DOCSLIB.ORG

Érma Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Érma Ensemble ÉRMA ENSEMBLE MEMBERS LOTTE NURIA ADLER Lotte Nuria Adler (* 28th May 1998) discovered the mandolin for herself at the age of seven. From 2011 to 2015 she participated in the talent program of the Folkwang Music School Essen. Later, she has repeatedly taken master classes with Joseph Brent, Mike Marshall, Gertrud Weyhofen, Marga Wilden-Hüsgen, Markus Stockhausen and others. After graduating from high school in 2016, Lotte Nuria Adler took up her studies at Cologne Music College (Wuppertal branch) with Prof. Caterina Lichtenberg. At the same college she concurrently studies Elementary Music Pedagogy. Lotte Nuria Adler has frequently participated in both national and international competitions since 2008. As a child already, she had won numerous first prices and reached the maximum score at the federal competition of Jugend musiziert more than once. Participating in the most renowned international competitions for mandolin she has obtained a second prize at the 2nd International Solo Mandolin Competition Luxembourg in 2016 and the first price along with the audience award at the Yasuo-Kuwahara-Wettbewerb in 2018 where earlier she had already obtained the third price along with the audience award in 2015 at the age of 16. At the age of 13 Lotte Nuria Adler became concertmaster of the Plucked String Orchestra Düsseldorf. Regular guest performances with different orchestras from across the province have granted her entry to numerous concert houses such as Tonhalle, German Opera on the Rhine and Philharmonie Essen. In 2017, Lotte Nuria joined the «Studio Musikfabrik“, youth ensemble of the «Ensemble Musikfabrik». From an early age she has been attached to Contemporary Music. With her siblings she played music by Mauricio Kagel and Karl-Heinz Stockhausen in a trio (accordion, harp and mandolin) and premiered compositions by her grandfather Prof. Karl-Heinz Zarius. Her enthusiasm for Contemporary Music finally led her to the ÉRMA Ensemble. Since 2017, Lotte Nuria Adler has been fellow of the Werner Richard – Dr. Carl Dörken Foundation and of the association Yehudi Menuhin Live Music Now. In the year 2018 she received a scholarship of the prestigious Studienstiftung des Deutschen Volkes (German Academic Foundation). This way, she keeps getting ahead in her ambition to establish the mandolin as a concert instrument. ÉRMA ENSEMBLE AMARYLLIS BARTHOLOMEUS Amaryllis Bartholomeus (°1995, BE) started playing viola at the age of 4. She continues with Inneke Van Riel, Gudrun Vercampt, Erik Sluys and Thérèse- Marie Gilissen. In 2010, she start taking lessons with Paul De Clerck, with whom she will continue studying at the Koninklijk Conservatorium Brussel until 2018, when she obtains het Master in Music. Since a very young age, she has played in many youth orchestras, and is now a regular replacer in some of the well-known Belgian professional orchestras, on modern as well as historical instruments (e.g. Anwerp Symphony Orchestra, Symphonic orchestra of La Monnaie, Il Gardellino). She is also very active in chamber music and is a founding member of the Sonos Ensemble (BE). ÉRMA ENSEMBLE VERONIQUE DE RAEDEMAEKER Veronique De Raedemaeker (°16-03-1996, Belgium) began her violin study with Francis Reusens in the Academy for Music, Word and Dance in Lier, Belgium. In 2016 she graduated at the Royal Conservatoire in Antwerp with the bachelor degree of Music with Alissa Margulis, and in 2018 she received her master degree of Violin Solo at the Hochschule für Musik und Tanz in Köln with Barnabás Kelemen. Veronique also had the opportunity to learn from other renowned musicians such as Ivry Gitlis, Julia Fisher, Philippe Graffin, Pavel Vernikov. Her interpretations are appreciated for the richness of tone and a touching phrasing. She won prices at several national and international violin and chamber music competitions such as Young Belgian Talent (2015), the Internationaler Anton Rubinstein Wettbewerb (Düsseldorf, 