ARN CV New 140101
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: Lawrence H
P O L Y P H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: http://www.polyphonyrecordings.com Lawrence H. Jones, Proprietor Auction Catalog #148 [Closing: Noon, Central Daylight Time; Tuesday, July 18th, 2017] Dear Fellow Record Collectors - WELCOME TO THE ONLINE VERSION OF POLYPHONY’S AUCTION CATALOG #148! All items are offered at auction; the minimum acceptable bid for each is shown at the end of its listing. The deadline for receipt of bids is Noon, Central Dayight Time; Tuesday, July 18th, 2017. SPECIAL INSTRUCTIONS FOR ONLINE: The internet version is essentially the same as the print version which is sent worldwide except that no bidsheet is provided, since all you really need to do is send me an e-mail with careful notation of your bids and the lot numbers of the items in which you are interested. A brief description of the item helps in case of mis-readings of lot numbers. If you are a new bidder and I do not have your physical address, obviously I will need it. And if you wish to authorize me to charge your winnings to a Visa, Mastercard or American Express card which I do not already have on file, I do not suggest that you send this information via e-mail since it is not very secure. You are welcome to quote an account number for me via the phone/FAX number or via the physical address shown above – or you may wait for me to send you a copy of your invoice and quote the account number by return mail. -
SCHOOL of MUSIC and DANCE the Universityoforegon Christopher S.Olin, Thursday, Mach5|7:30 P.M
ABOUT University Singers is the premier large choral ensemble on campus, with a choral tradition at the University of Oregon extending back to 1945. The University Singers perform choral music from all periods and styles, with concerts both on and off campus. Members are experienced singers representing a wide variety of majors from across campus. The University Singers frequently have the opportunity to perform with instrumental ensembles such as the University Symphony Orchestra, the Oregon Wind Ensemble, and the Eugene Symphony Orchestra. The intensive training provided by the choral program complements the core curriculum of the School of Music and Dance, and balances the broad spectrum of liberal arts disciplines offered at the University of Oregon. The University of Oregon University Singers NEWS—Chamber Choir is Germany-bound Christopher S. Olin, conductor The University of Oregon Chamber Choir is once again headed overseas, Hung-Yun Chu, accompanist this time to Marktoberdorf, Germany! The Chamber Choir is one of just ten choirs selected from around the world to participate in the 2015 Repertoire Singers Marktoberdorf International Chamber Choir Competition scheduled for May 22–27. The Chamber Choir will also tour additional German cities Cole Blume, conductor while abroad. You can be a part of this exciting moment by making a gift Sharon J. Paul, faculty advisor to send our students to Germany. For more information: 541-346-3859 Hung-Yun Chu, accompanist or music.uoregon.edu/campaign. Make sure you specify you are interested in giving to the choir’s travel fund. Chamber Choir We look forward to seeing you at our UO Choir concerts on: Sharon J. -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
Guest Artist:Marilyn Nonken, Piano "Signature Pieces"
Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-16-2002 Guest Artist:Marilyn Nonken, Piano "Signature Pieces" Marilyn Nonken Piano Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Nonken, Marilyn Piano, "Guest Artist:Marilyn Nonken, Piano "Signature Pieces"" (2002). School of Music Programs. 2355. https://ir.library.illinoisstate.edu/somp/2355 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I I llinois S-\;crte Univel'si-\;4 -School of Music I I I G ued:: Artist I Mcrr>ilyn Nonken, piano I " I "S. ig natu,-,e Pieces I I I I I Cent..,. fa,, the P.,,fcrrmm~ / ',r•' I 'W ed neda~ {;;;vonir.9 Octob..,.· 16, '200'2 8 :00 p.m. I The t;ighteenth P"°91""'m of the '200'2-'2003 S9Gl<on . P-roqram I I David Rakowski studied at New England Conservatory, Princeton, and Tanglewood with Milton Babbitt, Sliding Scales David Rakowskil I Luciano Berio, Peter Westergaard, Paul Lansky, and Robert Ceely. He has received plenty of awards and 12-Step Program (2002) commissions, is published by C.F. Peters, and was twice a finalist for the Pulitzer Prize in Music: in 1999 for Persistent Memory, commissioned and premiered by the Orpheus Chamber Orchestra; and in 2002 for Ten of a Kind, commissioned and premiered by "The President's Own" U.S. -
BY ROBERT RYAN ENDRIS Submitted to Th
