Recital Programs for Fall Semester 2002 Music Department
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
Passacaglia PRINT
On Shifting Grounds: Meandering, Modulating, and Möbius Passacaglias David Feurzeig Passacaglias challenge a prevailing assumption underlying traditional tonal analysis: that tonal motion proceeds along a unidirectional “arrow of time.” The term “continuous variation,” which describes characteristic passacaglia technique in contrast to sectional “Theme and Variations” movements, suggests as much: the musical impetus continues forward even as the underlying progression circles back to its starting point. A passacaglia describes a kind of loop. 1 But the loop of a traditional passacaglia is a rather flattened one, ovoid rather than circular. For most of the pattern, the tonal motion proceeds in one direction—from tonic to dominant—then quickly drops back to the tonic, like a skier going gradually up and rapidly down a slope. The looping may be smoother in tonic-requiring passacaglia themes (those which end on the dominant) than in tonic- providing themes, as the dominant harmony propels the music across the “seam” between successive statements of the harmonic pattern. But in both types, a clear dominant-tonic cadence tends to work against a sense of seamless circularity. This is not the case for some more recent passacaglias. A modern compositional type, which to my knowledge has not been discussed before as such, is the modulatory passacaglia.2 Modulating passacaglia themes subvert tonal closure via progressions which employ elements of traditional tonality but veer away from the putative tonal center. Passacaglias built on these themes may take on a more truly circular form, with no obvious start or endpoint. This structural ambiguity is foreshadowed in some Baroque ground-bass compositions. -
A Conversation with Mark Morris
Spring2011 Ballet Review From the Spring 2011 issue of Ballet Review A Conversation with Mark Morris On the cover: Mark Morris’ Festival Dance. 4 Paris – Peter Sparling 6 Boston – Jeffrey Gantz 8 Stupgart – Gary Smith 10 San Francisco – Leigh Witchel 13 Paris – Peter Sparling 15 Sarasota, FL – Joseph Houseal 17 Paris – Peter Sparling 19 Toronto – Gary Smith 20 Paris – Leigh Witchel 40 Joel Lobenthal 24 A Conversation with Cynthia Gregory Joseph Houseal 40 Lady Aoi in New York Elizabeth Souritz 48 Balanchine in Russia 61 Daniel Gesmer Ballet Review 39.1 56 A Conversation with Spring 2011 Bruce Sansom Editor and Designer: Marvin Hoshino Sandra Genter 61 Next Wave 2010 Managing Editor: Roberta Hellman Michael Porter Senior Editor: Don Daniels 68 Swan Lake II Associate Editor: Joel Lobenthal Darrell Wilkins 48 70 Cherkaoui and Waltz Associate Editor: Larry Kaplan Joseph Houseal Copy Editor: 76 A Conversation with Barbara Palfy Mark Morris Photographers: Tom Brazil Costas 87 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Associates: Peter Anastos 100 Check It Out Robert Greskovic George Jackson Elizabeth Kendall 70 Paul Parish Nancy Reynolds James Supon David Vaughan Edward Willinger Sarah C. Woodcock CoverphotobyTomBrazil: MarkMorris’FestivalDance. Mark Morris’ Festival Dance. (Photos: Tom Brazil) 76 ballet review A Conversation with – Plato and Satie – was a very white piece. Morris: I’m postracial. Mark Morris BR: I like white. I’m not against white. Morris:Famouslyornotfamously,Satiesaid that he wanted that piece of music to be as Joseph Houseal “white as classical antiquity,”not knowing, of course, that the Parthenon was painted or- BR: My first question is . -
Handel's Messiah