2013, 2015) and Concours Breughel (Brussels, 2008, 2012, 2014). As a fervent chamber music player, Veronique plays in festivals and concerts series such as Arte Amanti, Musica et Poetica, Budapest Festival Academy, Montepulciano, Young Masters Amuz & De Bijloke. Together with the pianist George Tyriard she recorded under the sponsorship of ‘Young Belgian Talent’ the CD ‘Malinconia’ which received in 2020 the quality label ‘Klara’s Choice’ by the flemish radio for classical music. With Roel Dieltiens, Michaël Mannes and the orchestra La Passione, Veronique played in 2014 the triple concerto of L. v. Beethoven and in 2018, she interpreted the violin concerto of L. v. Beethoven with the Hungarian symphony orchestra of Gödöllö. Veronique participates in projects of the Austrian Haydn-Philarmonie under the baton of N. Altstaedt and E. Onofri as well as with Le Concert Olympique under the baton of J. Caeyers. During her second master ‘Interpretation Neue Musik’ in Köln she had the opportunity to perform in several radio-broadcasts for Deutschlandfunk. In 2019 she co-founded the ÉRMA Ensemble which specialises in contemporary music. Furthermore she worked with Spectra Ensemble from Ghent and Notabu Ensemble from Düsseldorf. Veronique regularly plays compositions from Ruben De Gheselle that were created on her proposal: ‘Finite Infinity’ (2015), ‘Changing Mechanics’ (2016) and ‘Wildlands’ (2018). Since 2017 she is a member of Live Music Now and plays on a violin from Stefan-Peter Greiner (Bonn 2005), on friendly loan by Yehudi Menuhin Live Music Now Köln e.V.. ÉRMA ENSEMBLE RAMON GARDELLA Ramón Gardella (1989 - ) is an Argentinian percussionist based in Cologne, Germany. He studied classical and contemporary percussion at the Conservatorio Superior de Música de la Ciudad de Buenos Aires “Astor Piazzolla” and then at the Hochschule für Musik und Tanz Köln where he attends his Konzertexamen degree with Prof. Carlos Tarcha and Dirk Rothbrust. He is formal member of Kollektiv 3:6 Köln für Zeitgenössische Musik and has already performed with Ensemble Musikfabrik, Ensemble Tra I Tempi, Ensemble Modern Orchestra, Beethoven Orchester Bonn, Gürzenich Orchester Köln, Neue Philharmonie Westfallen, Bochumer Symphoniker, Bergische Symphoniker and Jungen Philharmonie Köln. He also participated in important contemporary music festivals like Klangspuren 2016 (International Ensemble Modern Academy), Impuls 2017 and 2019, Stockhausen Courses Kürten 2017, Ensemble Academy Freiburg 2018, pgnm_ Biennale Aktueller Musik Bremen 2018, Ruhrtriennale 2018, Festival Now! 2018, Percussion Summit Bochum 2018, Acht Brücken Köln 2016/2017/2019, Wittener Tage für Neue Kammermusik 2019. ÉRMA ENSEMBLE ANTON GERZENBERG Born in 1996 in Hamburg, Anton Gerzenberg began playing the piano at the age of four. Initially he was taught by his mother, the pianist Lilya Zilberstein, before taking piano lessons from Julia Suslin. Already by the age of nine he had been awarded 1st prizes at national competitions for young musicians in Germany. At the age of eleven he started studying with pianist Julija Botchkovskaia at the Andreas Franke Akademie in Hamburg. Then he has been studying under Jan Jiracek von Arnim in Vienna. Currently, he is studying with Pierre-Laurent Aimard at Hochschule für Musik und Tanz Köln. Anton Gerzenberg has participated in master-classes conducted by Robert Levin, Joseph Paratore, András Schiff, Ronald Brautigam and Dmitri Bashkirov. He has appeared with such musicians as Martha Argerich, Dora Schwarzberg, Jonathan Stockhammer and Alvise Vidolin as well as with various orchestras including the Taipei Symphony Orchestra, the Münchner Symphoniker Orchester and the Hamburger Camerata. He is also a frequent guest at festivals including the Progetto Martha Argerich in Lugano, the Klavierfestival Ruhr, the Schleswig-Holstein Musikfestival, Accademia Chigiana in Siena and the Mozartfest Würzburg. ÉRMA ENSEMBLE ELIO HERRERRA Elio Herrera was born in San Carlos-Cojedes, Venezuela. Under the care of the