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Daniel Freiberg's Latin American Chronicles Frank Proto's Paganini in Metropolis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 An Exploration of Two Twenty-First Century American Works for Clarinet and Orchestra: Daniel Freiberg's Latin American Chronicles Frank Proto's PKaatsugyaa Ynuaisani in Metropolis Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF TWO TWENTY-FIRST CENTURY AMERICAN WORKS FOR CLARINET AND ORCHESTRA: DANIEL FREIBERG’S LATIN AMERICAN CHRONICLES FRANK PROTO’S PAGANINI IN METROPOLIS By KATSUYA YUASA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2019 Katsuya Yuasa defended this treatise on April 5, 2019. The members of the supervisory committee were: Deborah Bish Professor Co-Directing Treatise Jonathan Holden Professor Co-Directing Treatise Richard Clary University Representative Eva Amsler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am indebted to several people for their support while finishing my studies. First and foremost, I would like to thank my graduate committee for their guidance and constructive feedback during my final semesters at Florida State University. I would like to give my utmost gratitude to my professors Deborah Bish and Jonathan Holden for helping me become the musician and person I am today. Thank you for your patience and kindness throughout my apprenticeship. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract ......................................................................................................................................... -
Proto List of Works by Year
Frank Proto List of works 1: Works For Orchestra Concerto No. 1 for Double Bass and Orchestra 1968 Commissioned by Barry Green Fantasy on the Partita in C Minor of J.S. Bach for Jazz Quintet and Orchestra 1969 Concerto in One Movement for Violin, Double Bass and Orchestra 1972 Commissioned by Thomas Schippers An American Overture 1973 Commissioned by the Cincinnati Symphony Orchestra Concerto for Saxophone and Orchestra 1973 Commissioned by Gerry Mulligan Casey at The Bat - an American Folk Tale for Narrator and Orchestra 1973 Commissioned by the Cincinnati Symphony Orchestra Concertino for Percussion and Strings 1973 Commissioned by the Cincinnati Symphony Orchestra Three Pieces for Percussion and Orchestra 1976 Commissioned by Marion Rawson Dear Friends and Gentle Hearts - Ballet 1976 Commissioned by the Cincinnati Ballet Company Nocturne for Strings 1976 Commissioned by the Cincinnati Symphony Orchestra Concerto for Cello and Orchestra 1978 Commissioned for Peter Wiley by Marion Rawson Suite from the Opera Carmen for Jazz Ensemble and Orchestra 1978 The Four Seasons for Tuba, Percussion, Strings and Stereo Tape 1979 Commissioned by the Cincinnati Symphony Orchestra Concerto No. 2 for Double Bass and Orchestra 1981 Commissioned for François Rabbath by Marion Rawson Three Movements for Brass Choir and Percussion 1983 Commissioned by Radio Station WGUC Fantasy for Double Bass and Orchestra 1983 Commissioned by the Houston Symphony Orchestra Dialogue for Synclavier and Orchestra 1985 Commissioned by Michael Gielen A Carmen Fantasy for -
Frank Proto Frank Proto Was Born in Brooklyn, New York
Liben Music Publishers L Tel: 513 232-6920 • Fax: 513 232-1866 • [email protected] Frank Proto Frank Proto was born in Brooklyn, New York. He began piano studies at the age of 7 and the double bass at the age of 16 while a student at the High School of Performing Arts in New York City. After graduating he attended the Manhattan School of Music where he earned his bachelor’s and master’s degrees. As a student of David Walter, Frank performed the first solo double bass recital in the history of the school. As a composer he is self-taught. For his graduation recital in 1963, Proto confronted the typical bass player’s problem - there was very little literature for the instrument. He programmed a baroque work, a romantic piece, and an avant-garde composition