Dr. Timothy Cuffman 11839 Ridge Parkway #1316, Broomfield, CO 80021 419-606-3438 [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

Dr. Timothy Cuffman 11839 Ridge Parkway #1316, Broomfield, CO 80021 419-606-3438 Cuffman.Tim@Gmail.Com Dr. Timothy Cuffman 11839 Ridge Parkway #1316, Broomfield, CO 80021 419-606-3438 [email protected] EDUCATION The University of Iowa, Iowa City, IA ​ Doctor of Musical Arts: Violin Performance and Pedagogy. Secondary Area: Viola Performance. Dissertation: A Practical Introduction to Just Intonation Through String Quartet Playing. ​ ​ Cumulative GPA: 3.91. May 2016 Ohio University, Athens, OH ​ Master of Music: Violin Performance. GPA: 3.968. May 2013 Ohio University, Athens, OH ​ Master of Music: Upper String Pedagogy. Cumulative GPA: 3.968. May 2013 University of Akron, Akron, OH ​ Bachelor of Music: Violin Performance. Cumulative GPA: 3.977. May 2010 PRIMARY INSTRUCTION Dr. Scott Conklin, Associate Professor of Violin The University of Iowa 2013-2016 Dr. Michael Kimber, Visiting Professor of Viola The University of Iowa 2016 Professor Christine Rutledge, Professor of Viola ​ ​ The University of Iowa 2015-2016 Dr. Stephen Miahky, Assistant Professor Violin ​ ​ Ohio University 2010-2013, Viola 2012-2013 Professor Cory Smith, Adjunct Professor of Violin University of Akron 2008-2010 1 PRIMARY INSTRUCTION continued ​ Professor Alan Bodman, Professor of Violin University of Akron 2005-2010 Dr. Thomas Wood, Professor of Violin The College of Wooster 2000-2005 COLLEGE TEACHING EXPERIENCE Teaching Assistant The University of Iowa, Iowa City, IA 2013-2016. Provide weekly violin ​ instruction to non-major violin students under the supervision of Dr. Scott Conklin and Professor Katherine Wolfe. Additional technique lessons on scales, arpeggios, and double stops for violin majors in Dr. Scott Conklin’s studio. Assist in recruiting events. Teaching Assistant Ohio University, Athens, OH 2010-2013. Violinist and violist in the Klinder ​ Graduate String Quartet. Concertmaster of Athens Community Orchestra. Instructor for String Methods course. Provided violin and viola sectionals for the symphony orchestra. Provided technique assistance for violin majors in Dr. Stephen Miahky’s studio. Assisted in recruitment events. ADDITIONAL TEACHING EXPERIENCE Meadowlark Music Program, Fort Collins, CO ​ Group class violin instruction for first-grade students of families that want to provide the ​ advantage of music education for their children but cannot currently afford it. 2019 ​ ​ Crescendo Fine Arts Academy, Longmont, CO ​ Private and group violin and viola instruction for all students, especially those who might ​ otherwise lack access due to financial constraints. 2019 Rocky Ridge Music Academy, Boulder and Denver, CO ​ Private instruction to elementary, middle, and high school students. 2018-Present Five Seasons Chamber Music Festival, Cedar Rapids, IA ​ Chamber music coach and orchestral mentor for students ages 12 to adult. 2015-2016 Cuffman, Page 2 of 19 ADDITIONAL TEACHING EXPERIENCE continued ​ Marion Music Academy, Marion, IA ​ Private violin and viola instruction of students ages 8-16. 2014-2015 Mozart on the Green Music Festival, Athens, OH ​ Chamber music coach. Summer 2012-2013 Athens Community Music School, Athens, OH ​ Private instruction to elementary, middle, and high school students, as well as beginning and continuing adult students. 2010-2013 Western Reserve Institute of Music, Hudson, OH ​ Private violin and viola instruction of students ages 4-15. 