REFLECTIONS OF THOREAU’S MUSIC AND PHILOSOPHY IN DOMINICK ARGENTO’S WALDEN POND (1996) BY ROBERT RYAN ENDRIS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music in Choral Conducting, Indiana University August, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music in Choral Conducting. ___________________________________ Aaron Travers, Research Director __________________________________ Carmen-Helena Téllez, Chairperson __________________________________ William Jon Gray __________________________________ Blair Johnston ii Copyright © 2012 Robert Ryan Endris iii Acknowledgments There are many people without whose help and support this document and the completion of this degree would not be possible. First and foremost, I must acknowledge Dr. Robert S. Hatten, former professor of music theory at Indiana University and current professor of music theory at University of Texas. Dr. Hatten’s seminar “Music and the Poetic Text” sparked my interest in the relationship between poetic texts and vocal music and provided the impetus for this document. He inspired me to experience, analyze, and understand vocal music in a completely new way. I must also thank the members of my document committee. I am deeply indebted to my research director, Dr. Aaron Travers, and my chairperson, Dr. Carmen-Helena Téllez, for their efforts and willingness to lead me through this process of research, analysis, and writing. I also thank Dr. Blair Johnston and Dr. William Jon Gray for their contributions through insightful comments, observations, and suggestions. Next, I would like to express my gratitude for the support and encouragement offered by my mentors and friends. -
T H E P Ro G
Sunday, December 3, 2017, at 11:00 am m a Sunday Morning Coffee Concerts r g o r Conrad Tao, Piano P BACH Chromatic fantasia and fugue in D minor (c. 1720) e h JASON ECKARDT Echoes’ White Veil (1996) T RACHMANINOFF Étude-tableau in A minor (191 6–17) BEETHOVEN Sonata No. 31 in A-flat major (1821 –22) Moderato cantabile, molto espressivo Allegro molto Adagio, ma non troppo—Fuga: Allegro, ma non troppo This program is approximately one hour long and will be performed without intermission. Please join the artist for a cup of coffee following the performance. Please make certain all your electronic devices are switched off. Refreshments provided by Zabar’s and zabars.com This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Walter Reade Theater Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, December 6 at 7:30 pm in Alice Tully Hall Bach Collegium Japan Masaaki Suzuki, conductor Sherezade Panthaki, soprano Jay Carter, countertenor Zachary Wilder, tenor Dominik Wörner, bass BACH: Four Cantatas from Weihnachts-Oratorium (“Christmas Oratorio”) Pre-concert lecture by Michael Marissen at 6:15 pm in the Stanley H. -
Prism Quartet Dedication
PRISM QUARTET DEDICATION WITH GUEST ARTIST GREG OSBY PRISM Quartet Dedication 1 Roshanne Etezady Inkling 1:09 2 Zack Browning Howler Back 1:09 3 Tim Ries Lu 2:36 4 Gregory Wanamaker speed metal organum blues 1:14 5 Renée Favand-See isolation 1:07 6 Libby Larsen Wait a Minute... 1:09 7 Nick Didkovksy Talea (hoping to somehow “know”) 1:06 8 Nick Didkovksy Stink Up! (PolyPrism 1) 1:06 9 Nick Didkovksy Stink Up! (PolyPrism 2) 1:01 10 Greg Osby Prism #1 (Refraction) 6:49 Greg Osby, alto sax solo 11 Donnacha Dennehy Mild, Medium-Lasting, Artificial Happiness 1:49 12 Ken Ueno July 23, from sunrise to sunset, the summer of the S.E.P.S.A. bus rides destra e sinistra around Ischia just to get tomorrow’s scatolame 1:20 13 Adam B. Silverman Just a Minute, Chopin 2:21 14 William Bolcom Scherzino 1:16 Matthew Levy Three Miniatures 15 Diary 2:05 16 Meditation 1:49 17 Song without Words 2:33 PRISM Quartet/Music From China 3 18 Jennifer Higdon Bop 1:09 19 Dennis DeSantis Hive Mind 1:06 20 Robert Capanna Moment of Refraction 1:04 21 Keith Moore OneTwenty 1:31 22 Jason Eckardt A Fractured Silence 1:18 Frank J. Oteri Fair and Balanced? 23 Remaining Neutral 1:00 24 Seeming Partial 3:09 25 Uncommon Ground 1:00 26 Incremental Change 1:49 27 Perry Goldstein Out of Bounds 1:24 28 Tim Berne Brokelyn 0:57 29 Chen Yi Happy Birthday to PRISM 1:24 30 James Primosch Straight Up 1:24 31 Greg Osby Prism #1 (Refraction) (alternate take) 6:49 Greg Osby, alto sax solo TOTAL PLAYING TIME 57:53 All works composed and premiered in 2004 except Three Miniatures, composed/premiered in 2006. -
Dominick Argento
