DOCSLIB.ORG

PROMETHEUS SYMPHONY ORCHESTRA PRACTICES, POLICIES and BY-LAWS 2013-2014 Season TABLE of CONTENTS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PROMETHEUS SYMPHONY ORCHESTRA PRACTICES, POLICIES AND BY-LAWS 2013-2014 Season TABLE OF CONTENTS INTRODUCTION……………………………………………..……….2 Part I Orchestra Governance……………………………………… 3 A. Governance Structure Elections Board of Directors Board Functions Officers B. Board of Directors Meetings …………………..……… 4 C. Committees…………………………………….………. 4 D. Budget, Finances, Insurance………………………… 4 E. Concert Season, Venues, Rehearsals ………………... 5 Part II Orchestra Members…………..…………………………….. 6 A. Membership in Prometheus Symphony………..….… 6 B. Member Information and Responsibilities………..… 6 For Member website page / Rehearsals / Music Parts Part III Orchestra Committee ……………………………………… 7 Admission and Retention Policy……….……..……………. 7 Part IV Membership Dues Policy……………………….…………... 8 Part V Member Roster and Program Personnel List ………..…… 9 Part VI Member Information Handout …………...…………….…. 10-11 Part VII Website, E-Mail, Publicity and Outreach……………….… 11 Part VIII Merritt College and Prometheus…………………………… 12 Part IX Concert Programs - Content, Acknowledgments, and 12 Advertisements with rates………………………….…… Part X Free-Admission Policy…………………………………..… 13 Part XI Non-Profit 501(c)(3) Status and Contributions Policy 13-14 Part XII Grants and Employer “matching grants” 14 Part XIII Khuner Young Artist Concerto Competition ……………. 15-16 Rules and Application Form ………………………………. 17 Part XIV Prometheus Symphony Orchestra History (as of 2005)…... 18-19 Part XV Concert Production Checklist…………………….……..… 20-21 Part XVI Prometheus Symphony Orchestra BY-LAWS ………….… 22-30 INDEX to Book of Practices, Policies and By-Laws………………………...31 1 INTRODUCTION TO BOARD of DIRECTORS’ BOOK of PRACTICES, POLICIES AND BY-LAWS The purpose of this book is to describe the Prometheus Symphony Orchestra's governance and to summarize the Orchestra’s operational practices and policies. Each section identifies the provision in the By-Laws, if any, that affect the stated practices and policies. The full text of the By-Laws is included as Part XVI. The Index identifies topics both in the narrative text and in the By-Laws. The "practices" described herein are those the Orchestra and its Board of Directors customarily follow, and which are in conformance with the By-Laws. The By-Laws’ provisions are mandatory and can only be changed by a formal amendment. In contrast, the statements of practice in this book do not mandate that the Board or the Orchestra follow the described practices. Rather, the descriptions are intended to assure the Board and its committees are aware of existing practices, for purposes of consistency and efficiency in administration. When practices evolve or are changed, this book will be updated to assure accuracy. The "policies" described herein are those formally adopted by a vote of the Board of Directors. The Board can only adopt a formal policy if it does not conflict with the By-Laws. The Board may at any time amend, rescind, or add such policies and will update this book accordingly. The Board plans to re-issue this book annually, with each edition identified by the Season dates. The first edition was entitled "2012-2013 Season." Each edition will update provisions that may change with a new Season and also reflect changes in practices or policies and amendments to the By-Laws, if any. Each edition will remain in effect until the Board issues the next edition, even if a new season has begun. The Board publishes each edition electronically and makes it available to the Board members and the Music Director. Past seasons' books will be retained in the Orchestra's archives. PSO Book of Policies, By-Laws 2013-14 Season (9/12/13 update) page 2 Part I ORCHESTRA GOVERNANCE A. Governance Structure -- Elections, Board of Directors and Officers The Prometheus Symphony Orchestra was initiated in 1964 as a class at Merritt College but then became an independent, community based volunteer orchestra. It incorporated in 1979 as a not-for- profit entity under California law. As part of the incorporation process, Orchestra members adopted By- Laws that specify how the Orchestra is governed. The members have amended the By-Laws from time to time (Reprinted below, Part XV) • Election of the Board: The By-Laws provide that Orchestra members can vote at regular or special meetings. A quorum is 20 Orchestra members. Orchestra members nominate candidates for the Board of Directors and hold an election at the annual membership meeting, customarily at a rehearsal toward the end of the concert season (May or June). The Board is elected for the following fiscal year (July 1-June 30). There is no limit on how long a member may serve by re-election. Board policy encourages nominations that will provide representation from