2007-2010 Credo Chamber Music Festival, Oberlin, OH ​ Camp Counselor. Mentoring and counseling of students ages 12-16. Summer 2007 GUEST TEACHING The Academy Charter School, Westminster, CO ​ Guest orchestra clinician 08/10/18 Coal Ridge Middle School, Longmont, CO ​ Guest orchestra clinician 05/10/18 Bloomsburg University, Bloomsburg, PA ​ Masterclass 04/28/17 Eastern Kentucky University, Richmond, KY ​ Masterclass 04/09/17 Valley City State University, Valley City, ND ​ Guest artist faculty for Chamber Music Festival. Presented chamber music coachings and masterclasses. 03/28/15 Cuffman, Page 3 of 19 PRESENTATIONS American Viola Society Festival, The Colburn School. Los Angeles, CA ​ ​ ​ “A Vocal Coaching for Violists” 06/14/18 American Viola Society Festival, The Colburn School. Los Angeles, CA ​ ​ ​ “A Practical Introduction to Just Intonation Through String Quartet Playing” 06/13/18 American String Teachers Association National Conference, Pittsburgh Convention Center. ​ Pittsburgh, PA “A Practical Introduction to Just Intonation Through String Quartet Playing” 03/03/17 Iowa Musicology Day, Drake University. Des Moines, IA ​ “Musical Characterization of Evil in Three Shanes” 03/26/16 RELATED PROFESSIONAL EXPERIENCE Cheyenne Symphony, Cheyenne, WY ​ Assistant Concertmaster 2017-Present Fort Collins Symphony, Fort Collins, CO ​ Section Violin 2018-Present Colorado Symphony, Denver, CO ​ Violin Substitute 2018-Present Steamboat Springs Opera Institute, Steamboat Springs, CO ​ Section Violin 2019 Green Room Artists, Boulder, CO ​ Violin and Viola in Chamber Music Collective 2018-Present Greeley Philharmonic Orchestra, Greeley, CO ​ Violin Substitute 2017-Present Longmont Symphony, Longmont, CO ​ Concertmaster 2017-2018 Cuffman, Page 4 of 19 RELATED PROFESSIONAL EXPERIENCE continued ​ Orchestra Iowa, Cedar Rapids, IA ​ Violin Substitute 2016-2017 Cleveland Opera, Cleveland, OH ​ Principal Second Violin 2017 Section First Violin 2010-2016 Mansfield Symphony, Mansfield, OH ​ Principal Second Violin 2016-2017 Principal Second Violin 2011-2013 Section Second Violin 2009-2011 The King and I National Tour, Iowa City, IA ​ Concertmaster 10/10/17-10/14/17 The Sound of Music National Tour, Iowa City, IA ​ Second Violin 01/31/17-02/05/17 The Book of Mormon National Tour, Iowa City, IA ​ Violin and Viola 10/11/16-10/16/16 Ohio Valley Symphony, Gallipolis, OH ​ Section Viola 2016-2017 Section First Violin 2010-2013 Southeast Iowa Symphony Orchestra, Burlington, IA ​ Viola Substitute 2017 Violin Substitute 2016 Dubuque Symphony Orchestra, Dubuque, IA. ​ Violin Substitute 2016 Waterloo-Cedar Falls Symphony Cedar Falls, IA ​ Violin Substitute 2013-2016 Cuffman, Page 5 of 19 RELATED PROFESSIONAL EXPERIENCE continued ​ Muscatine Symphony Orchestra, Muscatine, IA ​ Viola Substitute 2016 Violin Substitute 2013-2014 ConcertIA Opera Company, Coralville, IA ​ Violin Substitute 2015 Old Capitol Opera Company, Iowa City, IA ​ Violin Substitute 2015 Noor Piano Trio, Iowa City, IA ​ Violin 2015 Ensemble 319, Iowa City, IA ​ Violin in Contemporary Music Ensemble 2014-2015 Oskaloosa Symphony, Oskaloosa, IA ​ Violin Substitute 2014 Ottumwa Symphony, Ottumwa, IA ​ Violin Substitute 2013 Ashland Symphony, Ashland, OH ​ Violin Substitute 2013 Huntington Symphony, Huntington, WV ​ Violin Substitute 2010-2013 Klinder Graduate String Quartet, Athens, OH ​ Violin and Viola 2010-2013 River City Symphony, Marietta, OH ​ Violin Substitute 2010-2012 Akron Symphony, Akron, OH ​ Violin Substitute 2009-2010 Cuffman, Page 6 of 19 SOLO PERFORMANCES Recital Church of