June 17—20, 2019 COLORADO STATE UNIVERSITY
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SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12Th Century, Paris, Bibl
SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12th century, Paris, Bibl. Nat., ms . lat. 17,328) SACRED MUSIC Volume 99, Number 1 , Spring 1972 BERNSTEIN'S MASS 3 Herman Berlinski TU FELIX AUSTRIA 9 Reverend Robert Skeris MUSICAL SUPPLEMENT 13 REVIEWS 20 FROM THE EDITOR 25 NEWS 26 SACRED MUSIC Continuation of Caeci/ia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publication: 548 Lafond Avenue, Saint Paul, Minne sota 55103. Editorial office: Route 2, Box I, Irving, Texas 75062. Editorial Board Rev. Ralph S. March, S.O.Cist., Editor Mother C. A. Carroll, R.S.C.J. Rev. Lawrence Heiman, C.PP.S. J. Vincent Higginson Rev. Peter D. Nugent Rev. Elmer F. Pfeil Rev. Msgr. Richard J. Schuler Frank D. Szynskie Editorial correspondence: Rev. Ralph S. March, S.O.Cist., Route 2, Box I, Irving, Texas 75062 News: Rev. Msgr. Richard J. Schuler, 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Mother C. A. Carroll, R.S.C.J., Manhattanville College of the Sacred Heart, Purchase, New York 10577 Rev. Elmer F. Pfeil 3257 South Lake Drive Milwaukee, Wisconsin 53207 Membership and Circulation: Frank D. Szynskie, Boys Town, Nebraska 68010 AdvertisinR: Rev. Ralph S. March, S.O.Cist. CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Dr. Roger Wagner Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I. -
Jewish Organists and Organs in German Synagogues
Jewish Organists and Organs in German Synagogues The title alone sounds nonsensical to most of us. But there is now an entire book on the subject, carried out with meticulous care by a German writer, describing herself as “a scholar who is not Jewish”, prompted by her accidental discovery that such people and activities once flourished. More than that, they continue into our present era and will do so in the future, it is hoped. Her research led to a comprehensive work in German, published in 2005. Now we have its English translation, published by the Oxford University Press in 2009: The Organ and Its Music in German-Jewish Culture by Tina Frühauf ISBN 978-0-19-533706-8 (284 pages, hard-back) We regard the organ as a Christian possession, a vital part of the religious service. But it was only slowly accepted ca. 900—1100 CE, when still a primitive instrument, and even then it was not incorporated into the liturgy. By comparison, instrumental music (whatever its form may have been) was apparently used in prayer by the ancient Hebrews; there is even a possibility that an organ — the magrepha — was used in the Temple in Jerusalem. It was not until the 15th century that Christianity adopted the organ as a devotional instrument, and this was slow to take hold. The Presbyterian Church, for example, did not accept the organ in services until well into the 19th century. There was concern that organ music would be regarded as frivolous, unworthy of the gravity of religion. Jewish orthodox practice continues to take this attitude. -
On the Trail of Jewish Music Culture in Leipzig
Stations Mendelssohn-Haus (Notenspur-Station 2) On the trail of Jewish Mendelssohn House (Music Trail Station 2) / Goldschmidtstraße 12 The only preserved house and at the same time the deathbed of Felix Mendelssohn Bartholdy (1809-1847), conductor of Leipzig’s Gewandhaus and founder of the rst German conservatory. music culture in Leipzig Musikverlag C.F.Peters / Grieg-Begegnungsstätte (Notenspur-Station 3) C.F.Peters Publishers/Grieg Memorial Centre (Music Trail Station 3) / Talstraße 10 Headquarters of the Peters’ Publishing Company since 1874, expropriated by the National Socialists in 1939; Henri Hinrichsen, the publishing manager and benefactor, was murdered in Auschwitz Concentration Camp in 1942. Wohnhaus von Gustav Mahler (Notenbogen-Station 4, Notenrad-Station 13) Gustav Mahler’s Residence (Music Walk Station 4, Music Ride Station 13) / Gustav-Adolf-Str.aße12 The opera conductor Gustav Mahler (1869-1911) lived in this house from 1887 till 1888 and composed his Symphony No.1 here. Wohnhaus von Erwin Schulho (Notenbogen-Station 6) Erwin Schulho ‘s Residence (Music Walk Station 6) / Elsterstraße 35 Composer and pianist Erwin Schulho (1894-1942) lived here during his studies under the instruction of Max Reger between 1908 and 1910. Schulho died in Wülzburg Concentration Camp in 1942. Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ - Max Reger (Notenbogen-Station 9, Notenrad-Station 3) Leipzig Conservatory named after its founder Felix Mendelssohn Bartholdy (Music Walk Station 9, Music Ride Station 3) / Grassistraße 8 The main building of the Royal Conservatory founded by Mendelssohn, inaugurated in 1887; place of study and instruction of prominent Jewish musicians such as Salomon Jadassohn, Barnet Licht, Wilhelm Rettich, Erwin Schulho , Günter Raphael and Herman Berlinski. -
Sampler Linernts 8 559406.Indd
Cover Art A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. My personal interest in music and deep abiding commitment to synagogue life and the Jewish people united as I developed an increasing appreciation for the quality and tremendous diversity of music written for or inspired by the American Jewish experience. Through discussions with contemporary Jewish composers and performers during the 1980s, I realized that while much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Music was founded in 1990. This project would unite the Jewish people’s eternal love of music with their commitment to education, a commitment shared by the Milken Family Foundation since our founding in 1982. The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast repository of musical resources to educate, entertain, and inspire people of all faiths and cultures. -
ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata . -
Herman Berlinski Return & Sinfonia No
NWCR839 Herman Berlinski Return & Sinfonia No. 10 Return, a song cycle for baritone & piano (1950, rev. 1985) ................................ (21:37) 1. The Listener (Walter de la Mare) ............. (6:09) 2. Return (Demetrios Capetanakis) .............. (6:30) 3. Travelogue for Exiles (Karl Shapiro) ....... (2:40) 4. Portrait of a Girl (Conrad Aiken) ............. (6:18) Donald Boothman, baritone; Herman Berlinski, piano Sinfonia No. 10 for Cello and Organ .................... (36:38) 5. I - “Min-Ha-Maakim” Out of the depths .. (19:12) 6. II - “Av-Ha-Rachamim” Father of Mercy (17:26) Lori Barnet, cello; Herman Berlinski, organ Total Playing Time: 58:20 Ê 1987, 2000 & © 2000 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes Return, a song cycle for baritone & piano dedicated to Dr. and Mrs. Sidney Friedman who believed A few years ago I visited my hometown Leipzig for the first when nobody else did.) time in forty-eight years. My wife and companion for over — Herman Berlinski, 1985 fifty years was with me. We walked hand in hand through the Sinfonia No. 10 for Cello and Organ (1977) streets which were the streets of our childhood. The houses This work is dedicated to the memory of Milton Feist, rabbi, looked smaller, the streets narrower and time had eaten into kabbalist, music publisher and a dear friend. Milton, crippled the walls of the houses a shade of gray, death and decay. It at the age of four by polio, lived his whole life in a wheel was bitter cold and all the windows were closed. The snow chair. This life, a never ceasing struggle against the muffled our four steps as we walked in the middle of the overwhelming power and brutality of this disease, became to street, for very few cars were circulating then in Leipzig. -
Canadian Brass
PHOTO BY DANIEL DOTTAVIO CANADIAN BRASS Sunday, April 7, 2019, at 3pm Foellinger Great Hall PROGRAM CANADIAN BRASS Chuck Daellenbach, tuba Christopher Coletti, trumpet Caleb Hudson, trumpet Achilles Liarmakopoulos, trombone Jeff Nelsen, horn This unique program by the Canadian Brass reaches from the early 17th century with Monteverdi; through the 18th century with Bach, Handel, and Mozart; the 19th century with Brahm; and into the 20th century with Harry Decosta and Michael Kamen. The program speaks also for the art of transcription. Anyone who thinks that transcription is merely a question of copying is proven wrong in this program. Transcription must be driven by making the correct choice of works to treat through an understanding of the voices within the pieces. ©2019 Lucy Miller Murray From soloists to quartets to chamber ensembles, the Classical Mix series creates