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A Christmas Festival Adapted for String Orchestra
CONCERT STRING ORCHESTRA Grade 3½ A Christmas Festival Adapted for String Orchestra LEROY ANDERSON Adapted for String Orchestra by MICHAEL STORY INSTRUMENTATION 1 Conductor 8 1st Violin 8 2nd Violin 5 Viola 5 Cello 5 String Bass PROGRAM NOTES Leroy Anderson was born June 29, 1908 in Cambridge, Massachusetts. As a young boy, his mother taught him to play the organ. He studied at the New England Conservatory of Music. At the age of 17, Anderson enrolled in Harvard University to study German and Scandinavian languages, as well as music. He eventually became fluent in eleven languages. During college, he earned money by playing piano, string bass, and conducting in the Boston area. In his later college years, he directed the Harvard University band. In 1935, Arthur Fiedler hired Anderson to arrange music for the Boston Pops Orchestra, and encouraged him to compose original music as well. His most well known titles are “The Syncopated Clock,” “The Typewriter,” “Bugler’s Holiday,” “Fiddle- Faddle,” “Plink, Plank, Plunk,” and, perhaps his two most famous works, “Sleigh Ride” and “A Christmas Festival.” NOTES TO THE CONDUCTOR A classic holiday masterpiece is now available to string orchestras thanks to this faithful adaptation of the original arrangement as performed by the Boston Pops at its premiere. All of the great melodies are present in this very playable arrangement. Certain to be a spectacular opening or closing piece for holiday concerts year after year! NOTE FROM THE EDITOR All Belwin string parts have been carefully bowed and fingered appropriately by level. The Yellow Very Beginning series includes many bowings as well as reminder fingerings forfirst-time readers. -
CANNON, CAREY JOSEPH, DMA Joseph Willcox Jenkins
CANNON, CAREY JOSEPH, D.M.A. Joseph Willcox Jenkins: Male Chorus Arrangements of Stephen Collins Foster Melodies. (2012) Directed by Dr. Welborn E. Young. 130 pp. During his tenure as the first arranger for the United States Army Chorus (1956– 1959), Joseph Willcox Jenkins composed and arranged a prolific amount of male choral music, much of which remains unpublished. Outside the circles of the U.S. Army Chorus and Duquesne University, where he was a professor for forty years, much of Jenkins’s music is relatively unknown. His works, however, reflect a commanding knowledge of the male chorus, unique since of style, and creative use of many compositional techniques. Throughout his brief time with the Army Chorus, Jenkins arranged at least 270 pieces and composed a handful of original works. Among these works are fourteen arrangements of Stephen Collins Foster melodies that remain prominent in the ensemble’s performing repertoire to this day. This document presents six performance editions of Jenkins’s fourteen arrangements of the Stephen Collins Foster melodies: “Beautiful Dreamer,” “Camptown Races,” “Nelly Bly,” “Oh Susanna,” “Ring Ring de Banjo,” and “Some Folks.” These arrangements will be compared to the original songs, placed in historical context, and ultimately expand the choices of male choral repertoire. The research undertaken here stimulates the historical research of American male choruses, namely the United States Army Chorus, and provides the possibility for further study of Jenkins’s musical works. Additionally, along with this document, the results of this study were presented in printed performance editions of the selected works and performed in a lecture recital featuring the arrangements. -
Program Notes
