80150.Pdf (3.14

Total Page:16

File Type:pdf, Size:1020Kb

80150.Pdf (3.14 2012 Band Music score–partitúraCataloguescore and parts–partitúra és szólamok EDITIO MUSICA BUDAPEST ConcertBandCover.indd 1 2012.06.22. 10:58:19 GRADE Balázs Árpád Balázs our ictur s F P e Négy kép for concert band · ifjúsági fúvószenekarra Four Pictures INSTRUMENTATION score and parts–partitúra és szólamok March . Cantilena . Arietta . Game Piccolo Additional parts Flute for Europe Clarinet in E Horn 1 in E Clarinet 1 in bB Horn 2 in Eb Z.12368SET Clarinet 2 in Bb Horn 3 in Eb Négy kép PART és SET.indd 2 5/4/11 9:17:07 PM Clarinet 3 in Bb Horn 4 in Eb Score b b Bass clarinet in B Trombone 1 in B Order No.: 1368 b b Bassoon Trombone 1 in B Price code: FP1 b Alto saxophone in E Trombone 2 in B Size: 3 × 30, cm Tenor saxophone in Bb Trombone 2 in Bb Number of pages: 0 b b Baritone saxophone in E Trombone 3 in B Score and parts Cornet 1 in B b Trombone 3 in Bb Order No.: 1368SET b b Cornet 2 in B Baritone (Flicorno Price code: FS5 b Trumpet 1 in B tenore) in B Size: 3 × 30, cm b b Trumpet 2 in B Euphonium in B Number of pages: 0 + 190 Trumpet 3 in Bb Euphonium in B b b b Horn 1 in F Bass (Tuba) 1 in E The teachers under whom Árpád Balázs studied composition each independ- Horn 2 in F Bass (Tuba) 1 in Eb b ently formed the opinion that with his lyrical gift Árpád Balázs’s true creative Horn 3 in F Bass (Tuba) 2 in B field would be that of choral music and wind ensembles. Their early predic- Horn 4 in F Bass (Tuba) 2 in Bb b tions are borne out by the roughly two hundred and fifty works for choir and Trombone 1 almost twenty for concert band that the composer has since produced. It is Trombone 2 interesting that in the suite entitled Four Pictures the stylistic features of these Trombone 3 two related musical fields are united. In it the wind instruments sing! It was not Baritone in B by chance that the expansive second movement was given the title Cantilena, (Flicorno tenore)b while the slightly livelier but just as lyrical third movement was entitled Ari- Euphonium etta. The opening movement of the work is a stridently jolly, energetic March, Bass (Tuba) 1 but not one of the rigidly military kind: the 6/8 rhythm contributes to its light- Bass (Tuba) 2 hearted character. Ferenc Farkas later described Árpád Balázs’s compositional Percussion style as follows: “What distinguishes him from other popular composers is me- (Triangle, Snare drum, ticulousness, taste and the artistic aspiration that is always in evidence, in ad- Suspended cymbal, dition to popularity.” Bass drum) Árpád Balázs (b. 1937) studied composition at the Ferenc Liszt Academy of Music under Ferenc Farkas, then received further training in Aram Khachatu- rian’s and Goffredo Petrassi’s master classes. From 1990 until 1998 he was the founding president of the Hungarian Wind Music Association, and from 1998 its Life President. With his works he has won more than 50 prizes at Hungarian and international competitions. His work has been recognized by the Hungar- ian state with many awards, and in Salzburg he was elected a regular member of the European Academy of Sciences and Arts. Duration 3’47” www.emb.hu/product/12368/ Track 1–4 www.emb.hu/product/12368SET/ EMB • Concert Band Series GRADE Zempléni László Zempléni European Journey UtazásEurópában for concert band · ifjúsági fúvószenekarra European Journey score and parts–partitúra és szólamok INSTRUMENTATION 1. Germany . Ireland . 3. France . 4. Norway . 5. Albania . 6. Italy . 7. Hungary Piccolo* Additional parts Flute 1 for Europe Flute 2 Horn 1 in E Oboe 1* Horn 2 in Eb Z.14 769SET Oboe 2* Trombone 1b in B Bassoon 1* Trombone 1 in bB Score b Order No.: 14769 Bassoon 2* Trombone 2 in B b Price code: FP Clarinet 1 in B Trombone 2 in B b b Size: 3 × 30, cm Clarinet 2 in B Trombone 3 in B b Number of pages: 8 Clarinet 3 in B Trombone 3 in Bb b b Alto clarinet in E * Euphonium 1 in B Score and parts b b Bass clarinet in B * Euphonium 2 in B Order No.: 14769SET b * b Price code: FS10 Alto saxophone 1 in E Bass (Tuba) 1 in E b* b Size: 3 × 30, cm Alto saxophone 2 in E Bass (Tuba) 1 in E b Number of pages: 8 + 388 Tenor saxophone in B * Bass (Tuba) 2 in Bb b b Baritone saxophone Bass (Tuba) 2 in B in E * b László Zempléni, the author and in other cases arranger of a large number Cornetb 1 in B of pedagogical