each section of the orchestra (upper strings, lower strings, woodwinds, brass). • Board of Directors: The By-Laws require a Board of no more than 20 members. Traditionally, only playing members of the Orchestra serve as Directors. Board members and officers receive no compensation for their services. They cannot be held personally liable for Prometheus activities (By-Laws Article IX). Board members for the 2013-14 Season are: John Gilbert timpani), President; Jeffrey Bellamy (tuba), Vice-President; Bonnie Bogue (bassoon), Secretary; Bruce Von Kugelgen (trombone), Treasurer; Karl Sevareid (bass); Catherine Jennings (flute); Joyce Vollmer (violin); Keith Sklower (oboe); Sandy Schniewind (bass); Jennifer Ziebarth (cello); Valerie Herr (cello). Email [email protected] reaches all Board members and the Music Director.. • Board Functions and Duties: The Board acts as a committee of the whole to manage all aspects of the Orchestra’s operation. Traditionally, the Orchestra has no paid staff other than the Music Director; therefore, the Board members’ duties include: o budgeting, financial transactions, fundraising, dues collection, tax status compliance o contracting with the Music Director o working with the Music Director in creating the concert season o arranging and contracting for rehearsal and concert venues o doing season and concert publicity, compiling and maintaining mailing lists o creating and maintaining website and Facebook o planning Orchestra’s activities and future direction o creating and serving on working committees for temporary and ongoing activities o archiving Orchestra records o managing concert production, using a checklist (included as Part XV). PSO Book of Policies, By-Laws 2013-14 Season (9/12/13 update) page 3 • Officers: The Board elects officers from among Board members, which include President, Vice-President, Secretary and Treasurer. Officers’ duties are specified By-Laws Article VI. o The President has executive authority, with the Board’s authorization, to act on behalf of the Board and the Orchestra, such as signing contracts and negotiating for venues. In practice, the President maintains regular contact with the other officers, the Board, and the Music Director prior to acting on behalf of the Board. The President has custody of all official documents of the Prometheus Symphony Orchestra and maintains the Orchestra archives. o The Treasurer has By-Law authority to collect and disburse funds, as authorized by the Board (see Budget, Finances, below). The Secretary creates Board meeting minutes and performs other duties at the direction of the Board. B. Board of Directors Meetings The Board meets in regularly scheduled meetings, customarily about 2 weeks prior to each concert, and in an annual all-day retreat. The Board may call special meetings between scheduled meetings. The Board’s established practice allows special meetings to be conducted by teleconference or email, if the Board decides that urgency so requires. • Quorum. A quorum for a Board meeting is 4 members. (By-Laws Article V), Action is authorized if approved by a majority of Board members present at any meeting. • Minutes of Board meetings are prepared by the Secretary and maintained by the President in Prometheus Symphony official files. By practice, the Minutes are distributed electronically to every Board member after each meeting and approved and adopted at the next meeting.. C. Committees The Board may appoint committees consisting of Board members and/or members of the Orchestra. A committee may be temporary, for a specific issue such as venue search, or may be a standing committee, such as the Khuner Concerto Competition Committee. The only committee required by the By-Laws is the Orchestra Committee (see Part III). D. Budget, Finances, Insurance The fiscal year begins July 1 (By-Law Article XII). The Board adopts an annual budget, customarily at the summer retreat. The Treasurer: o creates a budget for Board approval o maintains financial records, reporting to the Board at every meeting o records income and expenses o maintains bank accounts and checkbook o writes checks for approved expenditures o collects and deposits income from dues, donations and grants o records donations and membership dues by name and year o acknowledges donations by letter and in concert programs o maintains tax and insurance status. PSO Book of Policies, By-Laws 2013-14 Season (9/12/13 update) page 4 • Income comes from member dues (Part IV), audience and member contributions (Part X), ads in concert programs (Part IX), concert concessions, and grants (Part XII). • Expenditures, approved by the Board, customarily include rehearsal and performance space, music rental, program and publicity printing, postage, fees to Merritt College (Part VIII), and the compensation of the Music
Recommended publications
  • PROMETHEUS BOUND by Aeschylus

