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SFJAZZ Collective Plays the Music of Stevie Wonder at the Spanos
University News & Information California Polytechnic State University, San Luis Obispo, California March 6, 2012 NEWS RELEASE FROM CAL POLY ARTS: CONTACT: LISA WOSKE, [email protected] TICKET SALES: 805/756-2787 FOR IMMEDIATE RELEASE SAN LUIS OBISPO, CALIFORNIA – On Thursday, March 22, 2012 at 7:30 p.m. in the Alex and Faye Spanos Theatre, Cal Poly Arts proudly presents the SFJAZZ Collective, in a special tour entitled “The Music of Stevie Wonder.” Each year, the SFJAZZ Collective honors the work of an acknowledged master by revisiting classics from that artist’s repertoire. For 2012, Stevie Wonder is the ensemble’s featured composer – an artist outside of the jazz tradition, but one whose sophisticated songcraft and timeless melodies are more than worthy of exploration. “It takes a brave soul to tackle the music of Stevie Wonder. The latest incarnation of the SFJAZZ Collective happens to contain eight of them." — San Francisco Chronicle The Collective includes: Antonio Hart – Alto Saxophone Mark Turner – Tenor Saxophone Avishai Cohen – Trumpet Robin Eubanks – Trombone Stefon Harris – Vibraphone, Marimba Edward Simon – Piano Matt Penman – Bass Eric Harland – Drums The evening includes re-arrangements of work from modern music master Wonder, plus all-new original compositions, commissioned exclusively for this ensemble by SFJAZZ. Stevie Wonder material featured: “Superstition” – arranged by Miguel Zenon; “Sir Duke” – arranged by Avishai Cohen; “Blame it on the Sun” – arranged by Mark Turner; “Look Around” – arranged by Stefon Harris; “My Cherie Amour” arranged by Edward Simon; “Race Babbling” – arranged by Robin Eubanks; “Creepin’” – arranged by Matt Penman; and “Do I Do” – arranged by Eric Harland. -
Artist Series – Gilbert Kalish Program Notes
ARTIST SERIES – GILBERT KALISH PROGRAM GEORGE CRUMB (b. 1929) Three Early Songs for Voice and Piano (1947) Night Let It Be Forgotten Wind Elegy Tony Arnold, soprano • Gilbert Kalish, piano FRANZ SCHUBERT (1797-1828) “Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965, Op. 129 (1828) Lisette Oropesa, soprano • David Shifrin, clarinet • Gilbert Kalish, piano JOHANNES BRAHMS (1833-1897) Quartet No. 3 in C minor for Piano, Violin, Viola, and Cello, Op. 60 (1855-56, 1874) Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Gilbert Kalish, piano • Nicolas Dautricourt, violin • Paul Neubauer, viola • Torleif Thedéen, cello NOTES ON THE PROGRAM Three Early Songs for Voice and Piano (1947) George Crumb (b. CHarleston, WV, 1929) Crumb wrote these songs in 1947, the year he graduated high school and entered Mason College in his native Charleston, West Virginia. His now-wife of 70 years, Elizabeth May Brown, was the first to sing them and they are dedicated to her. They are wholly unlike the works that Crumb eventually became famous for—their sound is more early 20th century art song than the unique and otherworldly sound palette he would later develop. Crumb explained that in West Virginia at that time, Debussy was “almost an ultra-modern.” These songs, with delightful melodies and floating harmonies, show that young Crumb, even before finding his mature style, still had a gift for music that is understated yet emotionally powerful. Crumb suppressed the vast majority of his student compositions but he’s allowed performance of these songs. “Most of the music I wrote before the early sixties (when I finally found my own voice) now Chamber Music Society of Lincoln Center causes me intense discomfort,” he writes, “although I make an exception for a few songs which I composed when I was 17 or 18.… these little pieces stayed in my memory and when, some years ago, Jan DeGaetani expressed an interest in seeing them (with a view to possible performance if she liked them), I made a few slight revisions and even decided to have them published. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
John Anthony Final Revisions Thesis
Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” by John J. Anthony Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Jazz Studies YOUNGSTOWN STATE UNIVERSITY August, 2012 Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” John J. Anthony I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: John J. Anthony, Student Date Approvals: Dr. David Morgan, Thesis Advisor Date Dr. Kent Engelhardt, Committee Member Date Dr. Randall Goldberg, Committee Member Date Dr. Glenn Schaft, Committee Member Date Peter J. Kasvinsky, Dean of School of Graduate Studies and Research Date ABSTRACT Adam Rogers is one of the most influential jazz guitarists in the world today. This thesis offers a transcription and analysis of his improvisation on the Thelonious Monk composition “Let’s Cool One” which demonstrates five improvisational devices that define Rogers’s approach over this composition: micro-harmonization, rhythmic displacement, motivic development, thematic improvisation, and phrase rhythm. This thesis presents a window into the aesthetics of contemporary jazz improvisation and offers a prism for conceptualizing not only the work of Adam Rogers, but -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
Gerry Teekens, Whose Criss Cross Label Was a Harbor to Several Jazz Generations, Dies at 83
♫ Donate Live Stream · WBGO LOADING... Saturday Afternoon Jazz On the Air Music News Listen & Connect Calendars & Events Support About Search Gerry Teekens, Whose Criss Cross Label Was a Harbor to Several Jazz Generations, Dies at 83 By DAVID R. ADLER • NOV 6, 2019 ! Twitter " Facebook # Google+ $ Email LEO VAN VELZEN / LEOVANVELZEN.COM Gerry Teekens, founder and proprietor of Criss Cross Jazz, an unassuming Dutch indie label that became a vital repository of recorded jazz from the 1980s onward, died on Oct. 31. He was 83. His death was confirmed by his son, Jerry Teekens, Jr. At the news, tributes poured in from Criss Cross artists old and new, including soprano saxophonist Sam Newsome and guitarist David Gilmore. Formerly a professional drummer, Teekens founded Criss Cross in 1981 with a mission to document swinging, straight-ahead jazz of the highest caliber. At first the roster featured musicians as revered as guitarist Jimmy Raney and saxophonist Warne Marsh, but it grew to include the young and the promising: saxophonists Kenny Garrett, Chris Potter and Mark Turner, to name but a few, and pianists Orrin Evans, Bill Charlap and Benny Green. Countdown Watch later Share Multiple times a year, Teekens would cross the ocean from Enschede, Netherlands (thus the Criss Cross name), taking up at Rudy Van Gelder’s famed studio in New Jersey (and later at Systems Two in Brooklyn) for a full week of recording — knocking out an album a day, in the old-school way. In recent years the Criss Cross aesthetic began to broaden, with artists like alto saxophonist David Binney and trumpeter Alex Sipiagin using electronics and synthesizers, moving beyond the strictures of one-take-and-done while still remaining on board with the label. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
The Music of Pierre Jalbert
" an acknowledged chamber-music master." – THE NEW YORKER American composer Pierre Jalbert has been recognized for his richly colored and superbly crafted scores and “music of fierce and delicate inventiveness [with] kaleidoscope of moods and effects.” (Cleveland Plain Dealer) Painting vibrant and picturesque sonic portraits for the listener, he has developed a musical language that is engaging, expressive, and deeply personal. Among his many honors are the Rome Prize, BBC Masterprize, Chamber Music Society of Lincoln Center's Stoeger Award, given biennially "in recognition of significant contributions to the chamber music repertory," and an award from the American Academy of Arts and Letters. Jalbert’s work has drawn inspiration from a variety of sources ranging from plainchant melodies to natural phenomena, and his French-Canadian heritage, hearing English folk songs and Catholic liturgical music growing up. He has earned a reputation for his mastery of color, in both his chamber and orchestral scores, creating timbres that are vivid yet refined and tonally centered, combining modal, tonal, and dissonant sonorities as it travels new and unusual paths, while retaining a sense of harmonic motion culminating in a completed journey. His music has been commissioned and performed worldwide, including the St. Paul and Los Angeles Chamber orchestras, the American Composers Orchestra, and the Symphonies of Houston, Vermont, Albany, Budapest, London, Boston and Milwaukee, the National Symphony, Cabrillo and Eastern Festival Orchestras. He received two Meet the Composer grants, including one for its “Magnum Opus Project.” Jalbert served as Composer-in-Residence with the Los Angeles Chamber Orchestra, California Symphony and Chicago's Music in the Loft. -