world-famous music project «El Sistema», he received his first cello lessons at the age of ten. With the Teresa Carreño Youth Symphony Orchestra of Venezuela, the then only 16-year-old performed under the direction of Claudio Abbado, Sir Simon Rattle, Gustavo Dudamel, Eduardo Marturet, Sung Kwak, Frühbeck de Burgos, Maria Guinand, Placido Domingo, Christian Vasquez, Rebecca Miller, Eugene Kohn and Nikolaj Znaider and Robert HP Platz. In the same year he began studying at the University of the Arts in Caracas with William Molina and Marek Gazjler, which he completed in 2013 with the Bachelor of Music. From 2016-2019, Herrera studied violoncello in a master’s at the Cologne University of Music and Dance in the class of Nadège Rochat and Prof. Maria Kliegel. In addition to numerous projects at the university, he attended the Academy for Performing Arts and Music in Montepulciano in 2018 under the direction of Prof. Dr. Florence Millet and Prof. Johannes Schöllhorn. Since February 2018 he has been a member of the «Aelius Trio» for chamber music. In the same year he made a guest appearance at the Cologne Opera with the «Gargonza Arts» funding project for new art. Since 2019 Herrera has been studying contemporary music at the Folkwang University of the Arts in Essen in the class of Prof. Barbara Maurer and Prof. Günter Steiker. His passion for music has brought him to other international stages of renowned concert halls, including the Berlin Philharmonic, the Vienna Concert Hall, the Amsterdam Concertgebouw, the Madrid Auditorio Nacional de Música, the Toulouse Halle aux Grains, the Theater am Kirchplatz in Lichtenstein, and the Stavanger Konzerthus in Norway, the Konzerthaus in Stockholm, the München Gasteig, the Lisboa Grande Auditório, the Royal Festival Hall, the Istanbul Zorlu Center Performing Arts ̧ the Festspielhaus Salzburg and the Teatro Alla Scala Milano. “For me as a musician, it is not just the cello playing alone that fills me. It is much more the exchange between people and cultures to experiment with music and to be able to develop new concepts ÉRMA ENSEMBLE JINHEE KIM Guitarist Jinhee Kim, who Slava Grigoryan defined as «a rising star in the classical music scene», has entered the limelight with her sensitive, powerful and deep way of playing.
Load more

Recommended publications
  • A Historical Study of Management-Labor Relations Pertaining to the Dieselization of Railroads in the United States
    This dissertation has been microfilmed exactly as received 66—15,063 A D L E R , Jr., Philip, 1930— A HISTORICAL STUDY OF MANAGEMENT-LABOR RELATIONS PERTAINING TO THE DIESELIZATION OF RAILROADS IN THE UNITED STATES. The Ohio State University, Ph.D., 1966 Economics, commerce-business University Microfilms, Inc., Ann Arbor, Michigan A HISTORICAL STUDY OF laiAOSRSLT-IABCB RELATIONS PERTAINING TO THE DISSSIJSATIOE OF RAILROADS IK THE UNITED STATES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohic State University 2y Philip Adler, Jr., B. 3 B. A. The Ohio State University 1?66 sproved b y : r~Advig? Jy Depai'tment of Business Organisation ACKNOWLEDGMENTS I wish to express sincere appreciation to those who have helped in the organization and development of this investigation. It is impossible to list here the names of all who have given so generously of their time and knowledge to make this study possible. I am particularly indebted to my adviser, Dr. Michael Jucius, without whose guidance, patience, and inspiration this study would not have been possible. I would like to thank the members of ny reading committee, Professor Charles B. Hicks, Professor Rate Howell, and Professor Reed M. Powell for their valuable criticisms and suggestions. I also would like to thank the various individuals from the railroad industry for their enthusiastic cooperation throughout the research for this study. The encouragement provided by Mrs. Mildred Chavous of the Graduate School is most deeply appreciated, as is the guidance provided by the editorial staff of the Graduate School.