    PROMETHEUS BOUND by Aeschylus

    PROMETHEUS BOUND By Aeschylus In dealing with "Prometheus Bound," it helps to know something about Greek mythology, in particular, the generations of divine beings which preceded Zeus, Athena, Aphrodite, Dionysus, and the pantheon of Greek gods with whom we are familiar. Among other immortal beings at the dawn of time were the Titans, who fought against Zeus when he defeated his father, Cronos. With the help of the Hecatoncheires (the hundred-handed monsters), and the Cyclopes, Zeus prevailed, gradually taming his ferocious allies and reaching a rough accommodation with the Titans. One of the Titans was Prometheus, who remained somewhat rebellious. His name means forethought. His brother, Epimetheus, (afterthought) was slow to figure things out, but Prometheus could look ahead. He knew things the gods did not know. Prometheus had what the gods considered a character flaw: he had sympathy for humans. The Olympian gods were completely indifferent to the fate of mankind and were content to let them struggle for existence. Prometheus decided to give them something forbidden: fire. In giving humanity physical fire, he also endowed them with mental fire: intelligence and self-awareness. For this he was severely punished. His story was told by the Greek tragedian Aeschylus in three plays, only the first of which survives. Actually, scholars now doubt that Aeschylus was the author because the play calls for stage effects that did not exist when Aeschylus was alive. We can't be completely sure, because knowledge of dramatic techniques 25 centuries ago is sketchy, at best. However, what we can glean of Aeschylus' thought and temperament seems reflected in the play, so most are willing to cite him as its author until we have definitive proof otherwise.
  • Prometheus," D

    Prometheus," D

    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Rhetoric, form, and sovereignty in Schubert's "Prometheus," D. 674 Erica Brady Angert Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Angert, Erica Brady, "Rhetoric, form, and sovereignty in Schubert's "Prometheus," D. 674" (2005). LSU Master's Theses. 1562. https://digitalcommons.lsu.edu/gradschool_theses/1562 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. RHETORIC, FORM, AND SOVEREIGNTY IN SCHUBERT’S “PROMETHEUS,” D. 674 A Thesis 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 Master of Music in The School of Music by Erica Brady Angert B.A., Queens University of Charlotte, 2002 December 2005 ACKNOWLEDGMENTS I wish to acknowledge my gratitude to those who had a hand in the completion of this thesis, each of whom contributed something unique to my venture into Schubert: to my advisor, Dr. Jeffrey Perry, for his seemingly innocuous suggestion one year ago that I ought to explore this enigmatic song and then explain it to him, and for his persevering guidance of my research and analysis in the time since that fateful moment; to Dr.
  • Requiem for Baritone, Chorus and Orchestra (Lost) C. 19

