Piano Syllabus, 2015 Edition
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History of Royal Cromer Golf Club Established 1888
History of Royal Cromer Golf Club established 1888 Information obtained from minute books, letters, members records, journals and periodicals. Royal Cromer Golf Club History Established 1888 Royal Cromer Golf Club owes its existence to the enthusiasm and love of the game of a Mr. Henry Broadhurst M.P., a Scot who lived at 19, Buckingham Street, The Strand, London. In the 1880's, whilst holidaying in Cromer, he recognised the potential of land to the seaward of the Lighthouse as a possible site for a Links Course. The popularity of North Norfolk at this time had been noted in the London City Press in a report dated 5th September 1886: "The public are greatly indebted to railway enterprise for the opening up of the East Coast. More bracing air and delightful sands are not to be found in any part of England. The only drawback is that the country is rather flat. This remark, however, does not apply to Cromer, which bids fair to become the most popular watering place, it being entirely free from objectionable features". The site of the proposed golf course was owned by the then Lord Suffield KCB, who kindly consented to the request of Broadhurst and some twenty other enthusiasts to rent the land. The Club was instituted in the Autumn of 1887 with Lord Suffield as President. Doubtless it was his friendship and influence with the Prince of Wales which precipitated the Prince's gracious patronage of the infant club on 25th December 1887. Thus Cromer had a Royal Golf Club even before its official opening the following January. -
Season 2014-2015
23 Season 2014-2015 Wednesday, January 28, at 8:00 The Philadelphia Orchestra Friday, January 30, at 2:00 Saturday, January 31, Yannick Nézet-Séguin Conductor at 8:00 Kirill Gerstein Piano Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro— IV. Allegro Intermission Shostakovich Piano Concerto No. 2 in F major, Op. 102 I. Allegro II. Andante III. Allegro Shostakovich/from Suite from The Gadfly, Op. 97a: arr. Atovmyan I. Overture: Moderato con moto III. People’s Holiday: [Allegro vivace] VII. Prelude: Andantino XI. Scene: Moderato This program runs approximately 1 hour, 40 minutes. The January 28 concert is sponsored by MEDCOMP. designates a work that is part of the 40/40 Project, which features pieces not performed on subscription concerts in at least 40 years. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Please join us immediately following the January 30 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra. Brahms Piano Quartet No. 3 in C minor, Op. 60 I. Allegro non troppo II. Scherzo: Allegro III. Andante IV. Finale: Allegro lomodo Mark Livshits Piano Kimberly Fisher Violin Kirsten Johnson Viola John Koen Cello 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. -
Print 110774Bk Levitzki
110774bk Levitzki 8/7/04 8:02 pm Page 5 Mischa Levitzki: Piano Recordings Vol. 3 Also available on Naxos ADD Gramophone Company Ltd., 1927-1933 RACHMANINOV: CHOPIN: @ Prelude in G minor, Op. 23, No. 5 3:22 Great Pianists • Levitzki • 3 8.110774 1 Prelude in C major, Op. 28 0:55 Recorded 21st November 1929 2 Prelude in A major, Op. 28, No. 7 0:55 Matrix Cc 18200-1a; Cat. D 1809 3 Prelude in F major, Op. 28, No. 23 1:24 Recorded 21st November 1929 RCA Victor, 1938 Matrix Bb 18113-3a; Cat.DA1223 LEVITZKI: 4 Waltz No. 8 in A flat major, Op. 64, No. 3 3:00 # Waltz in A major, Op. 2 1:46 CHOPIN Recorded 19th November 1928 Recorded 5th May 1938; Matrix Cc 14770-1; Cat.ED18 Matrices BS 023101-1, BS 023101-1A (NP), Ballades, Preludes BS 023101-2, BS 023101-2A (NP); Cat. 2008-A 5 Waltz No. 11 in G flat major, $ Arabesque valsante, Op. 6 3:23 and Waltzes Op. 70, No. 1 2:26 Recorded 5th May 1938; Recorded 19th November 1928 Matrices BS 023100-1, BS 023100-1A (NP), Matrix Cc 14769-3; Cat.ED18 BS 023100-2, BS 023100-2A (NP), BS 023100-3, 6 Ballade No. 3 in A flat major, Op. 47 6:26 BS023100-3A (NP); Cat. 2008-B Recorded 22nd November 1928 Broadcasts LEVITZKI Matrices Bb 11786-5 and 11787-5; Cat.EW64 26th January, 1935: 7 Nocturne No. 5 in F sharp major, CHOPIN: Arabesque valsante Op. 15, No. -