a varied blend of outstanding musical experiences. The 2018-19 series includes Jupiter String Quartet and Jasper String Quartet with Michael Cameron, bass (October 4), Daniel Hope and Friends (October 25), Eroica Trio (November 13), Andersson Dance and Scottish Ensemble (April 2), and Canadian Brass (April 7). For more information about these events, please visit KrannertCenter.com/calendar. Canadian Brass appears by arrangement with: IMG Artists Pleiades House, 7 West 54th Street New York, New York 10019 212.994.3500 2 Claudio Monteverdi Damigella Tutta Bella (1567-1643) arr. Caleb Hudson George Frideric Handel Arrival of Queen of Sheeba (1685-1759) arr. Michael Allen Johann Sebastian Bach Little Fugue in G Minor (1685-1750) arr. Ronald Romm Johannes Brahms Selections from Brahms on Brass (1833-1897 arr. -
HERMAN BERLINSKI Symphonic Visions for Orchestra RICHARD KORN, Conducting the Ashai Orchestra of Tokyo
HERMAN BERLINSKI Symphonic Visions for Orchestra RICHARD KORN, conducting The Ashai Orchestra of Tokyo Sinfonia No. I Andante Molto Pesante “They crush Thy people, O Lord . And they say: ‘The Lord will not see’.” PSALM 94 Sinfonia No. II Adagio Molto Espressivo “I beheld the earth, And, lo it was waste and void And the heavens, and they had no light.” JEREMIAH Sinfonia No. III Con Impeto - Tempo di Marcia “We have heard a voice of trembling, Of fear, and not of peace.” JEREMIAH Sinfonia No. IV Adagio Molto Sostenuto “For lo the winter is past The rain is over and gone The flower appears on the earth, The time of singing is come.” SONG OF SONGS HERMAN BERLINSKI is a composer with a philosophy. He is not among those creative workers who view the arts as a phenomenon removed from the world of social and spiritual values. Rather, in the course of his musical career, he has managed to experience most of the predominant, although sometimes contradictory, manifestations of twentieth century music and to orient them to a conscious core of personal, philosophical beliefs. Regarding these beliefs and their relationship to his work, the Symphonic Visions, Berlinski has this to say: “Music is communication and communion. “There are many kinds of communication and communion: the message from father to son; from leader to nation; from prophet to people; from the lonesome to whomever wants to listen; from the worried soul to other worried ones. “This is the century of mass destruction, of gas chambers, and the atomic bomb. Fear, sleeplessness, and melancholy have become the trademarks of our “displaced minds.” Some people try to flee into the realm of hectic excitement or irresponsibility — others, among them many creative artists, act toward themselves in no other way than does the psychiatrist toward his patient. -
Tuesday, December 3, 2019 | 7:30 P.M
Tuesday, December 3, 2019 | 7:30 p.m. Sponsor: Underwriter: This performance is made possible, in part, by generous gifts from Jim Beckwith and Betty & Craig Miller. From the Executive Director Happy Holidays! Welcome to Iowa State University’s Stephens Auditorium – this grand facility is celebrating her 50th birthday and we invite you along for a fantastic season of shows. Hans Christian Andersen said, “Where words fail, music speaks.” We hope you fi nd the magic, passion and connectedness that live entertainment offers at tonight’s performance. This year’s 13-show season showcases fi ve Broadway musicals that are making their fi rst appearance in Ames and fi ve (5) international acts/artists including a fi rst time visit by the Siberian State Symphony Orchestra. Our December series shows feature Canadian Brass who has earned the distinction of “the world’s most famous brass group” and A Magical Cirque Christmas, a dazzling show of music, illusions and acrobatics. We appreciate the opportunity to celebrate the holidays with you! With the support of more than 500 donors, our Performing Arts Fund supports our Series shows and so much more including pre-show talks, a non-profi t ticket program and outreach activities in the schools and community. Our performance underwriters program and corporate support continue to grow and provide crucial fi nancial support to our shows allowing more diverse programming to be enjoyed by our patrons. We would like to offer special thanks to the following Performance Underwriters: Jim Beckwith and Betty and Craig Miller for Canadian Brass and Brian and Tanya Anderson for A Magical Cirque Christmas. -