Deux-Elles DominickDominick ArgentoArgento Shadow and Substance Howard Haskin tenor ominick Argento is generally considered Classical Contemporary Composition’, in respect season, is set in the early days of Hollywood and quaver accompaniment that just occasionally a vocal composer; he is one of the leading of Frederica von Stade’s recording of his song- examines the effects of fame and the immigrant’s may remind us of Balinese gamelan patterns. DUS composers of lyric opera and one of cycle Casa Guidi on the Reference Records label. experience in America. Very different is the treatment of Samuel the most successful, in terms of performances. He was elected to the American Academy of Daniel’s ‘Care-Charmer Sleep’, a depressive The three song-cycles on this disc give some Arts and Letters in 1979, and in 1997 the lifetime A man of wide literary tastes, during the 1970s poem memorably set by Peter Warlock and indications why this should be the case. appointment of Composer Laureate to the and 1980s Argento turned increasingly to the Havergal Brian, amongst others. The agitation Minnesota Orchestra was bestowed on him. composition of song-cycles. His major of Argento’s middle section is graphically Argento was born in York, Pennsylvania and productions in this form include Six Elizabethan expressive of the poet’s tormented emotions. studied at the Peabody Conservatory from 1947 Argento has composed copious orchestral and Songs (1958), Letters from Composers (1968) for Shakespeare’s marvellous ‘When icicles hang to 1954, where his teachers included Nicholas chamber music (notably the Variations for voice and guitar, To Be Sung Upon the Water (1973) by the wall’ is set as a kind of vigorous round- Nabokov, Henry Cowell and Hugo Weisgall; this orchestra The Mask of Night, 1965) but the bulk for voice, piano and clarinet, From the Diary of dance – a good remedy to keep out the cold. -
Agnieszka Roginska
1 Marilyn Nonken New York University, Steinhardt School Music and Performing Arts, Piano Studies 35 West Fourth Street, New York, NY 10012 (212) 998-5612 [email protected] http://steinhardt.nyu.edu/music/faculty/Marilyn_Nonken http://marilynnonken.com HIGHLIGHTS Recordings 25+ recordings as soloist, duo pianist, chamber musician. Publications Two monographs, 20+ journal articles, book chapters, invited publications. Performances 25+ years performing at major international venues. Expertise Piano performance, musicology, theory, post-1945 music, ecological psychology, aesthetics, performance practice, identity/diversity/equity/access in the arts. Leadership Director of Piano Studies, 15+ years administration and direction of non-profit performing, commissioning and presenting arts organizations. EDUCATION 1999 PhD, Musicology/Theory. Columbia University, New York. Dissertation: An Ecological Approach to Music Perception: Stimulus-Driven Listening and the Complexity Repertoire. Advisor: Fred Lerdahl. 1995 MPhil, Musicology/Theory. Columbia University, New York. 1995 MA, Musicology/Theory. Columbia University, New York. 1992 Zertifikat, Internationalen Meisterkurs für Interpretation Neuer Klaviermusik, Musikakademie Rheinsberg, Germany. Mentor: Leonard Stein. 1992 BMus, Theory. Eastman School of Music, University of Rochester, New York. Mentor: David Burge. ACADEMIC POSITIONS 2013-2019 Associate Professor. Steinhardt School, New York University, New York. 2006–2013 Assistant Professor. Steinhardt School, New York University, New York. 2005–2006 Adjunct Professor. Department of Music, Columbia University, New York. 1994–1996 Instructor. Department of Music, Columbia University, New York. MONOGRAPHS Nonken, Marilyn. Identity and Diversity in New Music: The New Complexities. Routledge, 2019. Nonken, Marilyn. The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age. Cambridge University Press, 2014. Paperback edition, 2016. 2 BOOK CHAPTERS AND EDITED VOLUMES Nonken, Marilyn. -
ANTON WEBERN Vol
WEBERN Vocal and Chamber Works Songs • String Quartet • Schoenberg/Webern Op. 9 • Cantata No. 1 Tony Arnold • Claire Booth • Jacob Greenberg • Orion Weiss Sooyun Kim • Charles Neidich • Leila Josefowicz • Simon Joly Chorale Fred Sherry String Quartet • Philharmonia Orchestra Robert Craft THE ROBERT CRAFT COLLECTION Four Songs for Voice and Piano, Op. 12 (1915-17) 5:28 THE MUSIC OF ANTON WEBERN Vol. 3 & I. Der Tag ist vergangen (Day is gone) Text: Folk-song 1:32 Recordings supervised by Robert Craft * II. Die Geheimnisvolle Flöte (The Mysterious Flute) Text by Li T’ai-Po (c.700-762), from Hans Bethge’s ‘Chinese Flute’ 1:32 Five Songs from Der siebente Ring (The Seventh Ring), Op. 3 (1908-09) 5:35 ( III. Schien mir’s, als ich sah die Sonne (It seemed to me, as I saw the sun) Texts by Stefan George (1868-1933) Text from ‘Ghost Sonata’ by August Strindberg (1849-1912) 1:32 1 I. Dies ist ein Lied für dich allein (This is a song for you alone) 1:19 ) IV. Gleich und gleich (Like and Like) 2 II. Im Windesweben (In the weaving of the wind) 0:36 Text by Johann Wolfgang von Goethe (1749-1832) 0:52 3 III. An Bachesranft (On the brook’s edge) 1:00 Tony Arnold, Soprano • Jacob Greenberg, Piano 4 IV. Im Morgentaun (In the morning dew) 1:04 5 V. Kahl reckt der Baum (Bare stretches the tree) 1:36 Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Producer: Philip Traugott • Engineer: Tim Martyn • Editor: Jacob Greenberg • Assistant engineer: Brian Losch Tony Arnold, Soprano • Jacob Greenberg, Piano Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Three Songs from Viae inviae, Op. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others.