DOCSLIB.ORG

Notes from the African Diaspora

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes from the African Diaspora Oakland Symphony presents NOTES FROM THE AFRICAN DIASPORA JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGES (1745–1799) Symphony No. 1 in G major, Op. 11 I. Allegro II. Andante III. Allegro assai ANTONIO CARLOS GOMES (1836-1896) C’era una volta un principe from Act II of Il Guarany I. Allegro non troppo II. Allegretto con moto III. Allegro non troppo; Un peu moins vite Shawnette Sulker, soprano WILLIAM GRANT STILL (1895-1978) Songs of Separation I. Idolatry II. Poéme III. Parted Shawnette Sulker, soprano Her appearance tonight is generously underwritten by an anonymous donor INTERMISSION FLORENCE PRICE (1887-1953) Symphony No. 3 in C minor I. Andante II. Andante ma non troppo III. Juba: Allegro IV. Scherzo: Finale EDWARD KENNEDY (DUKE) ELLINGTON Harlem The 2018–2019 Season of Oakland Symphony is generously funded in part by the East Bay Community Foundation; the William and Flora Hewlett Foundation; the California Arts Council, a state agency; the National Endowment for the Arts, a federal agency; and the Oakland City Council and the City of Oakland’s Cultural Funding Program. OAKLAND SYMPHONY 3 OAKLAND SYMPHONY ORCHESTRA GUEST ARTIST Michael Morgan, Music Director and Conductor SHAWNETTE SULKER Bryan Nies, Associate Conductor FIRST VIOLIN VIOLA FLUTE TRUMPET cclaimed for her “heartbreaking poignancy” Dawn Harms, Tiantian Lan, Alice Lenaghan, William Harvey, Aand “beautifully tuned soprano” by the San Concertmaster Principal Principal Principal Francisco Chronicle and for her “enchanting vocal Vivian Warkentin, Margaret Titchener, Rena Urso Leonard Ott splendor” by the Leipziger Volkszeitung, soprano Asst. Concertmaster Asst. Principal Owen Miyoshi Shawnette Sulker is a much sought-after artist Kristina Anderson, Betsy London OBOE Chris Barnes in the United States and abroad. A consummate Assoc. Concertmaster Patricia Whaley Robin May, Principal performer, her recent operatic roles include Carla Picchi Stephanie Railsback Denis Harper TROMBONE singing “The Queen of the Night” (The Magic Deborah Spangler Katy Juneau Jesse Barrett Bruce Chrisp, Flute) with Opera Fairbanks and Hamster in the Emanuela Nikiforova Linda Green Principal contemporary opera Animal Tales (Brazelton) with Stephanie Bibbo Alessandra Aquilanti CLARINET Tom Hornig the Garden State Philharmonic in New Jersey. Hrabba Attladottir Bill Kalinkos, Steve Trapani Recent concert performances include singing as Matthew Vincent CELLO Principal a soloist for Fremont Symphony’s Valentine’s Day Katherine Button Daniel Reiter, Diane Maltester TUBA Concert, Beethoven’s Symphony No. 9 with the Hande Erdem Principal Ginger Kroft Scott Choate, Santa Rosa and Peninsula Symphonies, and Orff’s Joseph Hébert, Principal Carmina Burana with Sacramento Choral Society SECOND VIOLIN Asst. Principal BASSOON & Orchestra. Internationally, Sulker has sung Susanna in Le nozze di Figaro, and Lauretta in David Cheng, Michelle Kwon Deborah Kramer, PERCUSSION Adele throughout the Netherlands and Belgium Gianni Schicchi. Some works on Sulker’s concert Principal Rebecca Roudman Principal Ward Spangler, in a tour of Die Fledermaus, as well as a recital at repertoire list include Mozart’s Grand Mass in Sharon Calonico, Michael Graham Jarratt Rossini Principal Red Door Studios in Amsterdam and an orchestra C minor, Bach’s Jauchzet Gott in allen Landen, Asst. Principal Jeffrey Parish Jim Kassis concert featuring Porgy and Bess highlights and Mozart’s Exsultate, Jubilate, and Scarlatti’s Su le Adrienne Duckworth Paul Rhodes ALTO SAXOPHONE Mendelssohn’s Psalm 42 in Leipzig’s Gewandhaus sponde del Tebro. Upcoming engagements will Sergi Goldman-Hull Farley Pearce Bill Kalinkos DRUM SET and Prague’s Smetana Hall. feature her singing as the Soprano I soloist for Cecilia Huang Richard Mathias Artie Storch Bach’s Mass in B minor with California Bach Robert Donehew BASS Sulker has also sung with San Francisco Opera, Society, performing Lucy in The Telephone with Alison Miller Patrick