the Good Shepherd, Athens, OH 08/03/17 With pianist Daniel Mullins. Mozart Sonata No. 21 for Piano and Violin in E minor, K. 304, and Beethoven Sonata No. 1 for Violin in D major, Op. 12 Recital Bloomsburg University. Bloomsburg, PA 04/28/17 Bach Sonata for Solo Violin No. 3 in C Major, BWV. 1005, Augusta Read Thomas Pulsar, ​ ​ Prokofiev Sonata for Solo Violin, Op. 115, and Ysaÿe Sonata for Solo Violin No. 2, Op. 27 Recital Eastern Kentucky University. Richmond, KY 04/09/17 Bach Sonata for Solo Violin No. 3 in C Major, BWV. 1005, Augusta Reed Thomas Pulsar, ​ ​ Prokofiev Sonata for Solo Violin, Op. 115, and Ysaÿe Sonata for Solo Violin No. 2, Op. 27 Recital Church of the Good Shepherd, Athens, OH 06/13/16 With pianist Daniel Mullins. Brahms Sonatensatz, Beethoven Violin Sonata No. 1, op. 12, Bartok Romanian Folk Dances, and ​ ​ Sarasate Playera and Zapateado ​ ​ ​ Recital Trinity Lutheran Church, Ashland, OH 06/05/16 With pianist Daniel Mullins. Brahms Sonatensatz, Beethoven Violin Sonata No. 1, op. 12, Bartok Romanian Folk Dances, and ​ ​ Sarasate Playera and Zapateado ​ ​ ​ Recital Maquoketa Art Experience, Maquoketa, IA 05/24/16 With pianist Daniel Mullins. Brahms Sonatensatz, Beethoven Violin Sonata No. 1, op. 12, Bartok Romanian Folk Dances, and ​ ​ Sarasate Playera and Zapateado ​ ​ ​ Cuffman, Page 7 of 19 SOLO PERFORMANCES continued ​ Doctor of Musical Arts Recital University of Iowa, Iowa City, IA 05/07/16 With pianists Pui Yan Lau and Korak Lertpibulchai. Mozart Sonata for Piano and Violin in A major, K. 526 and Tchaikovsky Violin Concerto in D major, Op.35 Doctor of Musical Arts Recital Congregational United Church of Christ, Iowa City, IA 04/25/15 With pianist Asami Hagiwara. Beethoven Violin Sonata No. 5, Op. 24, Carter Rhapsodic Musings (1964), and Saint-Saëns ​ ​ Violin Sonata No. 1 in D minor, Op. 75 Iowa Center for New Music University of Iowa, Iowa City, IA 02/17/15 Violin Concerto by Daniel Houglum with Center for New Music Ensemble. Doctor of Musical Arts Recital Trinity Episcopal Church, Iowa City, IA 12/14/14 With pianist Asami Hagiwara. Copland Violin Sonata, Kreisler Liebeslied and Liebesfreud, and Beethoven Violin Sonata No. 9, ​ ​ ​ ​ Op. 47 Recital Trinity Lutheran Church, Ashland, OH 11/16/14 With pianist Asami Hagiwara. Copland Violin Sonata, Kreisler Liebeslied and Liebesfreud, and Beethoven Violin Sonata No. 9, ​ ​ ​ ​ Op. 47 Recital Trinity Lutheran Church, Ashland, OH 06/22/14 With Daniel Mullins, violin and piano. Mozart Sonata in G Major, K. 303, Bartok Violin Duos, and Bach Partita No. 2 in D minor Cuffman, Page 8 of 19 SOLO PERFORMANCES continued ​ Doctor of Musical Arts Recital Trinity Episcopal Church, Iowa City, IA
Recommended publications
  • PROJECT Trio CD
    Project Trio- Instrumental CD Review By Daniel Hautzinger It’s not easy to be unique. In music especially, it seems like every good band name has already been taken, every genre tried (witch house anyone?), and every ensemble “sound” already stamped by someone else. Even so, I don’t know of another group like PROJECT Trio, which consists of a cellist, double bassist, and beat-boxing flutist, all classically trained, who play jazz, classical, Latin, and a combination of those and other genres. But idiosyncratic instrumentation and style don’t remove an artist from other influences. Instrumental, PROJECT Trio’s latest recording for their label Harmonyville Records, contains buoyant and groove-based songs that often seem to reference other artists or genres, but played on flute, cello, and bass. Despite the hodgepodge of styles on Instrumental, many of the tracks share a pleasing effervescence. It’s easy to imagine many of these songs soundtracking Sesame Street, with their sunniness, playfulness and unpretentious pleasure. The best instance of this is Now, which has the catchiest groove and cello lines from Eric Stephenson that recall Yo- Yo Ma’s Goat Rodeo Sessions. 