    Requiem for Baritone, Chorus and Orchestra (Lost) C. 19

    HAVERGAL BRIAN: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC c.1899: Requiem for baritone, chorus and orchestra (lost) c. 1900-02: Tragic Prelude for orchestra (lost) 1902/06: Overture “For Valour”, op.7: 15 minutes + (Cameo Classics and Naxos cds) c.1902-04: English Suite No.1, op.12: 26 minutes + (Cameo Classics cd) 1903: Burlesque Variations on an Original Theme for orchestra, op.3: 27 minutes + (Cameo Classics and Toccata cds) c.1903-04: Legende for orchestra, op.4 (lost) c.1904-06: Symphonic Poem “Hero and Leander”, op.8 (lost) c.1904/ 1944-46: Psalm 23 for tenor, chorus and orchestra: 16 minutes * + (Classico cd) 1905/09: “By the Waters of Babylon” for baritone, chorus and orchestra, op. 11 (lost) 1906: “Carmilhan” for soloists, chorus and orchestra (lost) c.1906-07: “Let God Arise” for soloists, chorus and orchestra (lost) 1907-08: A Fantastic Symphony: two movements lost, other two reused as- 1907: Fantastic Variations on an Old Rhyme for orchestra: 11 minutes + (Cameo Classics and Naxos cds) 1908: Festal Dance for orchestra: 8 minutes + (Naxos cd) Cantata/ Tragic Poem “The Vision of Cleopatra” for soprano, mezzo-soprano, contralto, tenor, chorus and orchestra, op.15 (lost) c.1909: “The Soldier’s Dream” for orchestra or voices and orchestra (lost) 1910: Symphonic Poem “In Memoriam”: 20 minutes + (Cameo Classics and Naxos cds) 1911-12: Concert Overture “Doctor Merryheart”: 16 minutes + (Cameo Classics, Naxos and Dutton cds) 1912: Herrick Songs for women’s chorus and orchestra + (two on Cameo Classics cd) 1913: Ballad “Pilgrimage
  • Suffering and the Tragic in Aeschylus's Prometheus Bound

    Suffering and the Tragic in Aeschylus's Prometheus Bound

    Batson 1 Running head: PROMETHEUS IN SUSPENSION Prometheus in Suspension: Suffering and the Tragic in Aeschylus’s Prometheus Bound Anna Katherine Batson A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Fall 2009 Batson 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Carl C. Curtis, Ph.D. Thesis Chair ______________________________ Karen S. Prior, Ph.D. Committee Member ______________________________ Donald L. Fowler, Th.D. Committee Member ______________________________ James Nutter, D.A. Honors Director ______________________________ Date Batson 3 Of all dramatic forms, tragedy is the least realistic, in a sense the most symbolic, and, as such, in its masterpieces . the closest neighbor of absolute beauty. – Ferdinand Brunetiere, L’Evolution d’un genre: la tragédie Batson 4 Abstract Prometheus Bound (ca. 430 B.C.), Aeschylus’s sweeping tragedy of suffering and injustice, has been the subject of critics for centuries because of its episodic structure and unique themes. Though, like much of the rest of Aeschylus’s corpus, it does not align with the criteria of effective tragedy according to the standards of Aristotle’s Poetics (ca. 330 B.C.), Aeschylus achieves the tragic by placing Prometheus in a state of suspension between his own divine nature and his affinity for humankind, a nearly unheard of stasis in a world where the chasm between gods and men was no small one. In receiving his punishment for giving men fire, Prometheus experiences the very suffering which he hoped to spare men, and chained to the edge of a cliff where an eagle descends to consume his daily-replenished liver, Prometheus cries out against the existential anguish to which he is unjustly condemned.
  • News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter

    News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter

    News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter The Solo Piano Collection The Boosey & Hawkes Solo Piano Collection provides the intermediate pianist with exciting repertoire in accessible yet authentic arrangements. Russian Masters Classical Chill-Out 20 Russian classics arranged for 20 relaxing melodies to soothe the intermediate pianist, your soul arranged for the including pieces by 20th-century intermediate pianist, featuring masters Prokofieff, Rachmaninoff all-time favourite repertoire and Shostakovich, alongside along side little-known 19th-century greats Borodin, classical gems. Mussorgsky and Tchaikovsky. ISMN 979-0-060-12389-4 ISMN 979-0-060-12387-0 BH 12389 · in prep. BH 12387 · in prep. Rachmaninoff Best Of British Russian great Sergei Great Britain’s finest 20th - and Rachmaninoff’s most celebrated 21st – century composers are orchestral and choral themes represented in this splendid arranged for the intermediate collection of arrangements for pianist. the intermediate pianist, from ISMN 979-0-060-12390-0 Elgar and Holst to Karl Jenkins BH 12390 · in prep. via Bridge, Britten and Bliss. ISMN 979-0-060-12388-7 BH 12388 · in prep. In preparation for 2012: American Greats Shostakovich BH 12392 · ISMN 979-0-060-12392-4 BH 12395 · ISMN 979-0-060-12395-5 Prokofieff Tango BH 12394 · ISMN 979-0-060-12394-8 BH 12391 · ISMN 979-0-060-12391-7 Boosey & Hawkes is exclusively distributed by Schott Music. MA 5525-01 · 08/11 · 5525-01 MA www.schott-music.com www.boosey.com Dr. Peter Hanser-Strecker Publisher Along with our international partner publishers Boosey & Hawkes and Belaieff, we would like to give you a preview of our interesting selection of music in a variety of styles and levels, from material for beginners through to advanced performance repertoire.
  • Validating the Voice in the Music of Lambert, Hendricks & Ross