McCarthy, TENOR SAXOPHONE HARP Mark Morris Dance Group, American Bach Opera Memphis, singing the soprano solos Josepha Fath Principal Kevin Stewart Meredith Clark Soloists, Hawaii Opera Theatre, Eugene in Handel’s Messiah with Pacific Chamber Sarah Usher Alden Cohen, Robert Farrington Symphony, Union Avenue Opera, Opera Naples, Symphony, and a Holiday Recital as part of the Asst. Principal PERSONNEL MANAGER Pacific Opera Project, West Edge Opera, and renowned Noontime Concerts at Old St. Mary’s Ben Tudor BARI SAXOPHONE Craig McAmis the Natchez Opera Festival, to name a few. in San Francisco. Carl Stanley Nick DiScala Her roles include Zerbinetta in Ariadne auf Naxos, Tim Spears LIBRARIAN Cunegonde in Candide, Constanze in Abduction David Horn HORN Paul Rhodes from the Seraglio, Musetta in La Bohème, Meredith Brown, Principal RECORDING ENGINEER Monica Warchol, Tom Johnson, Johnson Asst. Horn Digital Audio Alicia Telford Alex Camphouse Ross Gershenson 4 OAKLAND SYMPHONY OAKLAND SYMPHONY 5 PRE-CONCERT PERFORMERS PROGRAM NOTES Symphonie-concertantes. He also wrote six operas and a number of songs. His two symphonies were published as Op. 11 in 1779. Today, he is best remembered as the first classical composer of African ancestry. OAKTOWN JAZZ YOUTH ENSEMBLE the next generation of musicians. Youths learn from professional master musicians and perform SAINT-GEORGES aktown Jazz Workshops’ Youth Performance for audiences throughout the Bay Area. Visit OEnsemble features young musicians ages oaktownjazz.org for more information. 12-18 who perform a variety of exciting Symphony No. 1 in G major, Op. 11 and challenging jazz classics. Oaktown Jazz Ravi Abcarian - Executive Director JOSEPH BOLOGNE, Workshops is a 501(c)3 nonprofit organization Richard Howell - Instructor and its year-round after school program passes Mark Lee - Instructor CHEVALIER DE SAINT-GEORGES GOMES on the musical language and traditions of jazz to (1745–1799) e was called “the black Mozart.” Joseph C’era una volta un principe HBologne, Chevalier de Saint-Georges, was from Act II of Il Guarany DESTINY JUNIOR COMPANY (DJC) born in the French colony of Guadeloupe, the son of the plantation owner George Bologne ANTONIO CARLOS GOMES he Destiny Junior Company (DJC) is a (1836-1896) de Saint-Georges and his African slave Nanon. rigorous training ground in dance, theater T The family settled in Paris around 1749, where and performance for youth ages 9-12, modeled orn in Campinas in the Empire of Brazil (then young Joseph was given fencing and riding after the acclaimed Destiny Arts Youth a colony of Portugal), Gomes was a protégé lessons, as well as music instruction. He received B Performance Company, a teen dance/theater of Emperor Dom Pedro II, who sent him to the the title of chevalier after becoming an “officer company that creates original performance art conservatory in Rio de Janeiro. After graduation, of the king’s bodyguard.” pieces, in collaboration with professional artists, Gomes wrote two operas, which convinced the that combine hip hop, modern, and aerial Emperor to send him to study in Italy. In 1769, François-Joseph Gossec hired him as a dance, theater, martial arts, rap and song. Both violinist in his Concert des Amateurs. According companies are a dynamic, creative forum for Interested in composing an opera on a Brazilian to one account, they performed “with great the young people to express their fears, hopes, subject, Gomes chose the romance novel precision and delicate nuances [becoming] the and strategies for confronting challenging O Guarani by the Brazilian writer José de best orchestra for symphonies in Paris, and personal and social issues. The companies come Alencar. The libretto (in Italian) was written by perhaps in all of Europe.” When Gossec moved out of Destiny Arts Center, an Oakland-based Antonio Scalvini and Carlo D’Ormeville and on to the Concert Spirituel in 1773, Saint- nonprofit violence prevention and arts education titled Il Guarany. Eugenio Terziani conducted Georges succeeded him as musical director of the world premiere at in Milan, on