Young Artists Wind Ensemble

Total Page:16

File Type:pdf, Size:1020Kb

Young Artists Wind Ensemble COLLEGE OF FINE ARts ADMINistRatiON Benjamin E. Juarez, Dean Boston University Robert K. Dodson, Director, School of Music Jim Petosa, Director, School of Theatre Arts Tanglewood Institute Lynne Allen, Director, School of Visual Arts John Amend, Assistant Dean of Finance and Administration presents Patricia Mitro, Senior Assistant Dean of Enrollment Stephanie Trodello, Assistant Dean of Development and Alumni Relations Laurel Homer, Director of Communications BUTI ADMINistRatiON Phyllis Hoffman, Executive and Artistic Director Young Artists Wind Ensemble Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life David Faleris, Program Administrator Grace Kennerly, Publications Coordinator Manda Shepherd, Office Coordinator Mandy Kelly, Office Assistant H. ROBERT REYNOLDS, conductor Jensen Ling, Private Lessons Coordinator and Assistant to the Program Administrator Travis Dobson, Stage Crew Manager Steven Fulginiti, Paul Kinsman, Andres Trujillo, Matt Visconti, Stage Crew Shane McMahon, Recording Engineer Xiaodan Liu, Piano Technician YOUNG ARtists WIND ENSEMBLE FACULTY AND staFF David Martins, Conductor H. Robert Reynolds, Conductor Jennifer Bill, Wind Ensemble Coordinator and Saxophone Coach Franziska Huhn, Young Artists Harp Program Assistant Director, Coach Samuel Solomon, Percussion Coordinator and Coach Axiom Brass Quintet, Brass Coaches and Artists-in-Residence Dorival Puccini, Jr., Colin Oldberg, Matthew Oliphant, Caleb Lambert, Kevin Harrison Sunday Vento Chiaro Quintet, Woodwind Coaches and Artists-in-Residence Joanna Goldstein, Ana-Sofía Campesino, Chi-Ju Juliet Lai, Alexandra Berndt, Anne Howarth July 28, 2013 Michael Israelievitch, Percussion Coach Jessi Rosinski, Flute Coach 8pm Molly Walker, Clarinet Coach Thomas Weaver, Staff Pianist Tanglewood Theatre Betsy Polatin, Alexander Technique Instructor Jeremiah Moon, Librarian Tanglewood Theatre SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD Young Artists Wind Ensemble INSTITUTE IS PROVIDED BY: H. ROBERT REYNOLDS, conductor Navarro Downey Overture whitacre Lux Aurumque GANDOLFI Vientos y Tangos TICHELI Profanation from Symphony No. 1 trans. Gary D. Green ~Intermission~ TURRIN Concertino for 11 Instruments and Wind Ensemble FacultY ENSEMBLE Joanna Goldstein, flute Dorival Puccini, Jr, trumpet Ana-Sofía Campesino, oboe Colin Oldberg, trumpet Chi-Ju Juliet Lai, clarinet Matthew Oliphant, horn Alexandra Berndt, bassoon Caleb Lambert, trombone Anne Howarth, horn Kevin Harrison, tuba Jennifer Bill, saxophone Michael Israelievitch, percussion J.S. BACH Komm, süsser Tod, BWV 478 arr. Alfred Reed J.S. BACH Fugue in G minor, BWV 578 arr. Lucien Cailliet GRANTHAM J’ai été au bal IN MEMORIAM The Boston University Tanglewood Institute acknowledges with sadness the passing of Dr. Larry Jones This program is supported in part by awards from the Jack Kent Cooke Foundation, the Klarman Family on April 2, 2013. He was a devoted member of the BUTI Advisory Board. Larry’s love for music and Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation his commitment to our young artists programs was evident in his constant presence here along with Irving Caesar Fund, Zildjian, and the Bose Foundation. his support for the work of his wife, Dr. Ann Howard Jones, for 17 years conductor of the Young Artists Chorus. His leadership was exemplary for the planning of BUTI’s 40th anniversary celebration as was Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation his consistently generous support for the scholarship fund. To honor him and all that he has meant to with Falcetti Music. BUTI, all performances for the 2013 season are dedicated to his memory with our abiding gratitude and affection. H. ROBERT REYNOLDS, conductor BOSTON UNIVERSITY COLLEGE OF FINE ARTS H. Robert Reynolds is the Principal Conductor of the Wind Ensemble at the Thornton School of Music at the University of Southern California where he holds the H. Robert Reynolds Professorship in Wind Conducting. This appointment followed his retirement, after 26 The Boston University Tanglewood Institute is part of the educational and artistic pro- years, from the School of Music of the University of Michigan where he served as the Henry grams of the Boston University