Handel’s Messiah George Frideric Handel / Composer Ann Arbor Symphony Orchestra UMS Choral Union Scott Hanoian / Conductor Mary Wilson / Soprano Elizabeth DeShong / Mezzo-soprano Matthew Plenk / Tenor Michael Sumuel / Bass-baritone Joseph Gascho / Harpsichord Scott VanOrnum / Organ Saturday Evening, December 5, 2015 at 8:00 Sunday Afternoon, December 6, 2015 at 2:00 Hill Auditorium Ann Arbor 24th and 25th Performances of the 137th Annual Season On September 10, UMS received the National Medal of Arts from President Barack Obama at the White House. We are deeply honored to be the first university-based presenter to receive this recognition, which is the highest award given to artists and arts patrons by the US government. Please accept our sincerest thanks for your participation and generous patronage, all of which have played a critical role in UMS being recognized at the highest level. Artists tell us time and time again that “UMS audiences are the best” and we wholeheartedly agree. This medal belongs to all of us. This weekend’s performances are sponsored by Sesi Lincoln and Richard and Norma Sarns. Endowed support from the Carl and Isabelle Brauer Endowment Fund. Media partnership provided by Michigan Radio 91.7 FM and Ann Arbor’s 107 one. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Part I l Sinfonia 2 Arioso Mr. Plenk Isaiah 40: 1 Comfort ye, comfort ye my people, saith your God. Isaiah 40: 2 Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. -
Music in the “New World”: from New Spain to New England Objectives
Music in the “New World”: From New Spain to New England objectives I. the villancico in Peru (what’s new about it) II. Spanish opera in Peru III. music in the British colonies [focus on the terms and the two works on your listening list] The “Age of Discovery” (for Europeans) • 1492: Christopher Columbus (Spain) • 1494: Treaty of Tordesillas • 1500: “discovery” of Brazil by Portuguese 1 Pre‐Columbian Civilizations • Mayans (Guatemala, 4th‐8th c.) • Aztecs (Mexico, late 12th c.‐1521) • Incas (Peru, 13th c.‐1533) music of Pre‐Columbian Civilizations • NO music survives • Music Sources: – 1. surviving instruments – 2. iconography – 3. writings about music by missionaries • music was inseparable from religious ritual 1. Surviving Instruments Aztec Flutes Incan stone panpipe 2 2. Iconography “New World” 17th‐18th c. Sacred Music in Hispanic America • Catholic liturgical music – tool for evangelism • Masses, Motets, etc. (in Latin) – Prima prattica works influenced by “Golden Age of Spanish Polyphony” • Cristóbal Morales • Tomás Luis de Victoria 3 Sacred Music in New Spain (Mexico) • Villancico – strophic song in Spanish with refrain Estribillo (refrain) Copla (strophe) A b b a or A Juan del Encina: Oy comamos y bebamos, villancico (late 15th cent.) • Estrebillo: • Refrain: Oy comamos y bebamos Today let’s eat and drink y cantemos y holguemos, and sing and have a good time que mañana ayunaremos. for tomorrow we will fast. • Copla 1 • Stanza 1 [mudanza] •[mudanza] Por onrra de sant Antruejo To honor Saint Carnival parémonos oy bien anchos, today let’s end up very fat, enbutamos estos panchos, let’s stuff our bellies, rrecalquemos el pellejo, let’s stretch our skin, [vuelta] [vuelta] que constumb’es de conçejo for it’s a custom of the council que todos oy nos hartemos, that today we gorge ourselves, que mañana ayunaremos, for tomorrow we will fast Villancico: “Tarara, tarara” by Antonio de Salazar (1713) A Tarara, tarara qui yo soy Anton Tada, tada, I’m Anthony, Ninglito di nascimiento Black by birth, Qui lo canto lo mas y mijo. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph 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 Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