99 Mondays is a refreshing, atmospheric track built off Greg Pattillo’s overlapping flute curlicues and Peter Seymour’s resounding bass notes that calls to mind the classical pieces of Bryce Dessner or Richard Reed Parry. 2against3, with its painfully obvious title, uses the eponymous cross-rhythm as accompaniment for a simple and tender melody. It’s also an instance of one of this recording’s weaknesses: many of the songs are disjunct, with middle sections that sound like a new song reliably appearing halfway through many of the tracks.
    [Show full text]
  • Harmonic Organization in Aaron Copland's Piano Quartet
    37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 K McGowan, James, Harmonic Organization in Aaron Copland's Piano Quartet. Master of Music (Theory), August, 1995, 86 pp., 22 examples, 5 figures, bibliography, 122 titles. This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques. The first chapter introduces Copland's Piano Quartet in its historical context and considers major influences on his compositional development. The second chapter takes up a pitch-class set approach to the work, emphasizing the role played by the eleven-tone row in determining salient pc sets. Chapter Three re-examines many of these same passages from the viewpoint of tonal referentiality, considering how Copland is able to evoke tonal gestures within a structural context governed by pc-set relationships. The fourth chapter will reflect on the dialectic that is played out in this work between pc-sets and tonal elements, and considers the strengths and weaknesses of various analytical approaches to the work.
    [Show full text]
  • Festival Newsletter
    THE In This Issue newsletter. Letter from the President Festival Schedule 2019 Festival Edition Guest Artist Line-Up Karena Pezzullo, Editor Share Tweet Letter from the President Greetings all! Wow! It is hard to believe the year has flown right by as we are now just days away from the 2019 Texas Flute Festival. It is so easy to get tired and bogged down during this time of year with busy schedules, but I am looking forward to an inspiring and refreshing day of music making with you all! I could not think of a better way to end the academic year than by gathering together and celebrating the progress and hard work that everyone has put forth throughout the year. If you’re not already pumped, then get ready! This year’s guest artists are bringing a wide variety of talent to the Flute community, featuring Project Trio, Kara Kirkendoll Welch, and Martin Godoy. You do not want to miss these amazing artists in concert! They will each perform solo recitals as well as a performance on the Artists' Showcase Recital. During the festival, be sure to check out the clinics these artists are offering. – Want to learn how to beat box and jam out? Be sure to check out Greg Pattillo’s class on beat boxing and flute playing. – Trying to brush up on your orchestral excerpts? Then come and hear Kara Kirkendoll Welch’s masterclass discussing orchestral literature. – Join last year’s Myrna Brown winner, Martin Godoy, as he presents a masterclass to Junior High students from across the Dallas/Fort Worth area.