Foothill Symphonic Winds David Bruce Adams, Director Piccolo: French Horn: Foothill Norma Ford* - Household Engineer Scott Dickerman* - Teacher Jennifer Co - Lawyer Becky Bell - Pharmacist Symphonic Flute: Kristina Granlund-Moyer - Teacher Jennifer Co* - Lawyer Nelson Iwai - Programmer Andrea Anderson - Sales Leader Stephanie Reusch - Supply Chain Winds Rebecca Bauer - Scientist Analyst David Bruce Adams Norma Ford - Household Engineer Trumpet and Cornet: Ann Hepenstal - Emergency Manager Tim Swensen* - Electrical Engineer Director Julie McAfee - Speech Pathologist Dana Bates - IT Tech (Retired) presents Victoria Williams - Music Teacher Paul Clement - Factory Worker Oboe: Paul Dhuse - QA Engineer Jenny Wong* - Software Engineer Anna Hubel - Data Scientist Dianne Alexander - Computer Paul Hubel - Practical Magician Technician Tracey Hurley - Music Store Staff Kim Hill - Clinical Lab Scientist Steve Kitzerow - Draftsman Mari Masuda - Software Engineer English Horn: Fred Munic - Engineer Kim Hill - Clinical Lab Scientist Josh Parker - Software Engineer E-flat Clarinet: Roy Stehle 2 - Electronics Engr. Trombone: (Retired) Kyle Adler* - Photographer John Brenneise - Software Developer B-flat Clarinet: Pat Chow - Structural Engineer Ann Guerra* - Administrator David Joffe - Software Engineer Brian Becker - Engineer David Papay - Software Engineer Alicia Breen - Engineer Bruce Packman - Navy Chief Musician Susan Byrne - Nurse (Retired) Owen Hablutzel - Appraisal Inspector Luke Paulsen - Software Engineer Laurie Ho - Underwriter Anthony Teresi -
Undergraduate Catalog 1977-1978
Directory ADDRESS—Uni^ersity, 600 Forbes Avenue, Pittsburgh, Pa 15219 Telephone Call specific Centrex (Direct Dial) number (see follo"ing), DUQUESNE UNIVERSITY for other offices, call 434-6000 PITTSBURGH, PENNSYLVANIA 15219 ADMISSION—Director of Admissions Administration Building First Floor Telephone (412) 434-6220/6221/6222 ADVISORS College of Liberal Arts and Sciences, College Hall, Room 215 Telephone (412) 434-6394 Schoolof Business and Administration, Rock%kell Hall, Room 403 Telephone (412) 434-6277/6278 School of Education, Canevin Hall, Room 214 Telephone (412) 434-6118/6119 School of Music, Room 315 relephone (412) 434-6083 School of Nursing, College Hall, Room 629 Telephone (412) 434-6548 School of Pharmacy, Mellon Hall of Science, Room 421 Telephone (412) 434-6385 Undergraduate Catalog ROTC—University Hall Telephone (412) 434-6614 1977-1978 CAMPUS MINISTRY—Administration Building First Floor Telephone (414) 434-6020 CAREER PLANNING AND P LAC EM E NT—Ad ministration Building Third Floor Telephone (412) 434-6644/6645/6646 College of Liberal Arts and Sciences CASHIER—Pa% ment of Tuition and Fees, Administration Building Ground Floor Telephone (412) 434-6585/6586/6587 School of Business and Administration C H A PLA IN—Ad ministration Building, First Floor School of Education Telephone (412) 434-6020/6021 School of Music COUNSELING AND LEARNING CENTER—Administration Building, Third Floor School of Nursing Telephone (412) 434-6661/6662 School of Pharmacy DEAN OF s rUDENTS—Duquesne Union Si\th Floor Telephone (412) 434-6657/6658 Reserve -
In Memoriam: Joseph Wilcox Jenkins
TEMPO Volume 13 TEMPO 2014-2015 Article 11 2015 In Memoriam: Joseph Wilcox Jenkins Follow this and additional works at: https://dsc.duq.edu/tempo Part of the Music Education Commons, Music Practice Commons, and the Other Music Commons Recommended Citation (2015). In Memoriam: Joseph Wilcox Jenkins. TEMPO, 13 (1). Retrieved from https://dsc.duq.edu/tempo/ vol13/iss1/11 This Article is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in TEMPO by an authorized editor of Duquesne Scholarship Collection. et al.: In Memoriam: Joseph Wilcox Jenkins InDr. MemoriamJoseph Willcox Jenkins The faculty, staff, and students of the Mary Pappert School of Music mourn the loss of Dr. Joseph Willcox Jenkins, who passed away on January 31, 2014, at the age of 85. Jenkins was born near Philadelphia, PA on February 15, 1928. He began his musical studies at the age of 6 and began composing music while in elementary school. He completed a degree in pre-law at Saint Joseph’s University, bachelor’s and master’s degrees from the Eastman School of Music (where he studied under Howard Hanson), and a doctorate in music from the Catholic University of America. In addition, he studied composition and counterpoint with Vincent Persichetti at the Philadelphia Conservatory. During the Korean War era, Jenkins served in the Army, holding positions on the arranging staff of the Army Field Band and as Chief Arranger for the U.S. Army Chorus. In 1961, he joined the music faculty in the Mary Pappert School of Music where he taught theory, orchestration, and composition. -