volumes published by EMB, has this time arranged European Cornet 2 in Bb folk songs for young band. The following songs feature in the volume: “Laß’ Trumpet 1 in bB doch meine Jugend” (German), “My native land” (Irish), “Ah mon beau château” Trumpet 2 in Bb (French), “Kom, skal i klippe” (Norwegian), “Moj llokumja me sheqer” (Albanian), Trumpet 3 in Bb “Ma come balli bella bimba” (Italian) and “Az oláhok, az oláhok” (Hungarian). Horn 1 in F b The pieces can be performed as a coherent series or separately, and conduc- Horn 2 in F tors can select from them to form -, 3- or 4-movement groups. Trombone 1 Trombone 2 László Zempléni (b. 1947) completed his music studies at the Ferenc Liszt Trombone 3 Academy of Music, Budapest. From 1969 to 008 he was timpanist of the Hun- Euphonium 1 (ossia: in B ) garian State Opera Orchestra. At the same time he taught percussion instru- Euphonium 2 (ossia: in Bb) ments and chamber music at music schools, and for several years at the Ferenc Bass (Tuba) 1 b Liszt Academy of Music. The fruit of his almost four decades of work in music Bass (Tuba) 2 teaching includes much chamber music and numerous works for string or- Timpani* chestra and wind ensembles, which he composed specifically for young people Mallet percussion studying music. Percussion (4 players) * The parts indicated may be omitted if necessary 7’10” Duration www.emb.hu/product/14769/ Track 5–11 www.emb.hu/product/14769SET/ EMB • Concert Band Series 3 GRADE 3 Balázs Árpád Balázs Early HungarianDancesfromGömör Régi magyartáncok Gömörbol for concert band · ifjúsági fúvószenekarra Early Hungarian Dances INSTRUMENTATION score and parts–partitúra és szólamok from Gömör Piccolo Additional parts Grazioso . Energico, molto ben ritmico . Flute for Europe Vivo Oboe Horn 1 in E Clarinet 1 in B Horn 2 in Eb Z. 14737SET Clarinet 2 in Bb Horn 3 in Eb BALÁZS/ Régi PART és SET.indd 2 12/20/11 4:36:01 PM Clarinet 3 in Bb Horn 4 in Eb Score Bass clarinet inb B b Trombone 1 in B Order No.: 14737 b b Bassoon Trombone 1 in B Price code: FP1 b Alto saxophone in E Trombone 2 in B Size: 3 × 30, cm Tenor saxophone in Bb Trombone 2 in Bb Number of pages: 0 b Baritone saxophone in E Trombone 3 in B b b Score and parts Cornet 1 in B Trombone 3 in Bb Order No.: 14737SET Cornet 2 in Bb b Baritone in B Price code: FS6 b b Trumpet 1 in B Baritone in C Size: 3 × 30, cm b Trumpet 2 in B Euphonium in B Number of pages: 0 + 19 Trumpet 3 in Bb Euphonium in Bb b Horn 1 in F Bass (Tuba) in E b The title of the suite Early Hungarian Dances from Gömör suggests the arrange- Horn 2 in F Bass (Tuba) in Eb ment and harmonization of dance tunes, but this three-movement cycle is far Horn 3 in F Bass (Tuba) in B b more than that: in fact, the old court dances that provide the thematic material Horn 4 in F Bass (Tuba) in Bb have been freely thought through and brought to completion. The composer Trombone 1 b has breathed new life into the 18th-century melodies, as Zoltán Kodály did Trombone 2 with the Galánta and Marosszék dances, Antonin Dvořák with Slav dances, and Trombone 3 Johannes Brahms with those of Hungary. The chief virtues of the work are its Baritone in B colourful, varied instrumentation, the tasteful combination of its archaic style (Flicorno tenore)b with the musical language of our day, and not least the fact that its every bar is Euphonium enjoyable to play and easy to listen to. Bass (Tuba) Timpani Árpád Balázs (b. 1937) studied composition at the Ferenc Liszt Academy of Snare drum, Bass drum Music under Ferenc Farkas, then in 1967 received further training in Aram Kha- chaturian’s master classes, and in 1970 in Rome, in those given by Goffredo Pet- rassi. His rich œuvre includes music for the theatre, oratorios, cantatas, pieces for string orchestra and for concert band, instrumental solo works and cham- ber music, choral works, film music, folk song arrangements and pedagogical works, and he has also written three pedagogical books on musical subjects. From 1990 until 1998 he was the founding president of the Hungarian Wind Music Association, and from 1998 its Life President. With his works he has won more than 50 prizes at Hungarian and international competitions. His work has been recognized by the Hungarian state with many awards, and in Salzburg he was elected a regular member of the European Academy of Sciences and Arts.