School of Music. Founded in 1873, the School of Music F. Thurnau Professor of Music, Director of University Bands and Director of the Division of combines the intimacy and intensity of conservatory training with a broadly based, Instrumental Studies. In addition to these responsibilities, he has also been, for over 30 traditional liberal arts education at the undergraduate level and intense coursework at years, the conductor of The Detroit Chamber Winds and Strings, which is made up primar- ily of members from the Detroit Symphony. the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a Robert Reynolds has conducted recordings for Koch International, Pro Arte, Caprice, and certificate program in its Opera Institute, and artist and performance diplomas. Deutsche Grammophon. In the United States, he has conducted at Carnegie Hall and Lincoln Center (New York), Orchestra Hall (Chicago), Kennedy Center (Washington, D. C.), Founded in 1839, Boston University is an internationally recognized private research Powell Symphony Hall (St. Louis), Academy of Music (Philadelphia), and Disney Concert university with more than 30,000 students participating in undergraduate, graduate, Hall (Los Angeles). In Europe, he conducted the premiere of an opera for La Scala Opera (Milan, Italy), and concerts at the prestigious Maggio Musicale (Florence, Italy), the Ton- and professional programs. BU consists of 17 colleges and schools along with a number halle (Zurich, Switzerland), and at the Holland Festival in the Concertgebouw (Amsterdam, of multi-disciplinary centers and institutes which are central to the school’s research Holland), as well as the 750th Anniversary of the City of Berlin. He has won the praise of and teaching mission. The Boston University College of Fine Arts was created in 1954 composers Leslie Bassett, William Bolcom, Aaron Copland, John Corigliano, Henryk Gore- to bring together the School of Music, the School of Theatre, and the School of Visual cki, Karel Husa, Gyorgy Ligeti, Darius Milhaud, Bernard Rands, Gunther Schuller, Karlheinz Arts. The University’s vision was to create a community of artists in a conservatory- Stockhausen, and many others for his interpretive conducting of their compositions. style school offering professional training in the arts to both undergraduate and gradu- ate students, complemented by a liberal arts curriculum for undergraduate students. Robert Reynolds has been awarded an Honorary Doctorate from Duquesne University, and Since those early days, education at the College of Fine Arts has begun on the BU in addition, holds degrees in Music Education and Performance from the University of Mich- igan where he was the conducting student of Elizabeth Green. He began his career in the campus and extended into the city of Boston, a rich center of cultural, artistic and intel- public schools of Michigan and California prior to his positions as conductor at California lectual activity. State University at Long Beach, the University of Wisconsin, and the University of Michigan. He received the Citation of Merit from the Music Alumni Association of the University of Michigan for his contributions to the many students he has influenced during his career and the Lifetime Achievement Award from the Michigan Band Alumni Association. He is also an Honorary Life Member of the Southern California School Band & Orchestra Association. Professor Reynolds is Past President of the College Band Directors’ National Association and the Big Ten Band Directors’ Association. He has received the highest national awards from Phi Mu Alpha, Kappa Kappa Psi, Phi Beta Mu, the National Band Association, and the American School Band Directors’ Association. He was awarded the “Medal of Honor” by the International Mid-West Band and Orchestra Clinic and is the recipient of a “Special Tribute” from the State of Michigan. He served for many years on the National Awards Panel for the American Society of Composers, Authors and Publishers (ASCAP) and in 2001 received a national award from this organization for his contributions to contemporary American music. He is also listed in the New Groves Dictionary of American Music, and his frequent conducting appearances have included the Eastman School of Music, New England Conservatory, Oberlin Conservatory, Northwestern