Winter 2020 TIMOTHY MCALLISTER
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Northwestern University Bienen School of Music Fanfare Fall 2018
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC FALL 2018 152461.indd 1 9/17/18 2:54 PM first chair A MESSAGE FROM THE DEAN In spring 2008 Northwestern’s School Fellowships, research prizes, publication awards, major com- of Music was named in honor of retiring missions, teaching honors, and significant grants. Alumni have University president Henry S. Bienen secured positions as performers, administrators, and educa- and his wife, Leigh. We continue to be tors in leading arts and educational institutions throughout profoundly grateful for the privilege of the world. representing the excellence of Henry This past spring, the school achieved a new milestone— Bienen’s leadership. our first-ever Asia tour. From March 23 through April 1, the During the intervening decade, Northwestern University Symphony Orchestra gave concerts in the Bienen School’s many impressive Beijing, Shanghai, and Hong Kong, thrilling Chinese audiences achievements have included the unveiling of a strategic plan, and Northwestern alumni and friends with its professional cal- the establishment of the Institute for New Music as a hub for iber. For the 87 student musicians, the tour was an immensely study and performance of 20th- and 21st-century music, and valuable experience—participants have described it as the inauguration of the Skyline Piano Artists Series and the “life-changing” and “unforgettable”—with incalculable long- Robert M. and Maya L. Tichio Vocal Master Class Series. We term benefits for their professional careers. Throughout the have celebrated the 20th season of our Winter Chamber Music tour, the students were excellent representatives of Festival and the 25th season of the Segovia Classical Guitar Northwestern. -
Chen Yi: Ba Yin (The Eight Sounds)
University of Missouri—Kansas of University City Conservatory Wind Symphony Steven D. Davis, Conductor D. Steven Ba Yin PRISM (The Eight Sounds) Chen Yi Quartet Chen Yi: Ba Yin (The Eight Sounds) PRISM Quartet Timothy McAllister soprano saxophone Zachary Shemon alto saxophone Matthew Levy tenor saxophone Taimur Sullivan baritone saxophone Members of the Conservatory Wind Symphony University of Missouri—Kansas City Conservatory of Music and Dance Steven D. Davis conductor Allison Duncan flute Greg Stead oboe Laura Zitelli clarinet Joshua Draves-Kellerman bassoon Ben Bacni French horn Jen Oliverio trumpet Chris White trombone William Shaltis percussion Christopher Larson percussion This recording was made possible with generous support from the Musical Fund Society of Philadelphia. Commissioned by the Stuttgart Chamber Orchestra, the original version of Ba Yin (The Eight Sounds) was written for and premiered NOTES by Chen Yi by the Rascher Saxophone Quartet and the Stuttgart Chamber Orchestra on October 27, 2001 in Stuttgart, Germany. I adapted the work for saxophone quartet and wind ensemble for the PRISM Quartet and UMKC Wind Symphony under Steven Davis. This new version was premiered on October 4, 2015 at Helzberg Hall of the Kauffman Center for the Performing Arts in Kansas City, Missouri. In ancient China, music was called “The Eight Sounds” (Ba Yin), as it was played with eight kinds of instruments made with metal, stone, silk, bamboo, gourd, clay, leather, and wood. In my concerto, Ba Yin, I use a saxophone quartet and a chamber wind ensemble to recall my impressions of music played by villagers on old traditional instruments in various ensembles in China. -
Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM
ABSTRACT Fantasies and Delusions: Billy Joel’s Turn and Return to Classical Music Jie Fang Goh, M.M. Mentor: Jean A. Boyd, Ph.D. In 2001, the release of Fantasies and Delusions officially announced Billy Joel’s remarkable career transition from popular songwriting to classical instrumental music composition. Representing Joel’s eclectic aesthetic that transcends genre, this album features a series of ten solo piano pieces that evoke a variety of musical styles, especially those coming from the Romantic tradition. A collaborative effort with classical pianist Hyung-ki Joo, Joel has mentioned that Fantasies and Delusions is the album closest to his heart and spirit. However, compared to Joel’s popular works, it has barely received any scholarly attention. Given this gap in musicological work on the album, this thesis focuses on the album’s content, creative process, and connection with Billy Joel’s life, career, and artistic identity. Through this thesis, I argue that Fantasies and Delusions is reflective of Joel’s artistic identity as an eclectic composer, a melodist, a Romantic, and a Piano Man. Fantasies and Delusions: Billy Joel's Turn and Return to Classical Music by Jie Fang Goh, B.M. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Jean A. Boyd, Ph.D., Chairperson Alfredo Colman, Ph.D. Horace J. Maxile, Jr., Ph.D. -
HENRY and LEIGH BIENEN SCHOOL of MUSIC SPRING 2019 Fanfare