organization that has been serving youth for La Scala the Amateurs. When the Amateurs disbanded in March 19, 1870. The success was enormous. over 30 years through after-school, weekend 1781, Saint-Georges founded the Concert de la Verdi called the work an expression of “true and summer programs in dance, theater, martial Loge Olympique, the same orchestra for whom musical genius.” Liszt said that “it displays arts, self-defense, performance, and youth Haydn composed his six “Paris” symphonies. It is dense technical maturity, full of harmonic and leadership, both at the center and in up to 45 possible that Saint-Georges met Mozart in Paris. orchestral maturity.” It was the first Brazilian Bay Area public schools annually. Destiny Junior opera to gain acclaim outside Brazil. The first Company’s Artistic Director is Mika Lemoine, Between 1771 and 1779, Saint-Georges wrote Brazilian performance was given in Rio de a Destiny alum and a current Destiny hip hop eighteen string quartets, three violin sonatas, Janeiro on December 2, 1870, and achieved instructor and teaching artist mentor. a sonata for harp and flute, six violin duos, the same success as Gomes had seen in Italy. a cello sonata, lost concertos for clarinet and bassoon, fourteen violin concertos, and eight 6 OAKLAND SYMPHONY OAKLAND SYMPHONY 7 PROGRAM NOTES PROGRAM NOTES Set in Rio de Janeiro around 1560, the plot American Symphony was the first symphony orchestra, when Frederick Stock and the Chicago See the Light, Mood Indigo, In a Sentimental concerns the love of Pery, a Guarni Indian by a black American to be played by a major Symphony Orchestra played the world premiere Mood, Don’t Get Around Much Anymore, chief, and Cecilia, the daughter of a Portuguese orchestra (Rochester Philharmonic Orchestra). of her Symphony No. 1 in E minor, in 1933. Sophisticated Lady, I Got It Bad and That nobleman, all against a backdrop of both Songs of Separation is a cycle of five thematically Ain’t Good, Take the “A” Train, and Do Nothin’ Portuguese and Spanish adventurers. In the related songs set to texts by black poets.
Load more

Recommended publications
  • ALAN HOVHANESS: Meditation on Orpheus the Japan Philharmonic Symphony Orchestra William Strickland, Conducting
    ALAN HOVHANESS: Meditation on Orpheus The Japan Philharmonic Symphony Orchestra William Strickland, conducting ALAN HOVHANESS is one of those composers whose music seems to prove the inexhaustability of the ancient modes and of the seven tones of the diatonic scale. He has made for himself one of the most individual styles to be found in the work of any American composer, recognizable immediately for its exotic flavor, its masterly simplicity, and its constant air of discovering unexpected treasures at each turn of the road. Meditation on Orpheus, scored for full symphony orchestra, is typical of Hovhaness’ work in the delicate construction of its sonorities. A single, pianissimo tam-tam note, a tone from a solo horn, an evanescent pizzicato murmur from the violins (senza misura)—these ethereal elements tinge the sound of the middle and lower strings at the work’s beginning and evoke an ambience of mysterious dignity and sensuousness which continues and grows throughout the Meditation. At intervals, a strange rushing sound grows to a crescendo and subsides, interrupting the flow of smooth melody for a moment, and then allowing it to resume, generally with a subtle change of scene. The senza misura pizzicato which is heard at the opening would seem to be the germ from which this unusual passage has grown, for the “rushing” sound—dynamically intensified at each appearance—is produced by the combination of fast, metrically unmeasured figurations, usually played by the strings. The composer indicates not that these passages are to be played in 2/4, 3/4, etc. but that they are to last “about 20 seconds, ad lib.” The notes are to be “rapid but not together.” They produce a fascinating effect, and somehow give the impression that other worldly significances are hidden in the juxtaposition of flow and mystical interruption.