Phd-FLSHASE-2018-21 the Faculty of Language and Literature
PhD-FLSHASE-2018-21 The Faculty of Language and Literature, Humanities, Arts and Education DISSERTATION Defense held on 16/07/2018 in Esch-sur-Alzette, Luxembourg to obtain the degree of DOCTEUR DE L’UNIVERSITÉ DU LUXEMBOURG EN SCIENCES DE L’EDUCATION by Demosthenes DIMITRAKOULAKOS Born on 25 May 1979 in New York, USA AN INVESTIGATION INTO THE LIFE AND WORKS OF RICHARD LANE, MEMBER OF THE YOUNG COMPOSERS PROJECT: A COMPARATIVE STYLISTIC ANALYSIS OF CHORAL, CHAMBER ENSEMBLE, STRING ORCHESTRA, AND WIND BAND WORKS Dissertation Defense Committee Dr. Damien François Sagrillo, Dissertation Supervisor Assistant-Professor, Université du Luxembourg Dr. Claudine Kirsch, Dissertation Co-Supervisor Assistant-Professor, Université du Luxembourg Dr. Jon Mitchell, Dissertation Co-Supervisor Professor Emeritus, University of Massachusetts-Boston Dr. Nigel Marshall, External Member Senior Lecturer, University of Sussex Dr. Martin Uhrmacher, Chairperson Assistant-Professor, Université du Luxembourg ii ABSTRACT Richard Lane (1933-2004) was a prolific American composer from Paterson, New Jersey with approximately five-hundred pieces in his oeuvre. The primary research contribution of this study was to stylistically analyze, compare and contrast eight pieces composed by Lane during his career, with a focus on discovering the extent to which Lane developed his stylistic features as an adaptable and eclectic composer. Four of these works were completed early in his career during his two-year residency (1959-1961) in Rochester, New York and Lexington, Kentucky as a member of the Young Composers Project (YCP), while the other four works were completed during the last decade of his life (1994-2004). Choral, chamber ensemble, string orchestra and wind band works were selected to represent a broad overview of Lane’s repertoire for each of these four genres, across educational, community, and professional levels. -
CCB Library 2019
Bloomington-Normal Community Concert Band Library CONCERT SIZE: Updated November 2019 Page 1 oF 13 YEAR LAST NUMBER TITLE TYPE/STYLE COMPOSER/ARRANGER PLAYED PUBLISHER COPYRIGHT COST TIME Sousa Drawer King/Fillmore Drawer Patriotic Drawer Small Ensemble Bin on top oF cabinets Christmas Drawer C-0006 Mennuetto All'antico Classical G. Karganoff/arr. Tom Clark G. Schirmer 1918 C-0006 Melodie Classical Rudolf Friml/arr. Tom Clark G. Schirmer 1918 C-0006 IF Flowers Could Speak Classical Mana Zucca/arr. Tom Clark G. Schirmer 1918 C-0008 Spirit oF America Patriotic J.S. Zamecnik Sam FoX 1917 C-0012 Old Man River Broadway Jerome Kern/arr. Ferde GroFe' Harms, Inc. 1927 5:33 C-0014 Schon Rosmarin Classical Fritz Kreisler/arr. Erik Leidzen Charles Foley 1942 $5.50 Johann Strauss/arr. Franz C-0015 Die Fledermaus Opera Henning Summer, 2005 G. Schirmer 1937 C-0016 Way You Look Tonight, The Broadway Jerome Kern/arr. M.L. Lake Harms, Inc. 1936 3:00 Fred G Albers/arr. J.S. C-0017 In Poppyland Novelty Zamecnik Sam FoX 1915 C-0024 Don Quixote Suite V. F. SaFranek Carl Fischer Georges Bizet/arr. L.P. C-0025 L'Arlesienne Selections Suite Laurendeau Carl Fischer 1905 $3.00 Otto Hauerbach and RudolF C-0026 High Jinks Selection Broadway Friml/arr. Tom Clark G. Schirmer 1914 C-0027 Zampa Overture Overture F. Harold/arr. M.C. Meyrelles Carl Fischer 1891 C-0028 Poet and Peasant Overture Overture Suppe/arr. Geo. D. Barnard C.L. Barnhouse 1925 A. Carlo Gomez/arr. Herbert L. C-0029 Il Guarany Overture Overture Clarke Carl Fischer 1904 $4.50 Richard Wagner/arr. -