    Validating the Voice in the Music of Lambert, Hendricks & Ross

    VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & ROSS by Lee Ellen Martin Bachelor of Music, McGill University, 2008 Master of Music, The University of Toledo, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Lee Ellen Martin It was defended on March 23, 2016 and approved by Geri Allen, Masters of Music, Associate Professor Michael Heller, PhD, Assistant Professor Farah Jasmine Griffin, PhD Dissertation Advisor: Gavin Steingo, PhD, Assistant Professor ii Copyright © by Lee Ellen Martin 2016 iii VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & Ross Lee Ellen Martin, PhD University of Pittsburgh, 2016 Lambert, Hendricks & Ross was an unusual vocal jazz trio. Made up of Dave Lambert, Jon Hendricks, and Annie Ross, they were the only interracial and mixed gender vocal jazz group in the United States in the late 1950s. In the wake of the Montgomery bus boycott victory and President Eisenhower’s consideration of the Equal Rights Act, the trio became one of the most popular vocal jazz groups of the day by singing lyricized arrangements of famous instrumental jazz recordings through a medium called vocalese. Although they seemed to reflect a utopian ideal of an integrated American society, each member of the group faced unique challenges. Referred to as the Poet Laureate of Jazz, African American lyricist and singer Jon Hendricks considers himself “a person who plays the horn without the horn,” and he is known for his gift with words.
  • Vocal Solos and Opera

    Vocal Solos and Opera

    vocal solos and opera Complete Catalog CONTENTS Get 20% off New & Featured Opera 3 One Act Opera 5 Now through August 31 Full Length Opera 8 with coupon code: New Art Songs 10–12 NATS2020 Vocal Solos - Complete Listing 13 Opera - Complete Listing 24 Opera Scenes 26 Opera Scenes Created to encourage the use of contemporary Everyone Sang opera in programs at the university level. All of Vocal Music of David Conte our opera scenes are available as downloads or as This two-disc set includes recordings of printed material. Purchase of any downloadable David Conte’s most recent vocal composi- opera scene includes permission to reproduce tion offerings from collections “American Death Ballads;” “Three Poems of Christina copies for each of the vocalists in the scene, the Rossetti;” “Love Songs;” “Everyone Sang;” accompanist, and the conductor. A full listing is “Lincoln;” “Sexton Songs;” and “Requiem included on page 26. Songs.” CD182 $24.95 Opera Anthologies Opera Aria Anthology, Opera Aria Anthology, Volume 1: (Soprano) Volume 2: (Mezzo-Soprano) Compiled by Craig W. Hanson Compiled by Craig W. Hanson Edited by Stanley M. Hoffman Edited by Stanley M. Hoffman Arias for soprano from operas by David Arias for mezzo-soprano from operas by Conte, Daron Hagen, Libby Larsen, David Conte, Daron Hagen, Henry Mollicone, Henry Mollicone, Ronald Perera, Conrad Douglas Moore, Ronald Perera, Conrad Susa, Susa, and Robert Ward. 152 pages. and Robert Ward. 142 pages. 6000 $33.60 6001 $33.60 Opera Aria Anthology, Opera Aria Anthology, Volume 3: (Tenor) Volume 4: (Baritone) Compiled by Craig W. Hanson Compiled by Craig W.
  • 20Th-Century Repertory