using electronic tape, but he wanted a contemporary composition in a more American style. Unable to find one he liked, he decided to write his own. The resulting piece – Sonata 1963 for Double Bass and Piano – was his first composition. It has subsequently been performed hundreds of times, worldwide by scores of bassists, and has entered the standard double bass repertoire. During the early 1960s Frank earned his living as a free-lance bassist in New York City, performing with such organizations as the Symphony of the Air, American Symphony, the Robert Shaw Chorale, and – as one of the original members – the Princeton Chamber Orchestra. He also played with various Broadway and Off-Broadway show bands and in many of the jazz clubs that were a mainstay of New York nightlife at the time. -
Newsnotes Spring 2015 V2
AN OFFICIAL PUBLICATION OF THE V IRGINIA M USIC TEACHERS New sN tes ASSOCIATION ORGANIZED AND AFFILIATED ON OCTOBER 18, 1964, WITH MUSIC TEACHERS NATIONAL ASSOCIATION President’s Notes Paulo Steinberg, NCTM, VMTA State President Volume 51, Number 1, Spring 2015 Dear Fellow Music Teachers: between them. All you have to do is sending an email to their president to ask for their schedule. hope the first two months of 2015 have brought As I said before, I am always open to sugges - Ito you joy, inspiring music, and much success! tions. If you have any concerns, do not hesitate to Talking about success… I recently attended the email me. I am not any kind of savior, but I am MTNA Southern Division Competitions at the interested in helping our association GROW University of Tennessee in Knoxville. Our State which, in turn, contributes to our own growth. did so well! I am so proud of our students who per - YOU ARE IMPORTANT TO THIS ORGANI - formed beautifully! Congratulations to them and ZATION and I value your feedback and comments. to their teachers! We had 6 winners (1st place), I hope to see you at the National Conference Paulo Steinberg, NCTM who will advance to the final round, performing in Las Vegas. If not, please make an effort to attend President during the MTNA National Conference in Las our Annual State Conference at Wintergreen Susan Atkins, NCTM Vegas at the end of March: Resort this summer. You will be glad you came! I President-elect Becky Wallenborn • Junior Composition: Kevin Su, student of VMTA ANNUAL CONFERENCE 2015 Vice President, Membership Marjorie Lee; BE INSPIRED! Mun Lee Han, NCTM • Junior Performance String: Jason Hwang Susan Atkins, VMTA President-elect Treasurer (cello), student of Dana McComb Laura Cardin • Senior Performance Voice: Nikole James oin us at beautiful Wintergreen Resort for Secretary (soprano), student of Margaret McNulty JVMTA’s Annual Conference, July 16 –19, 2015. -
Brubeck Photographs, 1960-1965 Dbp-60
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 2: PHOTOGRAPHS BOX 4: BRUBECK PHOTOGRAPHS, 1960-1965 DBP-60-1 March (17-19), 1960, Sydney, Australia - DB and unidentified man taking a motor boat ride in the bay (4 ¾ x 6 ½ photo credit to Frank Howling) DBP-60-2 March (17-19), 1960, Sydney, Australia - DB and Frank Howling standing in a Sydney street (4 ¾ x 6 ½ ) DBP-60-3 March (17-19), 1960, Sydney, Australia DB at the microphone L-R: DB, Eugene Wright, Joe Morello and Paul Desmond (7 ¾ x 9 ¾ ) DBP-60-4 March (17-19), 1960, Sydney, Australia - Bill Smith, (Australian Records Co exec) and DBQ behind him L-R: DB, Eugene Wright, Joe Morello and Paul Desmond (7 ¾ x 9 ¾ ) DBP-60-5 March 22, 1960, Sydney, Australia L-R: Mike Wilson, Eugene Wright and Joe Morello standing in front of “Standing Between Notices” sign (3 ½ x 5 ½ ) DBP-60-6 March 22, 1960, Adelaide, Australia - L-R: Myke Dyer, 3XY; Geoff Brooks, 3K2 and Ralphe Rickman, 3AW (7 ¾ x 9 ¾ photo credit to Laurie Richards, Adelaide) DBP-60-7 March 22, 1960, Adelaide, Australia - “Rondo for 6 Hands” L-R: John Wise (Coronet Records exec), DB and unidentified man at Coronet Records reception (8x10 photo credit to Lawrence