University, Manhattan School of Music, and the Detroit Symphony. This year marks Professor Reynolds’s ninth consecutive year as conductor of the Boston University Tanglewood Institute Young Artists Wind Ensemble. Robert Reynolds has been a featured conductor and lecturer at international conferences in Austria, Norway, Belgium, England, Holland, Slovenia, Sweden, Germany, Denmark, and Switzerland. He has conducted in many of the major cities of Japan, Spain, and Sweden including concerts with the Stockholm Wind Orchestra, the Norrkoping Symphony Orches- tra and professional wind ensembles in Bilbao and Barcelona, Spain. Many of his former students now hold major conducting positions at leading conservatories and universities, and several have been National Presidents of CBDNA. AXIOM BRASS BOSTON
Recommended publications
  • Michael Gandolfi: Y2k Compliant Points of Departure | Themes from a Midsummer Night
    MICHAEL GANDOLFI: Y2K COMPLIANT POINTS OF DEpaRTURE | THEMES FROM A MIDSUMMER NIGHT A POINTS OF DEPARTURE (1988) [1] I Spirale 3:44 [2] II Strati 4:09 [3] III Visione 5:40 MICHAEL GANDOLFI b. 1956 [4] IV Ritorno 3:04 POINTS OF DEPARTURE THEMES FROM A MIDSUMMER NIGHT (2001) [5] I Air (Oberon in Flight) 1:43 THEMES FROM A MIDSUMMER NIGHT [6] II Theseus’ Law 0:56 [7] III Hermia’s Helter Skelter Scherzo 0:46 Y2K COMPLIANT [8] IV Hermia and Lysander 1:24 [9] V Bottom Brays 1:07 [10] VI Sly Puck 0:38 [11] VII Apotheosis…Morning 2:51 BOSTON MODERN ORCHESTRA PROJECT [12] VIII Titania’s Fairies 3:48 GIL ROSE, CONDUCTOR [13] IX Time Dream 3:43 [14] X Postlude (the Most Gentle) 1:13 Y2K COMPLIANT (2000) [15] I Short Circuits 5:12 [16] II Analog Dreams 7:31 [17] III Joyous Reverb 5:13 TOTAL 52:43 B COMMENT By Michael Gandolfi POINTS OF DEPARTURE In the summer of 1986, while I was a fellow at the Tanglewood Music Center, I was awak- ened one morning by a knock on my door from Oliver Knussen who was Tanglewood’s Composer-in-Residence and my Tanglewood teacher. He informed me that the Saint Paul Chamber Orchestra was preparing an application for a consortium commission with the Orpheus and Los Angeles Chamber Orchestras. The consortium commission guidelines indicated that each orchestra was to premiere the work of their designated composer and the Orpheus Chamber Orchestra had recommended me as their composer of interest.
    [Show full text]
  • News from the Library of Congress: MOUG/MLA 2007
    NEWS FROM THE LIBRARY OF CONGRESS MOUG/MLA 2007 Special Materials Cataloging Division Music Division Cataloging Policy and Support Office American Folklife Center General Library News Copyright Office Office of Strategic Initiatives Compiled by Joe Bartl, MSR1, SMCD Feb. 26, 2007 SPECIAL MATERIALS CATALOGING DIVISION (SMCD) Top of the Document (Joe Bartl. MSR1, SMCD) CATALOGING ACCOMPLISHMENTS Bibliographic Production Arrearage Accomplishments Bibliographic Maintenance WORKFLOW SIMPLIFICATION Introduction CD Brief Workflow Leased Metadata (AMG) CD Sorter & CD Add OTHER INITIATIVES New Sound Recording Formats Guidelines Series and collected works (new treatment) CD Multivolume Project Choral Music Octavos Elimination of Book Backlog Card Catalogs Inventory Project Music Division Special Collections records added to Voyager OvOp Sound Recordings Popular Sheet Music Project NEW PROJECTS Ethnic Sound Recordings M1508 Sheet Music Secure Storage Facilities Telework ONGOING PROJECTS All Media Guide (AMG) Workflow Nijinska Collection SR Foreign Language Project COOPERATION/OUTREACH Advisory Groups International Groups LC Divisions LC Junior Fellows Music Division Reference Services Music Division Strategic Planning NACO/SACO Network Development and MARC Standards Office CATALOGING ACCOMPLISHMENTS Bibliographic production: New bibliographic records added to the database consisted of 3,517 scores, 16,561 sound recordings, and 2,730 books/ERs/Microforms. This totals 22,847 new bibliographic records added to the database. Arrearage accomplishments: A total of 35,395 items were removed from the arrearage as follows: CDs (33,984); LPs (348); 78s (38); 45s (125); 10” reels (224); and cassettes (676). Bibliographic maintenance and auxiliary statistics: 9,078 bibliographic records were modified. 7,577 authority records were added to the database and 3,607 authority records were modified.