    [Show full text]
  • Klsp2018iema Broschuere.Indd
    KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina.
    [Show full text]
  • 30Th Annual CMSA Convention
    February 2016 • Volume XXXIII #1 30th Annual CMSA Convention by Mark Linkins The 2015 CMSA convention was, by all accounts, a We are also very happy to announce that Neil Gladd tremendous success both musically and organizationally. will be serving as the 2016 Composer-in-Residence! For The Austin team, in conjunction with the CMSA convention many of our readers, Neil Gladd needs no introduction. committee, set a very high standard of expectations for He is one of the foremost figures in the history of the future conventions. Our Philadelphia crew is working mandolin. Gladd appeared as a soloist at Kennedy Center diligently to ensure that the 2016 Convention – which and Carnegie Hall. He also performed with the National happens to be the 30th CMSA Symphony, under Leonard convention – will be a special and Slatkin, and with the Philadelphia memorable event for all attendees! Orchestra, under Rostropovich. A critically acclaimed recording CONFERENCE PROGRAM artist, Gladd produced numerous The 2016 Convention will be classical and ragtime albums over organized around the theme the course of three decades. of ensemble and orchestra performance. Given the fact Gladd is also a prolific composer. that a high percentage of CMSA He has written works for a attendees are members of wide range of instrumental and mandolin orchestras or ensembles, vocal configurations. Many of we thought there would be value in these include mandolin, as solo shining a light on issues pertinent instrument or in combination with to performing with others. This other instruments. As a composer, theme will be reflected in the Gladd’s work references diverse selection of guest artists and musical genres: from the English workshop topics.
    [Show full text]
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Nuremberg and Group Prosecution
    Washington University Law Review Volume 1951 Issue 3 1951 Nuremberg and Group Prosecution Richard Arens University of Buffalo Follow this and additional works at: https://openscholarship.wustl.edu/law_lawreview Part of the Legal History Commons, and the Military, War, and Peace Commons Recommended Citation Richard Arens, Nuremberg and Group Prosecution, 1951 WASH. U. L. Q. 329 (1951). Available at: https://openscholarship.wustl.edu/law_lawreview/vol1951/iss3/3 This Article is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Law Review by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. NUREMBERG AND GROUP PROSECUTION* RICHARD ARENSt INTRODUCTION The trial of the Nazi war criminals at Nuremberg for crimes against peace, war crimes and crimes against humanity involved not only the indictment of individual defendants but also the indictment of the major Nazi organizations. 1 An aspect almost completely ignored in the welter of allega- gations concerning the ex post facto basis of the Nuremberg prosecutions2 is that concerning the infliction of collective or group sanctions through adjudication of group criminality. The question touching on the use of such sanctions for the maintenance of public order has become particularly acute in recent years in democratic society faced with the threat of global violence. An ominous resort to group or collective deprivations was highlighted in the Western world during World War II by deportation of West Coast Japanese-Americans to "relocation centers" in the name of security? A subsequent resort to the infliction of such deprivations has become apparent in the * This is the second of two studies on war crimes prosecutions prepared for the Quarterly by Professor Arens.
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Incorporating High Speed Passenger Rail Into a Multimodal Network Model for Improved Regional Transportation Planning
    MN WI MI OH IL IN USDOT Region V Regional University Transportation Center Final Report NEXTRANS Project No. 055PY03 Incorporating High Speed Passenger Rail into a Multimodal Network Model for Improved Regional Transportation Planning By Jeffrey C. Peters Graduate Research Assistant, School of Civil Engineering Purdue University [email protected] and En-Pei Han Graduate Research Assistant, School of Aeronautics and Astronautics Purdue University [email protected] and Amit Kumar Graduate Research Assistant, School of Civil Engineering Purdue University [email protected] and Srinivas Peeta Professor of Civil Engineering Purdue University [email protected] and Daniel DeLaurentis Professor of Aeronautical and Astronautical Engineering Purdue University [email protected] DISCLAIMER Funding for this research was provided by the NEXTRANS Center, Purdue University under Grant No. DTRT07-G-005 of the U.S. Department of Transportation, Research and Innovative Technology Administration (RITA), University Transportation Centers Program. The contents of this report reflect the views of the authors, who are responsible for the facts and the accuracy of the information presented herein. This document is disseminated under the sponsorship of the Department of Transportation, University Transportation Centers Program, in the interest of information exchange. The U.S. Government assumes no liability for the contents or use thereof. MN WI MI OH IL IN USDOT Region V Regional University Transportation Center Final Report TECHNICAL SUMMARY NEXTRANS Project No. 055PY03 Final Report, May 14, 2014 Title Incorporating High Speed Passenger Rail into a Multimodal Network Model for Improved Regional Transportation Planning Introduction With increasing demand and rising fuel costs, both travel time and cost of intercity passenger transportation are becoming increasingly significant.
