLEN CV As of December 2019
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Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
Arnold Schoenberg Wind Quintet Op. 26 Mp3, Flac, Wma
Arnold Schoenberg Wind Quintet Op. 26 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Wind Quintet Op. 26 Country: US Released: 1978 Style: Modern MP3 version RAR size: 1884 mb FLAC version RAR size: 1453 mb WMA version RAR size: 1326 mb Rating: 4.4 Votes: 714 Other Formats: WAV DMF AIFF AA ASF TTA WMA Tracklist A1 First Movement: Schwungvoll 11:31 A2 Second Movement: Anmutig Und Heiter; Scherzando 8:17 B1 Third Movement: Etwas Langsam (Poco Adagio) 9:05 B2 Fourth Movement: Rondo 8:28 Credits Bassoon – Brian Pollard Clarinet – Piet Honingh Flute – Frans Vester Horn – Adriaan van Woudenberg Illustration – Kandinsky* Liner Notes – Alan Stout, Jeffrey Wasson Oboe – Maarten Karres Producer – Wolf Erichson Other versions Category Artist Title (Format) Label Category Country Year Schoenberg*, Danzi Philips, Schoenberg*, PHC 9068 Quintet* - Wind Quintet, World PHC 9068 Canada 1967 Danzi Quintet* Opus 26 (LP, Album) Series Arnold Schönberg* - Danzi Quintett* - Arnold Schönberg* 64 812 Bläserquintett Op. 26 BASF 64 812 Germany 1975 - Danzi Quintett* (1923/24) (LP, Album, Club) Arnold Schönberg* - Arnold Schönberg* Danzi Quintett* - 25 22057-5 Acanta 25 22057-5 Germany Unknown - Danzi Quintett* Bläserquintett Op. 26 (LP, RE) Arnold Schönberg* - Arnold Schönberg* Danzi Quintett* - 25 22057-5 BASF 25 22057-5 Germany 1975 - Danzi Quintett* Bläserquintett Op. 26 (1923/24) (LP, Album) Arnold Schönberg* - Arnold Schönberg* 37 93007 Danzi Quintett* - BASF 37 93007 Spain 1976 - Danzi Quintett* Bläserquintett Op. 26 (LP) Related Music albums to Wind Quintet Op. 26 by Arnold Schoenberg Schönberg / Claude Helffer - Intégrale De L'Oeuvre Pour Piano Seul Messiaen, Schoenberg - Yvonne Loriod, Pierre Boulez - Sept Haïkaï / Kammersymphonie / 3 Orchesterstücke Paul Hindemith, Danzi-Quintett - Kleine Kammermusik Op. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University
Eastern Illinois University The Keep Music Programs The Earl Boyd Collection 2015 Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/earl_boyd_programs Part of the Music Commons Recommended Citation Boyd, Earl, "Faculty Woodwind Quartet Flyer" (2015). Music Programs. 29. http://thekeep.eiu.edu/earl_boyd_programs/29 This Book is brought to you for free and open access by the The Earl Boyd Collection at The Keep. It has been accepted for inclusion in Music Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. 0 €astenn 1tt1nols Un1vens1ty w oo0w1n0 Quintet Dear Music Director: Your flutist, oboist, clarinetist, bassoonists, and hornists will welcome the opportunity to hear and work personally with the fine performers in the Eastern Illinois University Woodwind Quintet You are invited to write or call Rhoderick Key, Chairman, Music Department, Eastern Illinois University, Charleston, Illinois, 61920 Phone 217-581-2917 Scheduled to suit your program FLUTE - Robert C. Snyder, flutist, frequent recitalist in Illinois and recent performer at Carnegie Recital Hall in New York, clinician, · writer, and band direetor, graduated from Indiana University with a Masters Degree in Woodwinds and complet~ his doctorate in History and Literature at University of Missouri at Kansas City. He has studied with Vallie Kirk at Washburn University of Topeka, James Pellerite at Indiana University, and William Kincaid. OBOE -Joseph Martin, oboist, double-reed specialist, recitalist, and clinician, graduated with his Masters Degree in Education from East Carolina University in North Carolina. Mr. Martin directs a University stage band and assists in the Symphony Orchestra program. -
Ronald Roseman: a Biographical Description and Study of His Teaching Methodology
LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions. -
Rehearing Beethoven Festival Program 4, Christopher Taylor
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four: Christopher Taylor, Piano December 17, 2020 ~ 8:00 pm The Library of Congress Virtual Event We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. Conversation with the Artist Join us online at https://loc.gov/concerts/christopher-taylor.html for a conversation with the artist, and find additional resources related to the concert, available starting at 10am on Thursday, December 17. Facebook Chat Want more? Join other concert goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event December 17, 2020 — 8:00 pm Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four Page 4) Christopher Taylor, piano 1 (RE)HEARING BEETHOVEN FESTIVAL Welcome to the (Re)Hearing Beethoven Festival, a series of unique concerts pre- sented virtually by Concerts from the Library of Congress. -
Introduction to Louis Spohr and Nonet in F Major, Op. 31 David Heyes, Bassist