    [Show full text]
  • Insights Into the Padrone, and Opera by George Whitefield Chadwick
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 American Verismo?: insights into The aP drone, and opera by George Whitefield hC adwick (13 November 1854 - 4 April 1931) Jon Steffen Truitt Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Truitt, Jon Steffen, "American Verismo?: insights into The aP drone, and opera by George Whitefield Chadwick (13 November 1854 - 4 April 1931)" (2004). LSU Doctoral Dissertations. 304. https://digitalcommons.lsu.edu/gradschool_dissertations/304 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]. AMERICAN VERISMO? INSIGHTS INTO THE PADRONE, AN OPERA BY GEORGE WHITEFIELD CHADWICK (13 NOVEMBER 1854 – 4 APRIL 1931) A Written Document 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 School of Music by Jon Steffen Truitt B.M., Baylor University, 1996 M.M., Baylor University, 1999 May 2004 AKNOWLEDGEMENTS I wish to thank the members of my committee: Dr. Lori Bade, Professor Robert Grayson, and Dr. Robert Peck for their support. I especially thank my major professor and the chair of my committee, Dr. Kyle Marrero, for his support and encouragement throughout my degree program. Thanks are also due to Dr.
    [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]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Romantic American Choral Music David P. Devenney, Presenter
    The Sea Hath Its Pearls: Romantic American Choral Music 2021 National Conference, American Choral Directors Association March 19, 2021, 11:30 a.m. David P. DeVenney, presenter West Chester University of Pennsylvania The Sea Hath its Pearls (JCD Parker, Seven Part Songs) Introduction Elements of Style: Melody and Harmony Kyrie (Bristow) Vittoria Rybak, mezzo soprano Parvum quando cerno Deum (Chadwick) [When we see our tiny Lord This beautiful mother, held in his mother’s arms, This mother with her beautiful son, it salves us in our breasts such a lovely one all pink, with a thousand joys. like a violet that became a lily. The eager boy, eagerly seeing, [O that one of the arrows, your mother above all: sweet or boyish, while the smiling boy which should pierce the mother’s breast, is kissed a thousand times.] may fall upon me, little Jesus!] *Such a simple brightness -Author Unknown shines through the child, (* text for excerpted portion) The mother clings to him. Requiem aeternum (Buck) Elements of Style: Structure and Craft The Lord of Hosts Is with Us (Gilchrist) Sing Hallelujah (H. Parker) And They Shall Reign (JCD Parker) Music for Women’s and Men’s Voices Sanctus (Hadley) Emily Salatti, soprano At Sea (Buck) Concluding Remarks Seven Part Songs (JCD Parker) The World’s Wanderers The West Wind The Composers in this Presentation George Frederick Bristow (1825-1898) spent the majority of his life in New York City. By age 11 he was playing the violin at the Olympic Theatre in New York and later spent over thirty years playing violin with the New York Philharmonic Society.
    [Show full text]
  • The Westchester Chamber Music Society Candlelight Concert Society
    The Westchester Chamber Music Society and Candlelight Concert Society present ANTHONY McGILL, clarinet and THE PACIFICA QUARTET Simin Ganatra, violin Austin Hartman, violin Mark Holloway, viola Brandon Vamos, cello Florence Price (1887-1953) String Quartet in G Major (1929) Allegro Andante moderato—Allegretto James Lee III (1975 - ) Quintet for Clarinet & String Quartet (2018) Forgotten Emblems Awashoha Alas, my identity . Celebrated Emblems Fanny Mendelssohn (1805-1847) String Quartet in E-flat major (1835) Adagio ma non troppo Allegretto Romanze Allegro molto vivace PROGRAM NOTES by Joshua Berrett, Ph. D. Florence Price (1887-1953) String Quartet in G Major (1929) Living in a culture that all too often defined a composer as white, male, and dead, Florence Price found it a daunting challenge to make any real headway. Writing in 1943 to Serge Koussevitzky, the conductor of the Boston Symphony, she introduced herself as follows: “My dear Dr. Koussevitzky, To begin I have two handicaps . those of sex and race. I am a woman, and I have some Negro blood in my veins.” In our own time, it does not seem that the situation has changed very much. Alex Ross, writing in The New Yorker, Feb. 5, 2018, told a riveting story about what was discovered in a dilapidated house, ransacked by vandals, in the village of St. Anne, in northeastern Illinois. It was Price’s summer retreat. During the renovation, the owners found piles of manuscripts, books, personal papers, and miscellaneous documents, virtually all bearing the name of Florence Price. In a sobering assessment, Ross wrote: “Not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration.