    [Show full text]
  • Lost Generation.” Two Recent Del Sol Quartet Recordings Focus on Their Little-Known Chamber Music
    American Masterpieces Chamber Music Americans in Paris Like Hemingway and Fitzgerald, composers Marc Blitzstein and George Antheil were a part of the 1920s “Lost Generation.” Two recent Del Sol Quartet recordings focus on their little-known chamber music. by James M. Keller “ ou are all a lost generation,” Generation” conveyed the idea that these Gertrude Stein remarked to literary Americans abroad were left to chart Y Ernest Hemingway, who then their own paths without the compasses of turned around and used that sentence as the preceding generation, since the values an epigraph to close his 1926 novel The and expectations that had shaped their Sun Also Rises. upbringings—the rules that governed Later, in his posthumously published their lives—had changed fundamentally memoir, A Moveable Feast, Hemingway through the Great War’s horror. elaborated that Stein had not invented the We are less likely to find the term Lost locution “Lost Generation” but rather merely Generation applied to the American expa- adopted it after a garage proprietor had triate composers of that decade. In fact, used the words to scold an employee who young composers were also very likely to showed insufficient enthusiasm in repairing flee the United States for Europe during the ignition in her Model-T Ford. Not the 1920s and early ’30s, to the extent that withstanding its grease-stained origins, one-way tickets on transatlantic steamers the phrase lingered in the language as a seem to feature in the biographies of most descriptor for the brigade of American art- American composers who came of age at ists who spent time in Europe during the that moment.
    [Show full text]
  • Guide to Repertoire
    Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well).
    [Show full text]
  • A Tonal Analysis of the First String Quartet, Opus 37, by Karol Szymanowski
    A TONAL ANALYSIS OF THE FIRST STRING QUARTET, OPUS 37, BY KAROL SZYMANOWSKI By PAUL CADRIN M.A., McGill University, 1979 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES ''Department of Music) We' accept this thesis/a^ conforming to t^ne /req^ir^d standard THE UNIVERSITY OF BRITISH COLUMBIA December 1985 © Paul Cadrin, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. MUSIC Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date 23 April I986 ABSTRACT In 1917, at the peak of the most productive period of his creative life, the Polish composer Karol Szymanowski (1882-1937) undertook his First String Quartet in C, opus 37. Of the four movements originally planned, three were published in 1925. These three movements reflect important directions in the evolution of the composer's style: from a youthful fervor toward German late romanticism (First Movement), through Szymanowski*s discovery of French impressionism (Second Movement), to his most daring experiment with polytonality (Third Movement). The complexity of this work, particularly of its tonal-harmonic language, raises questions which this dissertation proposes to answer.