    20Th-Century Repertory

    Mikrokosmos List 593. - 2 - December 2014 ....20TH-CENTURY REPERTORY 1 Alcalay, Luna: Ich Bin in Sehnsucht Eingehullt - Hall sop, Hossfeld fl, Florey vcl AMADEO 423809 A 12 (1987) S 2 Arrigo: Serenata per chitarra exc (L.Brouwer gtr)/Martinet: Promethee HEUGEL 37 A 10 exc/Milhaud: Le train bleu exc (cond.Markevitch)/L/Chaumont: Organ Pieces (gatefold) (7" record!!) 7" 3 Asafiev: Guitar Con/Weiss: Suite in A - Adropov gtr, cond.Fedotov (plain Melodiya MELODIYA D 18513 A 12 jacket) 10" 4 Bacewicz: Concerto for String Orchestra/Krenz, Jan: Rapsody for Xylophone, Tam- MUZA L 10 A 12 Tam, Celesta & String Orch - cond.Krenz 10" 5 Bacewicz: Quartet for vcls/Lutoslawski: Postlude/Boguslawski: Intonations - MUZA W(AU) 969 A 40 cond.Krenz, Stryja Warsaw Autumn, 1964 (autographed by Lutoslawski) 10" 6 Badings, Henk: Cain and Abel (electronic ballet) (7" record!) 7" PHILIPS AE 400036 A 18 7 Badings: Con for 2 Violins, Sym 3 - Krebbers, Olof, Hague PO, cond.Otterloo (Dutch PHILIPS A(AU) 487 A 40 Minigroove) (copy 25/50 which is signed by all artists and composer) (gatefold) 8 Baird: Colas Breugnon suite/Prokofiev: Sym 1 - Polish RSO, Krenz 10" MUZA L 71 A 12 9 Balasanyan: 7 Armenian Songs for Orch (cond.GAUK), Leili & Medzhnun ballet: 6 MELODIYA D 7523 A 10 EB3 Dances (con.Stasevich) (US MK jacket) OLD 10 Barber: Medea, Capricorn Concerto - cond.Hanson (FR1\FR1 stamper) (color back) S MERCURY SR-EF 90224 A 18 UM1 11 Barboteu, Georges: Sologne, Quartetto/F.Doppler: L'oiseau des Bois (4 hrns & PLURIEL PL 3331 A 15 fl)/Wagner-Pottag: Tannhauser Ov/H.Hubler:
  • News 2013 Boosey & Hawkes · Schott Music Spring · Summer

    News 2013 Boosey & Hawkes · Schott Music Spring · Summer

    News 2013 Boosey & Hawkes · Schott Music Spring · Summer KAT_410-99_NOVA_Spring_2013_engl_INNEN8_MA_KAT_NOVA_Fruehjahr_2013_engl_innen 28.02.13 12:08 Seite 1 Dr. Peter Hanser-Strecker Publisher It is a pleasure to present our new publications to you. In addition to the new items from Schott Music, Boosey & Hawkes and M. P. Belaieff, you will find music for the first time from our new publishing partner advance music. The strengths of their publishing programme lie in performance literature as well as pedagogical material in the areas of jazz, big band and wind ensemble. In May of this year, we celebrate the centenary of the first performance of The Rite of Spring by Stravinsky. Boosey & Hawkes in cooperation with The Paul Sacher Foundation have produced a New Centenary Edition in three volumes, featuring facsimiles of Stravinsky’s original scores along with essays from renowned experts. Boosey & Hawkes also celebrate the 100th anniversary of Benjamin Britten’s birth this year. For Schott, 2013 is the year of Richard Wagner and on 22nd May the musical world will celebrate his 200th birthday. Over 800 original editions, single editions and arrangements have been published by Schott since the middle of the 19th century when Wagner first came to us to publish Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal. To mark this anniversary we have published a new series of vocal scores of ten of Wagner’s greatest operas based on the complete edition. Look forward, with us, to a multi-facetted programme this spring. I hope you enjoy browsing, playing and reading. KAT_410-99_NOVA_Spring_2013_engl_INNEN8_MA_KAT_NOVA_Fruehjahr_2013_engl_innen 28.02.13 12:08 Seite 2 Britten 2013 100 years Best Selling Titles Saint Nicolas Tenor solo, SATB choir, SA choir, orchestra & piano Vocal score ISMN 979-0-060-01516-8 BH 5500008 £ 15.99 / € 22.95 War Requiem STB solo, SATB, boys choir & orch.