    [Show full text]
  • Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917
    Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917 AARON ZIEGEL Abstract As the genre of American opera was coming of age during the 1910s, composers and librettists began to incorporate the materials of sacred music into the operatic context with surprising frequency. This often took the form of prayer arias, sacred choruses, hymnody, or choral apotheoses, examples of which appear in Frederick Converse’s The Sacrifice (1911), Victor Herbert’s Natoma (1911), Mary Carr Moore’s Narcissa (1912), and Henry Hadley’s Azora (1917). These composers modeled their efforts after familiar European precedents, including Wagner’s Lohengrin, Gounod’s Faust, and Meyerbeer’s Les Huguenots, among other works. Close examination of the music, however, reveals a distinctively American approach in which sacred materials function to reinforce statements of patriotic nationalism. By situating these long-overlooked American operas alongside contemporaneous commentary on the United States’ sense of its sacred purpose, this article illustrates how the composers and librettists sought to participate in the discourses of providentialism, the “Christian nation” concept, manifest destiny, and “True Americanism” in order to craft a characteristically national style. The inclusion of sacred musical ingredients thus helped redefine the genre for US listeners, as the operas’ characters give voice to their Americanness through the sacred music they sing. A woman prays to God seeking strength and perseverance through troubled times. A recent convert narrates a dream-vision in which the coming of Christ is revealed. A congregation sings hymns of praise. A choir performs an anthem based upon a liturgical text.
    [Show full text]
  • Selected Violin Works of Alan Scott 'Vaness' Chakmakjian Hovhaness
    Selected Violin Works of Alan Scott ‘Vaness’ Chakmakjian Hovhaness: Two New Performance Editions with Historical Discussion, Compositional Style Overviews, and Pedagogical Considerations By © 2017 Katherine Anne Okesson P.C., Northern Illinois University, 2005 M.M., Kansas State University, 2002 B.M., Peabody Conservatory of the Johns Hopkins University, 1999 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Véronique Mathieu Prof. Hannah Collins Prof. Philip Kramp Dr. Ingrid Stölzel Prof. Jerel Hilding Date Defended: 13 April 2017 The dissertation committee for Katherine Anne Okesson certifies that this is the approved version of the following dissertation: Selected Violin Works of Alan Scott ‘Vaness’ Chakmakjian Hovhaness: Two New Performance Editions with Historical Discussion, Compositional Style Overviews, and Pedagogical Considerations Chair: Dr. Véronique Mathieu Date Approved: 13 April 2017 ii Abstract This DMA document introduces new performance editions of Alan Scott ‘Vaness’ Chakmakjian Hovhaness’s Khirgiz Suite, Op. 73, No. 1 (1951) and the Three Visions of Saint Mesrob, Op. 198 (1962). The new editions created for this document supply violinists with usable performance copies, greatly increasing the likelihood of their future performance. In addition, historical discussion, compositional style overviews, and pedagogical considerations are presented for these pieces. Finally, a detailed list of Hovhaness’s violin compositions and information about where they may be purchased has been provided. Primarily, the purpose of this study was to provide an overview of the violin works of Alan Hovhaness to violinists, musicologists, and string pedagogues.
    [Show full text]
  • Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-Of-The-Century Boston Brad A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-of-the-Century Boston Brad A. Rohrer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ISABELLA STEWART GARDNER, FENWAY COURT, AND A LIFE ON DISPLAY: FRENCH MUSIC IN TURN-OF-THE-CENTURY BOSTON By BRAD A. ROHRER A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2014 Brad A. Rohrer defended this thesis on April 17, 2014. The members of the supervisory committee were: Michael Broyles Professor Directing Thesis Charles Brewer Committee Member Sarah Eyerly Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii To my wife and my daughter: Thank you for patience. Your love motivates me each day. To my mother: Thank you for always encouraging me to follow my heart. To my father: Thank you for everything, Dad. iii ACKNOWLEDGMENTS I would like to thank Michael Broyles for his input throughout the entire research and writing process, from beginning to end. His feedback on communication of ideas has been invaluable. I appreciate the guidance Sarah Eyerly and Charles Brewer provided and the interest that they took in my work. While not involved in this writing, the entire musicology faculty encourages constant critical thinking and dedication.