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC SPRING 2019 fanfare 162220.indd 1 3/14/19 6:32 AM first chair A MESSAGE FROM THE DEAN One of my greatest rewards as dean of the Bienen School of cities across the globe. I performed Korean music with the Music is the opportunity to engage with our alumni. Many Northwestern Alumni Music Ensemble, consisting entirely graduates hold positions in orchestras, military bands, educa- of Bienen School alumni, and played the fourth movement tional institutions, and arts organizations across this country of César Franck’s violin-piano sonata with Sue Hyon Kim and around the world. Our alumni provide vivid proof that a (Cert94). The experience of performing with these alumni Bienen School education prepares students for virtually any made the trip especially meaningful to me. career path they may choose to pursue. Here on campus, the Bienen School offers additional During my tenure as dean, the Bienen School has hosted opportunities for alumni to reconnect. In November nearly high-profile alumni events in conjunction with performances 40 music education alumni returned to Evanston for a two- by the San Francisco Symphony, San Francisco Opera, and day conference hosted by the school’s Center for the Study New York Philharmonic—all featuring numerous alumni of Education and the Musical Experience. And on June 9, in performers—as well as by Northwestern ensembles in celebration of the 50th anniversary of our Symphonic Wind Chicago’s Millennium Park and the Northwestern University Ensemble, director of bands Mallory Thompson will conduct Symphony Orchestra on tour last spring in Beijing, Shanghai, a special all-alumni concert honoring the ensemble’s legacy and Hong Kong. -
SPRING 2021 Fanfare
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC SPRING 2021 fanfare 200202.indd 1 3/25/21 1:27 AM first chair A MESSAGE FROM THE DEAN Over the past several months, faculty regarding the importance of representation and visibility in have shared with me many examples of classical music. We must work as a community to incorporate the excellent achievements of Bienen more voices and contributions of diverse groups into our music School students during the COVID-19 curricula and public events—a goal I have pursued throughout pandemic. I applaud our students for my tenure as dean. their extraordinary efforts through We have already made progress at the Bienen School in these uncertain times. the musicology area, which launched a new undergraduate The pandemic has brought chal- core curriculum in fall 2019. One goal of the revised curriculum lenges to all of us. Students are experi- is to provide students with a more inclusive and more diverse encing the loss of regular participation in ensembles and representation of classical music. The musicology faculty concerts. Performance faculty and alumni—including mem - will regularly update these courses, which have been well bers of professional orchestras and ensembles—are left with received by students. fewer outlets to share their talents with audience members. A school-wide project during the current academic year Music scholars have limited opportunities to conduct research involves creating videos featuring art songs and chamber due to travel restrictions and safety precautions that limit music by Black composers. Voice students will perform the in-person collaborations. Yet despite many difficulties, our songs, and musicologists and guest presenters will provide community has demonstrated remarkable flexibility and resil- scholarly background information on the works and compos- ience. -
The Saxophone Quartet” Column Published in The
AN ANNOTATED GUIDE OF RESOURCES, METHODS AND REPERTOIRE FOR DEVELOPING SAXOPHONE QUARTETS WITH A COLLECTION OF EXERCISES FOR THE ENHANCEMENT OF ENSEMBLE, LISTENING AND COMMUNICATION SKILLS by Heidi Johanna Radtke Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Ayana Okeeva Smith, Research Director ______________________________________ Otis Murphy, Chair ______________________________________ William Ludwig ______________________________________ Tom Walsh November 6, 2018 ii Copyright © 2018 Heidi Johanna Radtke iii Dedicated to my students, who continue to be my greatest teachers. iv Acknowledgements I wish to express my heartfelt gratitude to my amazing students, both at Butler University and at Carmel High School. For the past five years, these young saxophonists have inspired, encouraged, and supported my efforts. Their straightforward, and often blunt, feedback made the completion of this project possible. I would like to thank the members of my committee, especially Dr. Ayana Smith for agreeing to serve as my research director and for giving me her time, patience and supreme guidance. I would like to extend my sincere thanks to Dr. Otis Murphy for taking me on as his student and for his unending support and friendship. His commitment to excellence has made a profound impact on how I teach, play, and live. I would also like to give a special thanks to Professor Debra Richtmeyer, who has been my role model, mentor, and one of my dearest friends.