PROGRAM NOTES Anton Webern Passacaglia for Orchestra, Op. 1
PROGRAM NOTES by Phillip Huscher Anton Webern Born December 2, 1883, Vienna, Austria. Died September 15, 1945, Mittersill, near Salzburg, Austria. Passacaglia for Orchestra, Op. 1 Webern composed his Passacaglia in 1908 and conducted the first performance in Vienna that year. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, triangle, tam-tam, harp, and strings. Performance time is approximately eleven minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Webern’s Passacaglia were given at Orchestra Hall on February 10 and 11, 1944, with Désiré Defauw conducting. Our most recent subscription concert performances were given on November 25, 26, and 27, 1994, with Pierre Boulez conducting. The Orchestra first performed this work at the Ravinia Festival on July 28, 1990, with Gianluigi Gelmetti conducting, and most recently on July 22, 2000, with Bernhard Klee conducting. Op. 1 is a composer’s calling card—the earliest music that he officially sends out into the world. For every composer like Franz Schubert, whose first published work (the song Der Erlkönig) is a masterpiece that he will often equal but seldom surpass, there are countless others for whom op. 1 scarcely conveys what later years will bring. Orchestral music bearing op. 1 has seldom stayed in the repertory; it usually is followed by music which is better, more popular, and more characteristic—who today hears Stravinsky’s Symphony in E-flat, Richard Strauss’s Festmarsch, or Shostakovich’s Scherzo in F-sharp? Anton Webern’s op. -
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’. -
Recording Artist Recording Title Price 2Pac Thug Life
Recording Artist Recording Title Price 2pac Thug Life - Vol 1 12" 25th Anniverary 20.99 2pac Me Against The World 12" - 2020 Reissue 24.99 3108 3108 12" 9.99 65daysofstatic Replicr 2019 12" 20.99 A Tribe Called Quest We Got It From Here Thank You 4 Your Service 12" 20.99 A Tribe Called Quest People's Instinctive Travels And The Paths Of Rhythm 12" Reissue 26.99 Abba Live At Wembley Arena 12" - Half Speed Master 3 Lp 32.99 Abba Gold 12" 22.99 Abba Abba - The Album 12" 12.99 AC/DC Highway To Hell 12" 20.99 Ace Frehley Spaceman - 12" 29.99 Acid Mothers Temple Minstrel In The Galaxy 12" 21.99 Adele 25 12" 16.99 Adele 21 12" 16.99 Adele 19- 12" 16.99 Agnes Obel Myopia 12" 21.99 Ags Connolly How About Now 12" 9.99 Air Moon Safari 12" 15.99 Alan Marks Erik Satie - Vexations 12" 19.99 Aldous Harding Party 12" 16.99 Alec Cheer Night Kaleidoscope Ost 12" 14.99 Alex Banks Beneath The Surface 12" 19.99 Alex Lahey The Best Of Luck Club 12" White Vinyl 19.99 Algiers There Is No Year 12" Dinked Edition 26.99 Ali Farka Toure With Ry Cooder Talking Timbuktu 12" 24.99 Alice Coltrane The Ecstatic Music Of... 12" 28.99 Alice Cooper Greatest Hits 12" 16.99 Allah Las Lahs 12" Dinked Edition 19.99 Allah Las Lahs 12" 18.99 Alloy Orchestra Man With A Movie Camera- Live At Third Man Records 12" 12.99 Alt-j An Awesome Wave 12" 16.99 Amazones D'afrique Amazones Power 12" 24.99 American Aquarium Lamentations 12" Colour Vinyl 16.99 Amy Winehouse Frank 12" 19.99 Amy Winehouse Back To Black - 12" 12.99 Anchorsong Cohesion 12" 12.99 Anderson Paak Malibu 12" 21.99 Andrew Bird My Finest Work 12" 22.99 Andrew Combs Worried Man 12" White Vinyl 16.99 Andrew Combs Ideal Man 12" Colour Vinyl 16.99 Andrew W.k I Get Wet 12" 38.99 Angel Olsen All Mirrors 12" Clear Vinyl 22.99 Angelo Badalamenti Twin Peaks - Ost 12" - Ltd Green 20.99 Ann Peebles Greatest Hits 12" 15.99 Anna Calvi Hunted 12" - Ltd Red 24.99 Anna St.