Rhodes, Adelaide) DBP-60-8 March 22, 1960, Adelaide, Australia - DB and classical pianist, Phillippe Entremont(L) sharing a laugh at the keyboard (7 ¾ x 9 ¾ photo credit to Lawrence Rhodes, Adelaide) DBP-60-9 March 22, 1960, Adelaide, Australia - DB shaking hands with classical pianist, Phillippe Entremont in front of the “Dig Dave on Disc” sign (8x10 photo credit to Lawrence Rhodes, Adelaide) DBP-60-10 March 22, 1960, Adelaide, Australia - DB giving classical pianist, Phillippe Entremont(L) some pointers on piano technique (8x10 photo credit to Lawrence Rhodes, Adelaide) DBP-60-11 March 22, 1960, Adelaide, Australia - L-R: John Wise (Coronet Record exec); DB; “classical pianist”, Phillippe Entremont; Jim Sutton(Coronet Records exec) and L.S. -
Frankproto-Short Bio-2-22-11
Frank Proto Frank Proto, born in Brooklyn, New York, began piano studies at the age of 7 and the double bass at 16. As a student of David Walter at the Manhattan School of Music, Frank performed the first solo double bass recital in the history of the school. As a composer he is self-taught. During the early 1960s Frank worked as a free-lance bassist and pianist in New York City playing with various Broadway and Off-Broadway show bands and in many of the jazz clubs that were a mainstay of New York nightlife at the time. He played, as one of the original members, in the American Symphony Orchestra under Leopold Stokowski and served as solo double bassist with the Robert Shaw Chorale. In 1966 he joined the Cincinnati Symphony Orchestra for a 30 year stay in which the orchestra premiered over 20 large works and countless smaller pieces composed for Young People’s concerts, Pop’s concerts, tours and special occasions. During his tenure every music director - including Max Rudolf, Thomas Schippers, Walter Suskind, Michael Gielen and Jesús López-Cobos - commissioned him to compose works to feature various principal players or the orchestra itself on concerts, recordings and tours. He has written music for Dave Brubeck, Eddie Daniels, Duke Ellington, Cleo Laine, Benjamin Luxon, Sherill Milnes, Gerry Mulligan, Roberta Peters, François Rabbath, Ruggerio Ricci, Doc Severinsen and Richard Stoltzman. Among America’s most performed contemporary composers, almost every major, metropolitan and regional orchestra in the U.S. as well as orchestras in all parts of Asia, South America and Europe have performed his compositions. -
Landrus Dissertation
©2019 Brian Landrus ALL RIGHTS RESERVED THE EVOLUTION OF THE BARITONE SAXOPHONE CONCERTO By BRIAN LANDRUS A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Dr. Steven Kemper And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey May, 2019 ABSTRACT OF THE DISSERTATION The Evolution of the Baritone Saxophone Concerto by BRIAN LANDRUS Dissertation Director: Dr. Steven Kemper Since the invention of the saxophone in 1840, there have been relatively few compositions written specifically for the baritone saxophone. Even less common are baritone concertos, defined as large ensemble works that feature a baritone soloist. Since the 1950s, however, there has been a substantial increase in this repertoire. This has been facilitated by virtuosic artists in the jazz idiom, who developed new performance techniques and commissioned many new works. The creation of large ensemble compositions featuring baritone began in the 1950s through the collaboration of Harry Carney and Duke Ellington. This trend continued with baritonist Gerry Mulligan commissioning several works, and then creating a concerto himself. Following the use of the baritone as a solo instrument in jazz, classical composers inspired by jazz predecessors began creating works for baritone and large ensemble in the 1980s. Jazz composers have also been influenced by classical music, as evidenced by the application of concerto forms and practices beginning in the 1970s. The increase in virtuosity, timbral effects, and instrumental range has aided the exploration of these baritone compositions.