Recommended publications
  • President's Welcome
    PRESIDENT’S WELCOME Friends, Colleagues, and Students, Welcome to the 82nd Annual Mississippi Bandmasters Association State Band Clinic in Natchez. The other members of the MBA Executive Board and I hope that you will experience growth, new perspectives, and renewed aspirations for teaching and learning music in your community during this year’s clinic. I would like to wish all of the students in attendance a heartfelt congratulations on participating in this esteemed event. You represent the very best of the students from your band programs – I encourage you to take that sentiment to heart. Thousands of students have shared in this honor for the last 82 years. Many of you will meet friends this weekend that you will have throughout your life. Lastly, I encourage you to take this opportunity to enjoy making music with others and learning from some of the most outstanding teachers in our country. For members of our association, take the time to visit with the exhibitors and clinicians throughout the weekend. Take advantage of the clinics and presentations that are offered so that you may leave Natchez with new insights and perspectives that you can use with your students at home. Clinic is also a time to renew old friendships and foster new ones. I hope that veteran teachers will take the time to get to know those that are new to our profession and new teachers will seek out the guidance of those with more experience. To our guest clinicians, exhibitors, featured ensembles, and conductors we welcome you and hope that you will enjoy your time with us.
    [Show full text]
  • Concertino for Trumpet by Emil Petrovics (1930-2011): a Transcription for Brass Ensemble (2011) Directed by Dr
    KEYSER, ALLYSON BLAIR, D.M.A. Concertino for Trumpet by Emil Petrovics (1930-2011): A Transcription for Brass Ensemble (2011) Directed by Dr. Edward Bach. 139 pp. Emil Petrovics (1930-2011) was an award-winning, prominent music figure in the history of Hungarian music. Known primarily for his one-act opera C’est la guerre, Petrovics also wrote film music, an oratorio, a string quartet, and numerous instrumental and vocal works. Among his instrumental music, Concertino is the only solo work Petrovics ever composed for solo trumpet with orchestra. Significant professional posts for Petrovics included professor of composition and conducting at the Franz Liszt Academy of Music, musical director of the Petöfi Theatre in Budapest, president of the Hungarian Association for Copyright Protection, and director of the Hungarian State Opera. In addition, Petrovics was a member of the Hungarian Parliament. The purpose of this study is to promote the work of Emil Petrovics through a performance edition of Concertino transcribed for brass ensemble. A secondary purpose of this study is to provide insight into the compositional process of Petrovics with the support of personal interviews with the composer prior to his death. The document presents a biographical sketch of Petrovics, a brief description of the three-movement work, and includes the arrangement of the Concertino for brass ensemble. Trumpeter Gyorgy Geiger and the Budapest Radio Symphony Orchestra commissioned the orchestral version of Concertino by Petrovics in 1990. Editio Musica Budapest published a piano reduction of Concertino, but the orchestral score was not published. Special permission to arrange the work was required and subsequently granted by the composer and EMB in December 2010.