Introduction to Louis Spohr and Nonet in F major, Op. 31 David Heyes, Bassist For composers to enjoy great popularity in their lifetime and then, after their death, to be gradually forgotten is not uncommon. Louis Spohr is a case in point; there was a time, according to Stanford, when he was considered to be an even greater composer than Beethoven. Moreover, his popularity was by no means confined to his native Germany. From 1820 onwards, for example, he made frequent appearances at concerts of the Philharmonic Society in London and between that year and 1897 almost three hundred performances of his works were given there." [John Lade] _ Although much of Spohr's prolific output remains unknown and unperformed, undeservedly so in my opinion, one work has remained popular and been performed throughout its entire existence - two hundred and one years to be precise. His Nonet, more accurately his Grand Nonetto in F major, Op.31, was composed in 1813 and is scored for flute, oboe, clarinet, horn, violin, viola, cello and double bass. It has remained in the repertoire for all this time, has been recorded many times, and was the forerunner and blueprint of almost every nonet since. Although other works had been written for nine players before, Spohr's work was the first to actually use the title 'nonet' and many composers have written for the same combination of instruments over the past two hundred years, particularly for the Czech Nonet, founded in 1924. The basic instrumentation of the group was influenced by Spohr's Nonet, which was performed in their first concert on 17 January 1924, and more than 300 works have been composed for them over the past 90 years. -
My Favourite Spohr Work
MY FAVOURITE SPOHR WORK by Chris Tutt and others TO MARK the 25th armivenary of the formation of the Spohr Society d Great Britain, members were asked to nominate their choice on the above subject. We print a few which went further than just naming the favourite pioce. Chris Tutt writes: With so many works from which to choose it is diffrcult to narow it down to one piece. Thanks to recent recordings therc are mmymore worls available to lisen to than there were even five years ago. I still have a soft qpot for the first nro worts that I got to lnow many years ago, the Nonet and the Eighth Violin Concerto. None of Spohr's works seem o me 16 be absolutely unblemished masterpieces btrt several of them are very close to tlrat. Others do have rather dull patches in places, though none tnt I have heard so fr have been complete 'duds'. I have listened with particular pleaswe 19 the opera Farul, tlre overhre to Pre tro von Afuru, the First and Third symphonies, the I lth Violin Concerto, the String Quintet in B minor, the string quartets Op.45l2 and Op.84/3, the song Sonntag und Montag and several others but for me the palm goes to the String Quartet in C majo4Op.Z9D. This quartet comes from the Vienna years when Spohr reached full matuity as a composer and wrote several of his most successfirl works including Faust uf,the Nonet. Fine though the Nonet is, I think that this quartet is an even finer wsk. -
Quintet from the Nonet, Op
Quintet from the Nonet, Op. 38 Louise Farrenc’s Nonet, Op. 38, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and string bass, was composed in 1849; she subsequently arranged the Nonet as the Quintet, Op. 38, for violin 1, violin 2, viola, cello, and string bass. This lengthy, four-movement work is composed in a conservative romantic style with prominent melodies and clear-cut forms, reminiscent of the chamber music of Franz Schubert (1797-1828). Neither the Nonet nor the Quintet was published dur- ing Farrenc’s lifetime; this is the first edition of the Quintet. The manuscripts for both works are housed in the Bibliothèque Nationale in Paris, France. About the Composer Paris-born Louise Farrenc, née Jeanne-Louise Dumont (1804-1875) showed an obvious musical gift at an early age, and received excellent training in both piano and composition. She married Aristide Farrenc, a flautist and music publisher, in 1821 and enjoyed a long and distinguished career as a pianist, composer, and pedagogue. She composed over fifty works, including: Solo Piano Variations brillantes, Op. 2 Grandes variations, Op. 4 Air russe varié, Op. 17 Trente études, Op. 26 Douze études brillantes, Op. 41 Mélodie, Op. 43 Scherzo, Op. 47 Nocturne, Op. 49 Chamber Variations concertantes sur un air suisse, Op. 20. Violin, piano. Piano Quintet #1, Op. 30. Piano, violin, viola, cello, bass. Piano Quintet #2, Op. 31. Piano, violin, viola, cello, bass. Piano Trio #1, Op. 33. Piano, violin, cello. Piano Trio #2, Op. 34. Piano, violin, cello. Sonata #1, Op. 37. Violin, piano. Nonet, Op. -
Nonet 2019 for Chamber Ensemble Viola Part Sheet Music
Nonet 2019 For Chamber Ensemble Viola Part Sheet Music Download nonet 2019 for chamber ensemble viola part sheet music pdf now available in our library. We give you 6 pages partial preview of nonet 2019 for chamber ensemble viola part sheet music that you can try for free. This music notes has been read 10341 times and last read at 2021-09-21 12:54:05. In order to continue read the entire sheet music of nonet 2019 for chamber ensemble viola part you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon, Clarinet, Double Bass, Flute, Horn, Oboe, Viola, Violin Ensemble: Mixed Level: Advanced [ Read Sheet Music ] Other Sheet Music Nonet 2019 For Chamber Ensemble Cello Part Nonet 2019 For Chamber Ensemble Cello Part sheet music has been read 9886 times. Nonet 2019 for chamber ensemble cello part arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 00:46:06. [ Read More ] Nonet 2019 For Chamber Ensemble Horn In F Part Nonet 2019 For Chamber Ensemble Horn In F Part sheet music has been read 11172 times. Nonet 2019 for chamber ensemble horn in f part arrangement is for Advanced level. The music notes has 5 preview and last read at 2021-09-22 04:44:55. [ Read More ] Nonet 2019 For Chamber Ensemble Violin Part Nonet 2019 For Chamber Ensemble Violin Part sheet music has been read 9853 times. Nonet 2019 for chamber ensemble violin part arrangement is for Advanced level. -
Great American Composers Series: Carl Ruggles How to Install a Stereo Test Switch the Art of Bel Canto * How Much Should a Record Cost?