    [Show full text]
  • ADO Properties S.A. (Adler Real Estate Group)
    » Real Estate « Published: 22.04.2020 ADO Properties S.A. (Adler Real Estate Group) WKN: A14U78 | ISIN: LU1250154413 | Bloomberg: ADJ GY BUY Before: - Eagles (Adler) are going to fly Price target EUR 35.00 (-) Initial coverage« Share price* EUR 23.88 (47%) We initiate coverage of ADO Properties S.A. (ADLER Real Estate Group) with a BUY *last XETRA closing price In recommendation and a target price of EUR 35.00 (=~50% upside). Our TP is based Initial 2020e 2021e 2022e on our EPRA NAV valuation (EUR 35.54) for ADO on a stand-alone basis. Rental income 131.7 138.0 143.6 EBIT 162.0 165.1 168.6 NAV per share 63.24 65.20 67.21 New real estate group is created: The integration of ADLER and renaming to ADLER Real Estate Group creates one of the largest German real estate companies with a 55 current gross asset value (GAV) of EUR 8.5bn. For comparison: ADO Standalone had 50 45 a GAV of EUR 3.6bn at the end of 2019, while ADLER will integrate a value of EUR 40 4.9bn. Together, the two companies currently own 75,721 units, with 58,000 units 35 30 25 coming from ADLER. ADO previously operated exclusively in the Berlin region. The 20 15 acquisition of ADLER reduces this regional concentration to 25% of the total 10 May-19 Jul-19 Sep-19 Nov-19 Jan-20 Mar-20 portfolio. Overall, ADO/ADLER will become a serious German player in the ADO Properties S.A. Germany SDAX Germany CDAX Source: Factset residential real estate sector.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • Digital Concert Hall Where We Play Just for You
    www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
    [Show full text]
  • Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
    [Show full text]
  • Central Opera Service Bulletin • Vol
    CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Profntional Committee KURT HERBERT ADLER BORIS GOLDOVSKY San Francisco Opera Goldovsky Opera Theatre WILFRED C. BAIN DAVID LLOYD Indiana University Lake George Opera Festival GRANT BEGLARIAN LOTFI MANSOURI University of So. California Canadian Opera Company MORITZ BOMHARD GLADYS MATHEW Kentucky Opera Association Community Opera SARAH CALDWELL RUSSELL D. PATTERSON Opera Company of Boston Lyric Opera of Kansas City TITO CAPOBIANCO MRS. JOHN DEWITT PELTZ San Diego Opera Metropolitan Opera KENNETH CASWELL EDWARD PURRINGTON Memphis Opera Theatre Tulsa Opera ROBERT J. COLLINGE GLYNN ROSS Baltimore Opera Company Seattle Opera Association JOHN CROSBY JULIUS RUDEL Santa Fe Opera New York City Opera WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center ROBERT GAY ROGER L. STEVENS Northwestern University John F. Kennedy Center DAVID GOCKLEY GIDEON WALDROP Houston Grand Opera The Juilliard School Central Opera Service Bulletin • Vol. 21, No. 4 • 1979/80 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $2.00 |$SN 0008-9508 NEW OPERAS AND PREMIERES Last season proved to be the most promising yet for new American NEW operas, their composers and librettists.
    [Show full text]