    [Show full text]
  • Graduate Recital in Trombone
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 Graduate recital in trombone Thomas Mortenson University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Thomas Mortenson Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Mortenson, Thomas, "Graduate recital in trombone" (2019). Dissertations and Theses @ UNI. 977. https://scholarworks.uni.edu/etd/977 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. GRADUATE RECITAL IN TROMBONE An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music in Performance Thomas Mortenson University of Northern Iowa May 2019 This Abstract by: Thomas Mortenson Entitled: Master’s Recital: Thomas Mortenson, Trombone Has been approved as meeting the thesis requirement for the Degree of Master of Music in Performance __________ ______________________________________________________ Date Dr. Anthony Williams, Chair, Thesis Committee __________ ______________________________________________________ Date Dr. Alison Altstatt, Thesis Committee Member __________ ______________________________________________________ Date Dr. Randy Grabowski, Thesis Committee Member __________ ______________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Thomas Mortenson Entitled: Master’s Recital: Thomas Mortenson, Trombone Date of Recital: March 12, 2019 Has been approved as meeting the thesis requirement for the Degree of Master of Music in Performance __________ ______________________________________________________ Date Dr. Anthony Williams, Chair, Thesis Committee __________ ______________________________________________________ Date Dr.
    [Show full text]
  • Romanian Folk Music for Bassoon and Piano
    Romanian Folk Music for Bassoon and Piano: Three New Arrangements and Recordings from the Works of George Enescu and Béla Bartók by Sarah Burnett Rice-Misura A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2020 by the Graduate Supervisory Committee: Albie Micklich, Chair Elizabeth Buck Catherine Saucier ARIZONA STATE UNIVERSITY May 2020 ABSTRACT The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe. The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six- movement work Romanian Folk Dances by Béla Bartók. Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
    [Show full text]
  • State Band Clinic Roster
    State Band Clinic Roster First Name Last Name Instrument School Aliyah Gillespie Clarinet Aberdeen High School Eric Matthews Alto Sax Aberdeen High School Jared Moore Tuba Alcorn Central High School Chloe Hatfield Mallets Alcorn Central Middle School Eliza Noe French Horn Amory High School Eli Black Tuba Amory Middle School Jacob Wubben Bassoon Armstrong Middle School Destiny Baswell Flute Baldwyn High School Chauncey Wade Baritone Baldwyn High School Caleb Fondren Percussion Batesville Junior High School Jonathan Alicea-Pagan Clarinet Bayou View Middle School Hannah Jordan Clarinet Beat Four Elementary School Hannah Davis Trombone Belmont High School Kaitlyn Griffin Trumpet Belmont High School Julia Kammer French Horn Biloxi Jr. High Drew Fisher Mallets Booneville High School Angelina Meeks Clarinet Booneville High School Ashleigh Owens Trombone Booneville Middle School Ana Dean Bass Clarinet Brandon High School Jeffery Garrett Trombone Brandon Middle School Hayle Brown Trumpet Bruce High School Kayla Webb Baritone Bruce High School Caitlin McCormick Baritone Bruce Middle School Alex Dailey Percussion Buckatunna Elementary School Samuel Davis Clarinet Burnsville Middle School Robert McGee Tuba Byram Middle School Ty Jernigan Percussion Caledonia High School Brandon White Trumpet Caledonia High School Stacy Brown Trombone Calhoun City High School Samone Walker Percussion Calhoun City High School Zahria Little Flute Carver Middle School Madison Hester Flute Center Hill High School Zack McCain Baritone Center Hill High School Jordan Riecke
    [Show full text]
  • Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas
    Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas Item Type text; Electronic Dissertation Authors Bade, Andy Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:26:52 Link to Item http://hdl.handle.net/10150/301478 ACHIEVING BALANCE IN MUSIC FOR CHORUS AND BAND: ANALYSIS AND PERFORMANCE ISSUES IN REQUIEM BY FRIGYES HIDAS by Andy Bade __________________________ Copyright © Andy Bade 2013 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Andy Allen Bade entitled Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas and recommend that it be accepted as fulfilling the document requirement for the Degree if Doctor of Musical Arts ________________________________________________Date: 5/02/2013 Bruce Chamberlain ________________________________________________Date: 5/02/2013 Elizabeth Schauer ________________________________________________Date: 5/02/2013 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Programme Calendar
    PROGRAMME CALENDAR Dear Reader, First and foremost, let me allay any fears that the anniversary of Shakespeare’s dates that should be marked on the calendar in red letters. Our 120 Hungarian artists will also be joined in song by names birth in 2014 passed us by here at the Opera House. It’s just that we had other like Gruberova, D’Arcangelo, Herlitzius, Kampe, Kwangchul, Watson, Tómasson, Konieczny, Neil, Chacón-Cruz, Valenti, things to do: the festival of the Strauss repertoire that was many years in the Maestri, Ataneli and Demuro, while top domestic conductors and their world-renowned peers will be passing the baton making and the exploration of the theme of Faust, for instance. Now that the to star names like Plasson, Pido, Badea and Steinberg, and the 2nd Iván Nagy International Ballet Gala will once again 400th anniversary of the extraordinarily multi-faceted playwright is approaching, welcome the greats of the global ballet scene – this is because, ever since the times of Erkel and Mahler, the Hungarian State the opportunity has arisen for Hungary’s most prestigious cultural institution to Opera has proclaimed the joyful place among equals occupied by Hungarian culture. mobilise its enormous creative powers in service of exploring the remarkably broad literature of the Shakespearean universe. Broken down into figures, the 2015/2016 season of the Hungarian State Opera will see 500 full-scale performances with 33 new productions and 45 from the repertoire, a total of 100 concerts, chamber performances, gala and other events, some 200 This will not be a commemoration of a death; how could it be? We come to pay children’s programmes, 600 tours of the building and more than 1,100 ambassadorial presentations.