    [Show full text]
  • 2018 Available in Carbon Fibre
    NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished
    [Show full text]
  • Kenneth Radnofsky KENNETH RADNOFSKY, Born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476
    Kenneth Radnofsky KENNETH RADNOFSKY, born July 31, 1953, Bryn Mawr, PA; 135 George St., Arlington, MA 02476. Phone: 781-646-5748; e:mail [email protected], website: www.KenRadnofsky.com ADMINISTRATIVE EXPERIENCE Executive Director and Founder, World-Wide Concurrent Premieres 1991-Present and Commissioning Fund, Inc. Responsible for fund raising for commissions of Schuller, Colgrass, Harbison, Wyner Theofanidis, Ticheli and Bell), plus over 40 commissioned works (1981-) including Gunther Schuller, David Amram, Donald Martino, Milton Babbitt; with private donations and NEA Consortium Grants Interim Chair, Woodwind Division, The Boston Conservatory 2004-2005 Associate Director, Community Music Center of Boston 1997-2000 Responsible for all educational and daily activities of Community Music School of over 600 in-house students, an original Settlement School in Boston’s South End Artistic Director, Sounds in Concert Inc., Cape Cod 1984-1994 (Artistic Consultation, including engaging artists, programming) Contractor, Orchestra Manager, Waterville Valley Bridge Orchestra 1989, 1990 Artist Member, Board of Directors, Affiliate Artists Inc. 1986-88 Director, Great Woods Summer Saxophone Seminar 1985-87 Editor, Winds Quarterly Magazine (Responsible for all aspects of production, including layout, design, paste-up, publicity, engaging writers, editing and writing.) 1980 EDUCATION BM cum laude University of Houston (Studies with Jeffrey Lerner) MM with honors New England Conservatory (Studies with Joseph Allard) COLLEGE TEACHING EXPERIENCE Present: Longy School of Music (2002) Prof. of Saxophone (10 hours), New England Conservatory (1976- ) Professor of Saxophone and Chamber Music (8.5 hours) and Boston Conservatory (1984-88, 1992- ) Professor of Saxophone, Chamber Music and Director of Weekly Wind Seminars, Interim WW Chair (2004-2005) (15 hours) Past: Hartt School of Music, U.
    [Show full text]
  • Program Notes Hosted by the Score Board 7:00
    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
    ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus.
    [Show full text]
  • FREDERICK FENNELL and the EASTMAN WIND ENSEMBLE: the Transformation of American Wind Music Through Instrumentation and Repertoire
    FREDERICK FENNELL AND THE EASTMAN WIND ENSEMBLE: The Transformation of American Wind Music Through Instrumentation and Repertoire Jacob Edward Caines Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the Master of Arts degree in Musicology School Of Music Faculty of Arts University of Ottawa © Jacob Edward Caines, Ottawa, Canada, 2012 i Abstract The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community. Key Words - EWE (Eastman Wind Ensemble) - ESB (Eastman Symphony Band) - Vernacular - Cultivated - Wind Band - Wind Ensemble - Frederick Fennell - Repertoire i Acknowledgements This thesis could not have been completed without the support of many people. Firstly, my advisor, Prof. Christopher Moore. Without his constant guidance, and patience, this document would have been impossible to complete.
    [Show full text]
  • 0912 BOX Program Notes
    THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina.