  • News 2008/09 Boosey & Hawkes · Schott Music Autumn · Winter Antonio Vivaldi L’Estro Armonico, Op

    News 2008/09 Boosey & Hawkes · Schott Music Autumn · Winter Antonio Vivaldi L’estro armonico, op. 3 For 4 violins, 2 violas, violoncello, double-bass viol and basso continuo (harpsichord) Edited by Christopher Hogwood Published in 1711, the collection 'L'estro armonico' consisting of 12 concertos was designed methodically by Antonio Vivaldi: Each of the four groups of three consists of a concerto for four violins, a double concerto for violin and a solo concerto. Based on the principle of arranging the modes in pairs, each concerto in the major mode is followed by a concerto in the minor mode. With 'L'estro armonico', Vivaldi made a name for himself in the whole of Europe and exerted a profound influence on the works of subsequent composers such as J. S. Bach. The study score with all 12 concertos, edited by the renowned musicologist and conductor Christopher Hogwood, has already been published and is available at a price of £ 19.99 / € 39,95 (product numbers ETP 1871-82 / ISMN M-2002-2051-3). The sets of parts will be published in September. Concerto No. 1 D major,RV 549 Concerto No. 3 G major,RV 310 Concerto No. 8 A minor,RV 522 con quattro Violini obligati con Violino solo obligato con due Violini obligati EOS 1871-70 · ISMN M-2002-2160-2 EOS 1873-70 · ISMN M-2002-2178-7 EOS 1878-70 · ISMN M-2002-2221-0 Concerto No. 2 G minor,RV 578 Concerto No. 4 E minor,RV 550 Concerto No. 9 D major,RV 230 con due Violini e Violoncello con quattro Violini obligati con Violino solo obligato obligato EOS 1874-70 · ISMN M-2002-2187-9 EOS 1879-70 · ISMN M-2002-2230-2 EOS 1872-70 · ISMN M-2002-2169-5 Concerto No.
  • GERMAN & AUSTRIAN SYMPHONIES from the 19Th

    GERMAN & AUSTRIAN SYMPHONIES from the 19Th

    GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works.
  • Rick Sowash: an Annotated Bio-Bibliography of His Vocal Works

    Rick Sowash: an Annotated Bio-Bibliography of His Vocal Works

    RICK SOWASH: AN ANNOTATED BIO-BIBLIOGRAPHY OF HIS VOCAL WORKS D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Susan M. Olson, M.A. ***** The Ohio State University 2004 Document Committee: Approved by Professor Loretta Robinson, Adviser Dr. Hilary Apfelstadt ______________________________ Dr. David Frego Adviser School of Music Copyright by Susan M. Olson 2004 ABSTRACT Richard “Rick” Sowash (b. 1950) is a late 20th century American composer who has composed over 250 pieces in many musical genres. According to Sowash, he has modeled his life as a composer after Charles Ives, although his music is far from the style of Ives. Sowash is a multi-talented composer, having written music for a wide range of ensembles. His works have been performed in a number of different venues, from church congregations to a public concert at the Cannes Film Festival. Sowash has composed nearly one hundred original vocal works. None of these pieces has been published to date. This document will bring these unknown works to the attention of vocal students, performers and teachers for future examination and performance. Included in this document is a comprehensive biography of Rick Sowash; a biography of one of Sowash’s most set poets, Sara Teasdale, including comment on Sowash’s compositional settings of Teasdale’s poetry in Bright April and Teasdale Songs; and, an annotated bibliography of his original works for solo voice and accompaniment. ii Dedicated to my family iii ACKNOWLEDGMENTS Thank you to Rick Sowash for his collaboration with me on this project.