Catalog 2008–09
Catalog 2008–09 Featuring an Introduction to The Suzuki® Method alfred.com SHINICHI SUZUKI October 17, 1898–January 26, 1998 History of The Suzuki® Method One Man’s Vision Shinichi Suzuki—violinist, educator, philosopher, and humanitarian, was born in 1898, the son of Japan’s fi rst violin manufacturer. Suzuki worked in the violin factory as a child, but was not interested in playing the violin until he was seventeen. Suzuki then studied violin in Japan for some years before going to Germany in the 1920s for further study. When he returned to Japan, Suzuki and his brothers formed a string quartet that toured extensively. He also taught violin at universities in Tokyo and elsewhere. During this period, Suzuki became interested in the education of young children. Beginnings After World War II, Suzuki carried his interest and sympathy for children into his work as a musician and teacher. Encouraged by the ability of children to assimilate their mother tongue, he saw a great opportunity to enrich here are moments in history when a place, a their lives through music. He based his approach on the belief that musical ability is not an inborn talent, but an time, a man and an idea converge to produce T ability that can be developed—that the potential of every results of great signifi cance. Such a moment child can grow if the child is given the proper training and learning environment. Noting that children the world occurred when Shinichi Suzuki began his over learn to speak their native language with ease, Suzuki experiments in violin teaching in Japan. -
Chopin: Visual Contexts
Interdisciplinary Studies in Musicology g, 2011 © Department of Musicology, Adam Mickiewicz University, Poznań, Poland JACEK SZERSZENOWICZ (Łódź) Chopin: Visual Contexts ABSTRACT: The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emi gration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the com poser with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for ex ample, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kor nel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march]. -
String Methods & Collections
248 STRING METHODS & COLLECTIONS Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 5 SUZUKI Performed by Shinichi Suzuki Performed by Koji Toyoda ■ Volume 2 .................$15.95 00-0486____ ■ Volume 5 .................$15.95 00-0918____ Suzuki Violin School UPC: 654979003014 UPC: 029156269178 Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 6 Suzuki Violin School CD, Volume 1 Performed by David Nadien Performed by Koji Toyoda Performed by David Cerone World-renowned violinist David Cerone has produced ■ Volume 2 (includes separate accompaniment tracks) ■ Volume 6 .................$15.95 00-0919____ a recording of the music from this volume of the .......................................$15.95 00-0347____ UPC: 029156269840 UPC: 029156150254 immensely successful Suzuki Violin School. The CD Suzuki Violin School CD, Volume 7 features an exquisite rendition of the violin part with piano Suzuki Violin School CD, Volume 2 Performed by Koji Toyoda accompaniment. Titles include: Twinkle, Twinkle, Little Star Performed by William Preucil, Jr. and Cary Lewis Variations (Suzuki) • Song of the Wind • Etude (Suzuki) • ■ Volume 7 .................$15.95 00-0920____ Minuet 1 (Bach) • The Happy Farmer (Schumann) NEW! Volume 2 (Revised) UPC: 029156269857 .......................................$15.95 00-28262____ and more. Suzuki Violin School CD, Volume 8 ■ UPC: 038081308241 Volume 1 .................$15.95 00-0596____ Performed by Koji Toyoda UPC: 029156670684 Suzuki Violin School CD, Volume 3 ■ Performed by David Cerone Volume 8 .................$15.95 00-0921____ Suzuki Violin School CD, Volume 1 UPC: 029156982428 Performed by Shinichi Suzuki World-renowned violinist David Cerone has produced a recording of the music from this volume of the Suzuki Violin School MIDI Disk Acc. -
Shall We Stomp?