    [Show full text]
  • Backto the Future – the Legacy of Frank L. Battisti – Aconversation
    Frank L. Battisti Frank Battisti began his teaching career as an instrumental teacher in the Ithaca (New York) Public Schools in 1953. He became Director of Bands at Ithaca High School in 1955 and remained there until 1967. He also served as chairperson of the Instrumental Music Department from 1961 - 67. The Ithaca High School Band, under Battisti’s direction, achieved national recognition as one of the finest and most unique high school bands in the nation. The concert band performed at the Ithaca College School of Music, Eastman School of Music, Music Educators National Conference (MENC), Mid-West National Band and Orchestra Clinic (Chicago 1965), Rockefeller Center, the New York World’s Fair (1964) and at other regional and national music events. In 1997 the John Philip Sousa Foundation selected Battisti’s Ithaca High School Concert Band for their Historic Roll of Honor of High School Concert Bands, 1920-1980. Eugene Migliaro Corporon, Director of Wind Studies at North Texas State University, hails the Ithaca High School Band under the leadership of Frank Battisti “as one of the truly great achievements of instrumental music education in the twentieth century.” From 1958 - 67, the Ithaca High School Band commissioned 24 works for band. The commissioned composers included Warren Benson, David Borden, Carlos Chavez, Barney Childs, Walter Hartley, Vincent Persichetti, Armand Russell, Alec Wilder and Pulitzer Prize in Music winners Leslie Bassett, Karel Husa, Robert Ward, Gunther Schuller. Guest soloists and conductors appearing with the Ithaca High School Band from 1955-67 included Benny Goodman, Carl “Doc” Severinson, Donald Sinta, Harvey Phiillips, The New York Brass Quintet, Jimmy Burke, Vincent Persichetti, Norman Dello Joio, Thomas Beversdorf, Clyde Roller, Frederick Fennell, William D.
    [Show full text]
  • Lincolnshire Posy Abbig
    A Historical and Analytical Research on the Development of Percy Grainger’s Wind Ensemble Masterpiece: Lincolnshire Posy Abbigail Ramsey Stephen F. Austin State University, Department of Music Graduate Research Conference 2021 Dr. David Campo, Advisor April 13, 2021 Ramsey 1 Introduction Percy Grainger’s Lincolnshire Posy has become a staple of wind ensemble repertoire and is a work most professional wind ensembles have performed. Lincolnshire Posy was composed in 1937, during a time when the wind band repertoire was not as developed as other performance media. During his travels to Lincolnshire, England during the early 20th century, Grainger became intrigued by the musical culture and was inspired to musically portray the unique qualities of the locals that shared their narrative ballads through song. While Grainger’s collection efforts occurred in the early 1900s, Lincolnshire Posy did not come to fruition until it was commissioned by the American Bandmasters Association for their 1937 convention. Grainger’s later relationship with Frederick Fennell and Fennell’s subsequent creation of the Eastman Wind Ensemble in 1952 led to the increased popularity of Lincolnshire Posy. The unique instrumentation and unprecedented performance ability of the group allowed a larger audience access to this masterwork. Fennell and his ensemble’s new approach to wind band performance allowed complex literature like Lincolnshire Posy to be properly performed and contributed to establishing wind band as a respected performance medium within the greater musical community. Percy Grainger: Biography Percy Aldridge Grainger was an Australian-born composer, pianist, ethnomusicologist, and concert band saxophone virtuoso born on July 8, 1882 in Brighton, Victoria, Australia and died February 20, 1961 in White Plains, New York.1 Grainger was the only child of John Harry Grainger, a successful traveling architect, and Rose Annie Grainger, a self-taught pianist.
    [Show full text]
  • The Contributions of Leonard Bernstein and Frederick Fennell to the World of Music
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2014-01-01 The onC tributions of Leonard Bernstein and Frederick Fennell to the World of Music Ryan James Dore University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Music Commons Recommended Citation Dore, Ryan James, "The onC tributions of Leonard Bernstein and Frederick Fennell to the World of Music" (2014). Open Access Theses & Dissertations. 1611. https://digitalcommons.utep.edu/open_etd/1611 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. THE CONTRIBUTIONS OF LEONARD BERNSTEIN AND FREDERICK FENNELL TO THE WORLD OF MUSIC RYAN JAMES DORE Department of Music APPROVED: Ron Hufstader, Ph.D., Chair Lorenzo Candelaria, Ph.D. Kim Bauer, MFA. Bess Sirmon-Taylor, Ph.D. Interim Dean of the Graduate School Copyright © by Ryan Dore 2014 Dedication To my parents without whom my schooling and higher education would not be possible. To my fiancé Anna, for surviving 2 years of long distance. To all of my previous band directors, your influence inspired me to become a music educator. To God, you have guided my steps and continue to direct my life. THE CONTRIBUTIONS OF LEONARD BERNSTEIN AND FREDERICK FENNELL TO THE WORLD OF MUSIC by RYAN JAMES DORE, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO May 2014 Acknowledgements I would like to acknowledge my advisor Dr.
    [Show full text]