    [Show full text]
  • Shakespeare400+ Festival
    SHAkeSPe ARe400+ F e STIVAL Shakes_festival_130x210_eng.indd 7 5/13/15 10:27 AM PRe MIe R e S IN 2015/16 thomas adès The Tempest Opera in three acts Conductor | Péter Halász Director | Ludger Engels Szereplők Ω Franco Pomponi, Erika Miklósa, István Horváth, Andrea Szántó, Péter Balczó, István Kovácsházi, Tamás Tarjányi, Krisztián Cser, Zsolt Haja, András Palerdi The composer attempts the impossible by taking Shakespeare’s play and then, without adapting it as a whole, but still preserving the spirit, wildness and philosophically circumspect playfulness of the original, brings to life the story of the dethroned king. Through the tale of Prospero, Caliban and Ariel – as well as the young Ferdinand and Miranda – the viewer is confronted with issues such as the thirst for vengeance, the power of good and evil, the nature of magic, the possibility of love, and paths to reconciliation. Presented in Hungary for the first time. 21, 25, 28 MAY & 1 JUNE 2016 OPERA HOUSE enrico Wolf-Ferrari May Celebration Sly Opera in three acts With the end of the Shakespeare season approaching, the Hungarian State Opera will be organising its biggest festival ever – and certainly its most varied Conductor | Sándor Gyüdi Director | Pál Göttinger – between May 17 and 2 June 2016. While it won’t be easy to exceed the scale Cast Ω Boldizsár László, Zoltán Kelemen, Krisztina Kónya, András Kiss of 2014’s Strauss150 festival or the scope of the previous year’s series on the theme of Faust, the unmatched influence of the „Swan of Avon” nevertheless On one visit to a London pub where he is a regular, the poet Sly drinks ensures that this year will see premieres of 17 different adaptations in four himself unconscious.
    [Show full text]
  • 2015 Mississippi All State Concert Band
    Mississippi Bandmasters Association www.msbandmasters.com Matt Rowan Lane Thompson Sharon Laird Len Killough Kim Hallmark Sid McNeil President 1st Vice President 2nd Vice President 3rd Vice President Member-At-Large Past President Pearl High School J.Z. George High School Oak Grove High School Hernando High School Lewisburg High School Olive Branch High School 500 Pirate Cove P.O. Box 398 5198 Old Hwy. 11 805 Dilworth Lane 1755 Craft Rd. 9366 E. Sandidge Rd. Pearl, MS 39208 North Carrollton, MS 38947-0398 Hattiesburg, MS 39402 Hernando, MS 38632 Olive Branch, MS 38654 Olive Branch, MS 38654 601-932-7939 662-237-4701 Ext. 9 601-264-7106 662-429-7825 Ext. 124 662-890-6769 662-893-3344 ext. 11 [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Directors: Please see the attached and linked files pertaining to State Band Clinic. The Student List shows all students accepted to come to Natchez, including both the all-state concert band and clinic students. At the end of this file you will also find an All State Concert Band list that is in chair order. Please note that due to many new schools opting to bring students to clinic, we are over capacity; therefore, there will be no substitutions when canceling. Please make your students aware of their acceptance as soon as you see them and make sure they will be able to attend (this is an ACT date). Please contact Lane Thompson through email [email protected] for any cancellations as soon as you know them.