Hifi StereoReview SEPTEMBER 1966 60 CENTS GREAT AMERICAN COMPOSERS SERIES: CARL RUGGLES HOW TO INSTALL A STEREO TEST SWITCH THE ART OF BEL CANTO * HOW MUCH SHOULD A RECORD COST? 4,z, 3 3 4 it's/Wit/OW 01 cE 99L0 because it is the next best speakers, or $299.50 with 10- thing to our grand grands. At inch speakers. a small fraction of the size The 85 includes a powerful and cost. The 95 baby grand transistor amplifier, an auto- is only $369.50 with standard matic turntable and a mag- speakers, or $399.50 with op- netic cartridge to match. The tional larger speaker systems 95 has a sensitive FM -stereo for even finer bass. The 85 is tuner in addition. Everything only $269.50 with 8 -inch you need for fine stereo. The Fisher baby grand. CIRCLE NO. 24 ON READER SERVICE CARD OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITETO TIMER RADIO I IONAL. INC., LONG ISLAND CITY, N.Y. 1 r PLACE 40 STAMP HERE At Fisher we don't equate performance with size. Every Fisher stereo system must be capable of producing °- FISHER RADIO CORPORATION 11-35 45th Road sound as big as the music. Long Island City, N. Y. 11101 Without compromise. And every time you turn it on. IN The Fisher baby grand is J the most recent proof of this. We call it our baby grand How to get big sound out ofasmall Fisher: N theRemarkable-howTurntable soundRemarkable, ofreproduces the most too-how a stereo magnificentthat recordarecord Garrard without capturesperformance. Automatic a hint dynamicallyofIntegralmeaningful distortion.Technically-this cueing; featuresbalanced, adjustable introducedis counterweightdue antito certain -skating by Garrard. -
The Critical Reception of Beethoven's Compositions by His German Contem- Poraries, V
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 92 to Op. 100 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-1-3 Center for Beethoven Research Boston University Contents Foreword 7 Op. 92. Symphony no. 7 in A Major 92.1 “Review.” 9 Allgemeine musikalische Zeitung 18 (27 November 1816): col. 817–22. 92.2 “Review” 20 Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 1 (23 and 30 January 1817): 25–27, 37–40. 92.3 “News. Leipzig. Weekly Concerts in the Gewandhaussaal.” 26 Allgemeine musikalische Zeitung 19 (28 February 1817): col. 163. 92.4 “Fragment from Rosaliens Briefen an Serena, 27 Edited by Friedrich Mosengeil.” Allgemeine musikalische Zeitung 19 (26 March 1817): col. 217–22. 92.5 “This Year’s Concerts by the Philharmonic Society in London.” 31 Allgemeine musikalische Zeitung 24 (19 June 1822): col. 409. 92.6 “News. Strassburg.” 32 Allgemeine musikalische Zeitung 24 (28 August 1822): col. 570. 3 contents 92.7 “Aachen, 28 Feb.” 33 Stadt Aachener Zeitung (2 March 1823). 92.8 K. Br[eidenstein?]. 34 “The Lower Rhine Music Festival in Elberfeld, 1823.” Beiblatt der Kölnischen Zeitung 19 (1 June 1823). 92.9 C. Fr. Ebers 37 “Reflections.” Caecilia 2 (1825): 271–72. 92.10 “News. Cassel, 10 December 1827.” 39 Allgemeine Musikzeitung zur Beförderung der theoretischen und praktischen Tonkunst für Musiker und für Freunde der Musik überhaupt 1 (9 January 1828): 21–22. Op. 93. Symphony no. 8 in F Major 93.1 A. W. 41 “On Beethoven’s Newest Symphony.” Leipziger Kunstblatt für gebildete Kunstfreunde 1 (14 February 1818): 280.