    [Show full text]
  • 'October Mountain' by Alan Hovhaness Joe Willie Moore III Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A historical and theoretical look at the percussion ensemble work 'October Mountain' by Alan Hovhaness Joe Willie Moore III 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 Moore III, Joe Willie, "A historical and theoretical look at the percussion ensemble work 'October Mountain' by Alan Hovhaness" (2014). LSU Doctoral Dissertations. 1982. https://digitalcommons.lsu.edu/gradschool_dissertations/1982 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]. A HISTORICAL AND THEORETICAL LOOK AT THE PERCUSSION ENSEMBLE WORK ‘OCTOBER MOUNTAIN’ BY ALAN HOVHANESS A Dissertation 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 Joe W. Moore III B.M., University of Central Florida, 2009 M.M., University of South Carolina, 2011 May 2014 Copyright 2014 Joe W. Moore III All Rights Reserved ii Dedicated to my parents Joe W. Moore Jr. and Karen D. Moore iii ACKNOWLEDGEMNTS I would like to thank my parents for all of their support during my pursuit of higher education over the past ten years. I would also like to thank my beautiful wife Samantha Moore for her love, support, and encouragement.
    [Show full text]
  • Answering the “What Is American?”
    American Masterpieces Chamber Music Answering the “What Is American?” That American composers should draw on their Question own country’s wealth of homegrown sources instead of emulating European music was a position most famously expressed by Antonin Dvorˇák back in the 1890s. Today, the very terms of the debate—Europe versus America— seem almost quaint. Instead of taking the obligatory trip PRESENTER: Bargemusic, Brooklyn NY to Leipzig or Paris, young 20th-century American PERFORMER: American String Quartet, ensemble-in-residence, composers—like Colin McPhee in the 1920s and Steve Manhattan School of Music Reich in the 1970s—traveled as far afield as Indonesia PROGRAM: Louis Gruenberg, Four Diversions for String Quartet and Africa to explore music that was not only (op. 32, 1930); Tobias Picker, String Quartet No.2; Roger Sessions, non-European but non-Western. All the while, America’s Canons (to the memory of Igor Stravinsky), 1972; George Whitefield jazz and experimental composers were expanding their Chadwick, String Quartet No. 4 in E Minor influence on the nation’s collective ear. And in the past few AMCM PERFORMANCE: January 24, 2009 decades, composers and performers from China, Latin America, Eastern Europe and South Asia have come to hough its name might suggest a specialization in works by live in the U.S.—and have been melding their musics United States composers, the American String Quartet has never with our own. Music has become global, and American Trestricted itself to any particular segment of the rich string music is simply the music that American composers write. quartet repertoire. That said, the foursome nonetheless has an abiding interest in music written on this side of the Atlantic and likes to search All of this complex history is reflected in abundant out and perform under-explored compositions.
    [Show full text]
  • Trinity College Bulletin, 1940-1941 (Necrology)
    Trinity College Trinity College Digital Repository Trinity College Bulletins and Catalogues (1824 - Trinity Publications (Newspapers, Yearbooks, present) Catalogs, etc.) 7-1-1941 Trinity College Bulletin, 1940-1941 (Necrology) Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/bulletin Recommended Citation Trinity College, "Trinity College Bulletin, 1940-1941 (Necrology)" (1941). Trinity College Bulletins and Catalogues (1824 - present). 125. https://digitalrepository.trincoll.edu/bulletin/125 This Book is brought to you for free and open access by the Trinity Publications (Newspapers, Yearbooks, Catalogs, etc.) at Trinity College Digital Repository. It has been accepted for inclusion in Trinity College Bulletins and Catalogues (1824 - present) by an authorized administrator of Trinity College Digital Repository. VOLUME XXXVIII NEW SERIES NUMBER 3 UJrtuity a!nllrgr iullrtiu NECROLOGY ]l{nrtfnrh, Qtnutttditut July, 1941 Trinity College Bulletin Issued quarterly by the College. Entered January 12, 1904, at Hartford, Conn., as second class matter under the Act of Congress of July 16, 1894. Accepted for mailing at special rate of postage provided /01· in Section 1103, A ct of October 3, 1917, aitthorized March 3, 1919. The Bulletin includes in its issues: The College Catalogue; Reports of the President, Treasurer, and Librarian; Announce­ ments, Necrology, and Circulars of Information. NECROLOGY TRINITY MEN Whose deaths were reported during the year 1940-1941 Hartford, Conneaicut July, 1941 PREFATORY NOTE This Obituary Record is the twenty-first issued, the plan of devoting the July issue of the Bulletin to this use having been adopted in 1918. The data here pre- . sented have been collected through the persistent efforts of the Treasurer's Office, which makes every effort to secure and preserve as full a record as possible of the activities of Trinity men as well as anything else having value for the history of the College.
    [Show full text]