The Newness of It All
the Newness of it all... SEPTEMBER 16–18, 2016 Michelle Djokic, Artistic Director Friday,Concert September 16, 1 2016 7:00 pm The Barn at Glen Oaks Farm, Solebury, PA “Oh Gesualdo, Divine Tormentor” Bruce Adolphe SEPTEMBER for string quartet (b. 1955) 16–18, 2016 chamberfest IN THE HEART OF BUCKS COUNTY Deh, come in an sospiro Belta, poi che t'assenti Resta di darmi noia nco Gia piansi nel dolore Moro, lasso Adolphe - More or Less Momenti Clarinet Quintet in A major, K. 581 Wolfgang A. Mozart for clarinet and string quartet (1756 – 1791) THE ARTISTS Allegro Larghetto Piano - Anna Polonsky Menuetto Clarinet - Romie de Guise-Langlois Alllegretto con variazione-Adagio-Allegro Violin - Philippe Djokic, Emily Daggett-Smith Viola - Molly Carr, Juan-Miguel Hernandez Cello - Michelle Djokic k INTERMISSION k C String Quintet in C major, Opus 29 Ludwig van Beethoven for two violins, two violas and cello (1770 – 1827) Allegro moderato Adagio molto espressivo Scherzo -Allegro Presto k 1 OpenSaturday, SeptemberRehearsal 17, 2016 Sunday,Concert September 18,2 2016 10:30 am-1:00 pm & 2:00-5:00 pm 3:00 pm The Barn at Glen Oaks Farm, Solebury, PA The Barn at Glen Oaks Farm, Solebury, PA Art of the Fugue, BWV 1080 Contrapunctus I-IV Johann S. Bach Open rehearsal will feature works from for string quartet (1685 – 1750) Sunday’s program of Bach, Copland and Schumann Contrapunctus I - Allegro Contrapunctus II- Allegro moderato k Contrapunctus III - Allegro non tanto Contrapunctus IV - Allegro con brio Sextet Aaron Copland for clarinet, piano and string quartet (1900 – 1990) Allegro vivace Lento Finale k INTERMISSION k Piano Quartet in Eb Major, Opus 47 Robert Schumann for piano, violin, viola and cello (1810 – 1856) Sostenuto assai - Allegro ma non troppo Scherzo, Molto vivace Andante cantabile Finale, Vivace k For today's performance we are using a Steinway piano selected from Jacobs Music Company 2 3 PROGRAM NOTES Momenti, which consists of some of the strangest moments in Gesualdo’s music orga- nized into a mini tone-poem for string quartet. -
Prominent Schools of Clarinet Sound (National Styles)
Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments. -
Curtis on Tour
Curtis on Tour The Nina von Maltzahn Global Touring Initiative of the Curtis Institute of Music WHEN: VENUE: Sunday, BInG March 4, 2018 cOncErT haLL 4:00 PM Photo: Pete checchia Program Artists Sonata for Clarinet and Piano Leonard Bernstein (1918–1990) david Shifrin, clarinet Grazioso—Un poco più mosso dominic armstrong, tenor Andantino—Vivace e leggiero Zorá String Quartet david Shifrin, clarinet • Jiacheng Xiong, piano Jiacheng Xiong, piano Zizai ning , cello “Extinguish my eyes” from Two Love Songs Leonard Bernstein “I’ve been Afraid” from A Quiet Place “So Pretty” “When My Soul Touches Yours” from Two Love Songs About “My Twelve Tone Melody” the Program “Dream with Me” from Peter Pan dominic armstrong, tenor • Jiacheng Xiong, piano • Zizai ning, cello Leonard Bernstein, aaron copland, and George Gershwin composed some of Sextet for Piano, Clarinet, and String Quartet Aaron Copland (1900–1990) america’s most iconic and beloved Allegro vivace music. Each told a distinctly american Lento story: the Tin Pan alley songs of Finale: precise and rhythmic Gershwin, the open spaces of the david Shifrin, clarinet • Zorá String Quartet • Jiacheng Xiong, piano frontier as expressed by copland, or the —Intermission— bustling jazz-flavored urbanity of Bernstein. With this program curtis joins Lullaby George Gershwin (1898–1937) the worldwide centenary celebrations of Zorá String Quartet Leonard Bernstein, a 1941 conducting graduate, who studied at the school in Songs and Dances (from West Side Story ) Leonard Bernstein his early twenties just before