    [Show full text]
  • Thesis Title Page
    The Pennsylvania State University The Graduate School School of Music GERMAN AND FRENCH COMPOSITIONAL INFLUENCES IN BÉLA BARTÓK’S ORCHESTRAL WORKS 1903-1924: CASE STUDIES IN A METHODOLOGY OF APPROPRIATION A Thesis in Musicology by Paul A. Sommerfeld © 2011 Paul A. Sommerfeld Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2011 The thesis of Paul A. Sommerfeld was reviewed and approved* by the following: Charles D. Youmans Associate Professor of Musicology Thesis Adviser Marica S. Tacconi Professor of Musicology Sue E. Haug Professor of Music Director, School of Music *Signatures are on file in the Graduate School ii ABSTRACT Attending the Budapest premiere of Richard Strauss’s tone poem Also sprach Zarathustra in February 1902 profoundly influenced the subsequent trajectory of the young Béla Bartók’s musical endeavors. Afterward, the budding composer, who at the moment stood at a creative impasse, immersed himself in Strauss's orchestral works—Ein Heldenleben in particular—and thereafter resumed his compositional studies. In Strauss, Bartók discovered “the seeds of a new life,” a means with which he could create complex, serious music that he would unite with Hungarian characteristics—at least those elements that Europe as a whole associated with Hungarian identity at the time, meaning gypsy music and the verbunkos. Only with these “authentic” elements did Bartók believe he could craft a musical embodiment of the Hungarian ethos. Yet like many artists of the period, Bartók viewed Straussian modernism as a means to imbue his music with renewed vitality. Thus, he plunged into the tone poems of the world’s leading Teutonic composer.
    [Show full text]
  • Bartok Cover 6/6/07 4:12 Pm Page 1
    Bartok Cover 6/6/07 4:12 pm Page 1 CD IO D U A H T I BARTÓK W Connections A guide for performers and programmers by Malcolm Gillies www.boosey.com Bartok Cover 6/6/07 4:12 pm Page 3 BARTÓK Reading & Listening Photo: Ernest Nash / courtesy of Peter Bartók with Ditta in New York (1940) Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók with his phonograph machine in Bucharest at his Bösendorfer piano This handbook brings together key information about Bartók and Malcolm Gillies his works. Malcolm Gillies is Vice-President (Development) of the Further reading is listed in the on-line Bartók articles of The New Australian National University and Chair of the Australian Grove Dictionary of Music and Musicians (www.grovemusic.com) Youth Orchestra. As a musicologist he has written half a and Die Musik in Geschichte und Gegenwart (www.mgg- dozen studies of the life and works of Béla Bartók, online.com). including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s For more detailed studies of Bartók’s works see: extended article on Bartók. As a musician he has György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) associated with the Emerson, Belcea, New Zealand, and Elliott Antokoletz, The Music of Béla Bartók Australian quartets in presentations of Bartók’s cycle of (Berkeley: University of California Press, 1984). quartets, and co-curated a Bartók festival at Wigmore Hall, David Yeomans, Bartók for Piano London, in 2006. In 2007 he becomes the President of City (Bloomington: Indiana University Press, 1988) Photo: courtesy Bartók Archive Budapest University London.
    [Show full text]
  • DR. BRIAN L. BOWMAN COMPLETE VITA LISTING January 20, 2017
    DR. BRIAN L. BOWMAN COMPLETE VITA LISTING January 20, 2017 Table of Contents EDUCATION ......................................................................................................................2 TEACHING EXPERIENCE ................................................................................................2 COLLEGE TEACHING ......................................................................................................2 SUMMER MUSIC CAMPS ................................................................................................3 ADJUDICATION EXPERIENCE .......................................................................................3 OUTSTANDING STUDENTS ............................................................................................5 GUEST CLINICS, RECITALS AND SOLO PERFORMANCES ......................................6 Colleges and Universities ...................................................................................................6 Music Conferences and Workshops ....................................................................................9 High School Bands ...........................................................................................................13 Municipal Bands and Orchestra Solo Performances .........................................................13 Tenor Tuba Appearances ...................................................................................................15 OTHER PROFESSIONAL APPEARANCES ...................................................................15
    [Show full text]