Music Written for Bassoon by Bassoonists: an Overview
Music Written for Bassoon by Bassoonists: An Overview By: Michael Burns Burns, Michael. “Music for Bassoon by Bassoonists an Overview.” The Double Reed, vol. 24-2, 2001. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterhouse, the prominent British bassoonist and scholar, lists some of the earliest known works written for bassoon1. Several pieces are listed that feature it either as part of an ensemble or in combination with one or two other solo instruments. It is worth noting that the first known composition for the bassoon alone is by a bassoonist, Fantasia per fagotto solo, a set of variations, appears in a collection written by Bertoloméo de Selma y Salaverde, a seventeenth century Spanish monk, bassoonist, and composer who published the Libro de Canzoni, Fantasia e Correnti in Venice in 16382. This work is also notable in that it descends down to a low Bb (Bbl), a note which was not believed to be possible on the instruments of that time, leading to speculation that perhaps he was already using a four-keyed bassoon3. A dedicatory sonnet accompanying the Libro de Canzoni, Fantasie e Correnti praises Selma y Salaverde for his skill on the bassoon4. Bertoloméo was bassoonist to the Archduke Leopold of Austria and the florid variations indicate a high technical proficiency'.5 His Italian contemporary, Giovanni Antonio Berton (1605-1669), was another bassoonist and composer who published a set of nine solo sonatas for bassoon and basso continuo, the Compositioni musicali, in Venice in 1645 with the following preface: I do not consider any less worthy of criticism the person who (because of excessive obstinacy according to the judgment of learned men) refuses to print the fruits of his genius than the one who too brazenly and thoughtlessly publishes his works. -
The Choral Music of Joseph Willcox Jenkins
CHAPTER 5 CATALOG OF CHORAL WORKS The following is a catalog of the choral works of Joseph Willcox Jenkins in three sections: 1. A catalog of those choral works to which the composer assigned opus numbers, according to opus number. 2. A catalog of choral works and arrangements for the United States Army Chorus, according to the U.S. Army Band catalog numbers, which are notated on the original scores and still in use at the U.S. Army Band library at Fort Myer, VA. 3. A classified list of any remaining choral works or arrangements that were not assigned an opus number by the composer. For each entry, titles of choral works appear in italic type after the opus or catalog number. When the title varies among different sources, preference is always given to the published version, when available. For titles of entire works, any editorial additions or corrections appear in brackets in italic type while citations or editorial comments appear in brackets in roman type. If a work is divided into individual movements, the titles of each movement appear below the title of the work in roman type with their respective numbers. Preferred movement titles are those of the published version, when available. Parenthetical notations in movement titles are reproduced from the source. For titles of individual movements, any editorial additions or corrections appear in brackets in roman type while citations or editorial comments appear in brackets in italic type. 113 114 The following is a list of headings that, when applicable, may appear below the title and movements of each entry and a description of their respective contents. -