    [Show full text]
  • June Diary/04 For
    NOVEMBER 2004 36 Wigmore Street London W1U 2BP Box Office Tel 020 7935 2141 Online Booking www.wigmore-hall.org.uk NOVEMBER 2004 BOOKING DATES Wednesday at 6.00 pm Bechstein Room Friends: Post/fax form to reach Box Office by 17 September 3 Paul Lewis in conversation with Paul Kildea (admission £3) Mailing List: Post/fax form to reach Box Office by 24 September General Public: Telephone/online bookings: 1 October At 7.30 pm ( NB Personal bookings will not be possible until 9 October) London Pianoforte Series Monday at 1.00 pm Paul Lewis piano 1 BBC Radio 3 Lunchtime Concert Beethoven Sonata in F, Op. 54; Busoni 2 Elegies: Nach der Wendung; Meine Seele bangt und hofft zu dir; Chopin Ballade No. 4 in F minor, Juilliard Quartet Op. 52; Schubert Sonata in Bb, D. 960 76 5 Haydn String Quartet in D, Op. , No. ; Beethoven String Quartet £22 £18 £14 £12 in E minor, Op. 59, No. 2 ‘Razumovsky’ £10 Senior Citizens £8 4 Thursday at 6.00 pm Bechstein Room Monday at 7.30 pm Murray–Mahler Series Olga Neuwirth in conversation with Paul Kildea (admission free) Chamber Music Season At 7.30 pm Belcea Quartet Resident String Quartet Klangforum Wien Ann Murray DBE mezzo soprano Johannes Kalitzke director; Andrew Watts countertenor Simon Keenlyside baritone; Paul Kildea conductor Olga Neuwirth Hommage à Klaus Nomi (final song, world première commissioned by the Anglo-Austrian Music Society); Verfremdung/ Repeat of concert on 30 October Entfremdung; ...morphologische Fragmente...; Salvatore Sciarrino £28 only. All others sold Esplorazione del bianco; Rebecca
    [Show full text]
  • Writing About Music: a Style Sheet, Second Edition
    36473_u01.qxd 2/6/08 4:24 PM Page 1 1 Music Terminology Titles of Works 1.1 The formal title of a work from the classical repertoire includes the key, index identifier, and sometimes its familiar or tradi- tional name. Beethoven, Symphony No. 3 in Ef Major, op. 55 (“Eroica”) or Beethoven, Symphony No. 3 in E-flat Major, op. 55 (“Eroica”) Either solution is correct. (The use of lowercase b and the num- ber symbol # for Ef and F# is not.) For most applications the spelled-out version ends posing fewer challenges to design and layout. 1.2 Generic Titles. Generic titles are those, in English, that use such describers as symphony, concerto, fantasia, and the like, often with an identifying opus or catalog number appended. These ti- tles are given in roman type. Consider the forms given below. Bach, Toccata and Fugue in D Minor, BWV 565 ___–1 Haydn, Baryton Trio No. 71 in A Major, Hob. XI:71 ___ 0 ___+1 1 36473_u01.qxd 2/6/08 4:24 PM Page 2 music terminology Beethoven, String Quartet No. 1 in F Major, op. 18, no. 1 Beethoven, Violin Concerto in D Major, op. 61 Beethoven’s Fifth Symphony Schubert, Mass No. 6 in Ef Major, D. 950 Schumann, Variations for Piano, op. 9 the Schumann Variations, op. 9 Lisz,: Piano Sonata in B Minor (See, for more samples, 1.16, and, for catalogs, 1.25.) Capitalization styles vary but should be consistent throughout a work. CMS (8.203), for instance, prefers Symphony no. 3.
    [Show full text]
  • Season 20 Season 2011-2012
    Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 229999,, at 8:00 FriFriFridayFri dayday,, March 303030,30 , at 222:002:00:00:00 Saturday, March 313131,31 , at 8:00 EsaEsa----PekkaPekka Salonen Conductor Leila Josefowicz Violin Bartók Music for Strings, Percussion, and Celesta I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Intermission Salonen Violin Concerto I. Mirage II. Pulse I III. Pulse II IV. Adieu First Philadelphia Orchestra performances Debussy La Mer I. From Dawn to Midday at Sea II. Play of the Waves III. Dialogue of the Wind and the Sea This program runs approximately 1 hour, 55 minutes. Conductor and composer EsaEsa----PekkaPekka Salonen has been principal conductor and artistic advisor of the Philharmonia Orchestra in London since 2008 and artistic director of the Baltic Sea Festival since 2003. He became conductor laureate of the Los Angeles Philharmonic in 2009, following 17 years at its helm as music director. In the 2011-12 season Mr. Salonen leads the Philharmonia in performances of Bartók’s Bluebeard’s Castle as part of the “Infernal Dance: Inside the World of Béla Bartók” project, launched in January 2011. This season with the Los Angeles Philharmonic Mr. Salonen conducted the world premiere of the recently-discovered Shostakovich opera Orango. As a composer Mr. Salonen has completed commissions for the Finnish Radio Symphony, Tokyo’s Suntory Hall, the North German Radio Symphony, the Los Angeles Philharmonic, the Présences Festival in Paris, and a piano concerto dedicated to, and premiered by, Yefim Bronfman. Mr. Salonen’s Violin Concerto, written for and premiered by Leila Josefowicz in 2009, received the 2012 Grawemeyer Award.