Volume 36 • Issue 2 February 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Shall We Stomp? The NJJS proudly presents the 39th Annual Pee Wee Russell Memorial Stomp ew Jersey’s longest Nrunning traditional jazz party roars into town once again on Sunday, March 2 when the 2008 Pee Wee Russell Memorial Stomp is pre- sented in the Grand Ballroom of the Birchwood Manor in Whippany, NJ — and you are cordially invited. Slated to take the ballroom stage for five hours of nearly non-stop jazz are the Smith Street Society Jazz Band, trumpeter Jon Erik-Kellso and his band, vocalist Barbara Rosene and group and George Gee’s Jump, Jivin’ Wailers PEABODY AT PEE WEE: Midori Asakura and Chad Fasca hot footing on the dance floor at the 2007 Stomp. Photo by Cheri Rogowsky. Story continued on page 26. 2008 Pee Wee Russell Memorial Stomp MARCH 2, 2008 Birchwood Manor, Whippany TICKETS NOW AVAILABLE see ad page 3, pages 8, 26, 27 ARTICLES Lorraine Foster/New at IJS . 34 Morris, Ocean . 48 William Paterson University . 19 in this issue: Classic Stine. 9 Zan Stewart’s Top 10. 35 Institute of Jazz Studies/ Lana’s Fine Dining . 21 NEW JERSEY JAZZ SOCIETY Jazz from Archives. 49 Jazzdagen Tours. 23 Big Band in the Sky . 10 Yours for a Song . 36 Pres Sez/NJJS Calendar Somewhere There’s Music . 50 Community Theatre. 25 & Bulletin Board. 2 Jazz U: College Jazz Scene . 18 REVIEWS The Name Dropper . 51 Watchung Arts Center. 31 Jazzfest at Sea. -
Repor 1 Resumes
REPOR 1RESUMES ED 018 277 PS 000 871 TEACHING GENERAL MUSIC, A RESOURCE HANDBOOK FOR GRADES 7 AND 8. BY- SAETVEIT, JOSEPH G. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 66 EDRS PRICEMF$0.75 HC -$7.52 186P. DESCRIPTORS *MUSIC EDUCATION, *PROGRAM CONTENT, *COURSE ORGANIZATION, UNIT PLAN, *GRADE 7, *GRADE 8, INSTRUCTIONAL MATERIALS; BIBLIOGRAPHIES, MUSIC TECHNIQUES, NEW YORK, THIS HANDBOOK PRESENTS SPECIFIC SUGGESTIONS CONCERNING CONTENT, METHODS, AND MATERIALS APPROPRIATE FOR USE IN THE IMPLEMENTATION OF AN INSTRUCTIONAL PROGRAM IN GENERAL MUSIC FOR GRADES 7 AND 8. TWENTY -FIVE TEACHING UNITS ARE PROVIDED AND ARE RECOMMENDED FOR ADAPTATION TO MEET SITUATIONAL CONDITIONS. THE TEACHING UNITS ARE GROUPED UNDER THE GENERAL TOPIC HEADINGS OF(1) ELEMENTS OF MUSIC,(2) THE SCIENCE OF SOUND,(3) MUSICAL INSTRUMENTS,(4) AMERICAN FOLK MUSIC, (5) MUSIC IN NEW YORK STATE,(6) MUSIC OF THE THEATER,(7) MUSIC FOR INSTRUMENTAL GROUPS,(8) OPERA,(9) MUSIC OF OTHER CULTURES, AND (10) HISTORICAL PERIODS IN MUSIC. THE PRESENTATION OF EACH UNIT CONSISTS OF SUGGESTIONS FOR (1) SETTING THE STAGE' (2) INTRODUCTORY DISCUSSION,(3) INITIAL MUSICAL EXPERIENCES,(4) DISCUSSION AND DEMONSTRATION, (5) APPLICATION OF SKILLS AND UNDERSTANDINGS,(6) RELATED PUPIL ACTIVITIES, AND(7) CULMINATING CLASS ACTIVITY (WHERE APPROPRIATE). SUITABLE PERFORMANCE LITERATURE, RECORDINGS, AND FILMS ARE CITED FOR USE WITH EACH OF THE UNITS. SEVEN EXTENSIVE BE.LIOGRAPHIES ARE INCLUDED' AND SOURCES OF BIBLIOGRAPHICAL ENTRIES, RECORDINGS, AND FILMS ARE LISTED. (JS) ,; \\',,N.k-*:V:.`.$',,N,':;:''-,",.;,1,4 / , .; s" r . ....,,'IA, '','''N,-'0%')',", ' '4' ,,?.',At.: \.,:,, - ',,,' :.'v.'',A''''',:'- :*,''''.:':1;,- s - 0,- - 41tl,-''''s"-,-N 'Ai -OeC...1%.3k.±..... -,'rik,,I.k4,-.&,- ,',V,,kW...4- ,ILt'," s','.:- ,..' 0,4'',A;:`,..,""k --'' .',''.- '' ''-. -
'Olume XLVI Number 466 Winter 1978/79
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The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Boston Symphony Orchestra Concert Programs, Summer, 1992
Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.