University of Richmond Wind Ensemble Spring Concert Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 4-14-1994 University of Richmond Wind Ensemble Spring Concert Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "University of Richmond Wind Ensemble Spring Concert" (1994). Music Department Concert Programs. 889. https://scholarship.richmond.edu/all-music-programs/889 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RIOHMOND Wund Ensemb~e SPRING OONOERT Thursday, April J.4, 1.994 8:1.sp.m. Jepson Plaza · (rain location: Cannon Memorial Chapel) featuring... E J:8%2 OVERT RE with live cannon and artillery PROGRAM American Overture for Band Joseph Willcox Jenkins (b. 1928) This overture was written for the U.S. Army Field Band and dedicated to its conductor at the time, .Chester E. Whiting. The piece is written in a neo modal ·style and is cast in a free adaptation of sonata form. the musical material borders on the folk idiom, although there are no direct quotes from any folk tunes. The work calls for near-virtuoso playing by several sections, especially the French horns. Joseph Jenkins studied composition with Persichetti at the. Philadelphia Conservatory of Music and with Thomas Canning and Howard Hanson at the Eastman School of. -
Page 1 a THEMATIC CATALOG of the TUBA and EUPHONIUM
A THEMATIC CATALOG OF THE TUBA AND EUPHONIUM LITERATURE OF WALTER HARTLEY BY MATTHEW C. STRATTON Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Eric Isaacson, Research Director __________________________________ Daniel Perantoni, Chairperson __________________________________ John Rommel __________________________________ M. Dee Stewart ii ACKNOWLEDGEMENTS God: I give all praise and glory to my lord and savior Jesus Christ. Thank you lord for your strength, the gift of music, patience, and perseverance. April Stratton: Our daily journey through life is all the motivation I need to wake up each day and live life to the fullest. I am proud to bring this distinction to our family and set this standard for our children. I would not have been here without you. Susan Eccleston and Bert Stratton: Mom and Dad, thank you for starting me on this path and providing me the resources to reach my dreams. Derek Stratton: You are always there for me and will always be there for me. That knowledge helps me have the courage and confidence to keep pushing down the path. William Laughlin: Thank you for your unending support and inspiration. Ryan Spencer: Your chief editing skills were invaluable to my completion of this document. Thank you for your time and efforts on my behalf. Elizabeth Green: Your contributions as a sounding board, idea generator, and editor were much appreciated on this project. -
AMERICAN SYMPHONIES Composers
AMERICAN SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-F LEE ACTOR (b. 1952) Born in Denver, Colorado. He received a degree in music composition from San Jose State University and has studied composition with Donald Sur, Brent Heisinger, Charles Jones, and Andrew Imbrieas well as conducting with Angelo Frascarelli, David Epstein and Higo Harada. He was a violinist with the Albany Symphony Orchestra and was assistant conductor of the Palo Alto Philharmonic and the Nova Vista Symphony. He has composed orchestral, band and chamber works. Symphony No. 1 (2001) Kirk Trevor/Slovak Radio Symphony Orchestra ( + Prelude to a Tragedy, Redwood Fanfare and Variations and Fugue for Orchestra) MMC RECORDINGS 2147 (2005) Symphony No. 2 (2006) Kirk Trevor/Slovak Radio Symphony Orchestra ( + Violin Concerto and Concerto for Timpani and Orchestra) ALBANY RECORDS TROY 1017 (2008) Symphony No. 3 (2013) Kirk Trevor/Slovak National Symphony Orchestra;. ( + Piano Concerto and , Divertimento for Small Orchestra). NAVONA RECORDS V5986 (2015) JOHN ADAMS (b. 1947) Born in Worcester, Massachusetts. His father taught him how to play the clarinet, and was a clarinetist in community ensembles and later studied the instrument further with Felix Viscuglia, clarinetist with the Boston Symphony Orchestra. He began composing as a child and then studied composition at Harvard University with Leon Kirchner, Roger Sessions, Earl Kim and David Del Tredici. In addition, he worked in the electronic music studio at the San Francisco Conservatory of Music having built his own analogue synthesizer. He went on to become one of America's leading composers whose works are constantly performed.