    [Show full text]
  • Chamber Music Repertoire Trios
    Rubén Rengel January 2020 Chamber Music Repertoire Trios Beethoven , Piano Trio No. 7 in B-lat Major “Archduke”, Op. 97 Beethoven , String Trio in G Major, Op. 9 No. 1 Brahms , Piano Trio No. 1 in B Major, Op. 8 Brahms , Piano Trio No. 2 in C Major, Op. 87 Brahms , Horn Trio E-lat Major, Op. 40 U. Choe, Piano Trio ‘Looper’ Haydn, P iano Trio in G Major, Hob. XV: 25 Haydn, Piano Trio in C Major, Hob. XV: 27 Mendelssohn , Piano Trio No. 1 in D minor, Op. 49 Mendelssohn, Piano Trio No. 2 in C minor, Op. 66 Mozart , Divertimento in E-lat Major, K. 563 Rachmaninoff, Trio élégiaque No. 1 in G minor Ravel, Piano Trio in A minor Saint-Saëns , Piano Trio No. 1, Op. 18 Shostakovich, Piano Trio No. 2 in E minor, Op. 67 Stravinsky , L’Histoire du Soldat Tchaikovsky, Piano Trio in A minor, Op. 50 Quartets Arensky , Quartet for Violin, Viola and Two Cellos in A minor, Op. 35 No. 2 (Viola) Bartok, String Quartet No. 1 in A minor, Sz. 40 Bartok , String Quartet No. 5, Sz. 102, BB 110 Beethoven , Piano Quartet in E-lat Major, Op. 16 Beethoven , String Quartet No. 4 in C minor, Op. 18 No. 4 Beethoven , String Quartet No. 5 in A Major, Op. 18 No. 5 Beethoven, String Quartet No. 8 in E minor, Op. 59 No. 2 Borodin , String Quartet No. 2 in D Major Debussy , String Quartet in G Major, Op. 10 (Viola) Dvorak, Piano Quartet No. 2 in E-lat Major, Op.
    [Show full text]
  • Study Guide for Teachers
    Study Guide For Teachers Project Trio In Outside the Bachs Presented by Young Audiences (866) 500-9265 www.yanjep.org ABOUT THE PROGRAM BACKGROUND INFORMATION FOR STUDENTS Combining the virtuosity of world-class artists with the energy of rock stars, PROJECT Trio remixes traditional Chamber music is a form of classical music that is ideas of chamber music in Outside the Bachs! In this composed for a small group of instruments—traditionally a genre-defying performance, students discover the joys of group that could fit in a palace chamber or a large room. classical and jazz music through exciting arrangements Most broadly, it includes any art music that is performed by of music from Bach to Beethoven, to Django Reinhardt to a small number of performers, with one performer to a part Jethro Tull, and plenty of PROJECT Trio originals. By (in contrast to orchestral music, in which each string part is played by a number of performers). However, by combining classical repertoire with elements of hip-hop convention, it usually does not include solo instrument and popular music, students experience this trio’s performances or performers. innovative process of blending eclectic musical elements into a universal language through the art of collaboration refers to music composed during the late Classical music eighteenth and early nineteenth centuries, characterized by the development of the sonata by such composers as Mozart. In popular use, however, the term is used to mean any serious art music as distinct from jazz, pop, or folk. LEARNING GOALS Jazz music is style of music, native to America, characterized by a strong but flexible rhythmic Students will: understructure with solo and ensemble improvisations on basic tunes and chord patterns and, more recently, a • Hear high energy, innovative chamber music highly sophisticated harmonic idiom.
    [Show full text]
  • French Violin Performance from Franck to Ravel A
    UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition.
    [Show full text]