Canadian Brass Canadian Brass
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-27-2006 Concert: Canadian Brass Canadian Brass Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Canadian Brass, "Concert: Canadian Brass" (2006). All Concert & Recital Programs. 1177. http://digitalcommons.ithaca.edu/music_programs/1177 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Now in its 36th year, the Canadian Brass continues to enchant audiences worldwide with its singular blend of impeccable playing, lowbrow antics, and genre-blending repertoire. This redoubtable quintet has become the standard by which the brass quintet is judged. Appearing tonight will be founding members Charles Daellenbach [tuba] and Eugene Watts [trombone] as well as newer ad ~ tions Josef Burgstaller [trumpet]. Jeroen Berwaerts [trumpet]. and Bernhard Scully [horn]. The Canadian Brass sprang from modest and highly experimental roots in Toronto. Ontario, in 1970. The brass quintet was not yet established as a serious concert ensemble, and that proved an irresistible challenge to Watts and Daellenbach . Their imagination and consummate musicianship eventually elevated the art of the brass quintet to what it is today. Along the way, the ensemble developed a unique character and a hugely successful rapport with audiences. Performances run the gamut from formal classical concerts to music served up with lively dialogue and theatrical effects. But no matter the style, the music is central and played with dedication and excellence. -
Music for Brass Quintet with Orchestral Accompaniment: Commissioned Works, the Annapolis Brass Quintet, and a Survey of Literature for Brass Quintet and Orchestra
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 MUSIC FOR BRASS QUINTET WITH ORCHESTRAL ACCOMPANIMENT: COMMISSIONED WORKS, THE ANNAPOLIS BRASS QUINTET, AND A SURVEY OF LITERATURE FOR BRASS QUINTET AND ORCHESTRA Stacy L. Simpson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.269 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Simpson, Stacy L., "MUSIC FOR BRASS QUINTET WITH ORCHESTRAL ACCOMPANIMENT: COMMISSIONED WORKS, THE ANNAPOLIS BRASS QUINTET, AND A SURVEY OF LITERATURE FOR BRASS QUINTET AND ORCHESTRA" (2016). Theses and Dissertations--Music. 67. https://uknowledge.uky.edu/music_etds/67 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Brian Schober, Organ
Contemporary Works for Organ Sunday, February 23, 2020 4:00 pm Church of the Heavenly Rest, New York City Brian Schober, organ Program Three Biblical Masques (1960) Miriam Gideon i Haman ii Esther iii Mordecai Chorale Variations on “Aus tiefer Not schrei ich zu dir” (2019) ** Andrew Ardizzoia Misericordia (2014) John Anthony Lennon Elegy (1998) Steven Christopher Sacco Aaron’s Jubilee (1997) Richard Brooks Prelude for Organ (2002) Nancy Van De Vate (Elegy for Departed Friends) Variations on St. Elizabeth (2017) Thomas L. Read MicroSuite (2009) * Joseph Dangerfield The Wide Night Sky (2001) Jody Rockmaker Toccatas and Fantasias (1986-88) Brian Schober ** world premiere * New York premiere NOTES and NOTES FROM THE COMPOSERS – In concert order The American composer Miriam Gideon (1906-1996) grew up in Boston and, from age 10, New York. Gideon began music lessons after her family moved to New York, studying piano with her uncle, Henry Gideon, and later with Hans Barth and Felix Fox. Gideon graduated from Boston University in 1926 with a BA in French and mathematics, after which she studied composition privately with Lazare Saminsky (1931-1934) and Roger Sessions (1935-1943). Gideon later received an MA in literature from Columbia University (1946), as well as a doctorate in sacred music from the Jewish Theological Seminary (1981). During her career she taught composition at Brooklyn College, City College, Jewish Theological Seminary and Manhattan School of Music. She was only the second female composer to be inducted into the American Academy and Institute of Arts and Letters (1975). In 1946, the eminent composer Hugo Weisgall, the chairman of the faculty at the Jewish Theological Seminary's Cantors Institute and Seminary College of Jewish Music (now the H.