Intercollegiate Orchestra Department of Music, University of Richmond

Total Page:16

File Type:pdf, Size:1020Kb

Intercollegiate Orchestra Department of Music, University of Richmond University of Richmond UR Scholarship Repository Music Department Concert Programs Music 4-7-2004 Intercollegiate Orchestra Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Intercollegiate Orchestra" (2004). Music Department Concert Programs. 313. https://scholarship.richmond.edu/all-music-programs/313 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND LIBRARIES ----- \l\\l\\\l\\\\\\l\l\\\\\l\\\l\\\l\l\\\\l\l\\\\\l\\\l\\\\l\l\\\\\l 3 3082 00873 7768 UNIVERSITY OF RICHMOND DEPARTMENT OF MUSIC ••• Intercollegiate Orchestra ••• APRIL 7, 2004, 7:30 PM CAMP CoNCERT HALL, BooKER HALL OF Musrc ... PROGRAM ... On Hearing the First Cuckoo in Spring Frederick Delius (1862-1934) Rounds for String Orchestra (1944) David Diamond I. Allegro, molto vivace (b. 1915) II. Adagio III. Allegro vigaroso · · · INTERMISSION · · · Symphony no. 5 in E minor, op. 64 Peter Ilyitch Tchaikovsky I. Andante- Allegro con anima , (1840-1893) II. Andante cantabile, con alcuna licenza : i) III. Valse; Allegro moderato · · · PERSONNEL · · · Violin 1 Flute Abbey Bourdon, UR Keith Hanlon VCU Megan Haynes, UR Molly McCann, UR KelseyMiller, VCU Stephanie Davenport, VCU Abbie Richardson, UR Adam Sheffield, VCU Oboe Aronne LaFratta, VCU Violin 2 Tara Williford, UR Caitlin Barry, VCU Adam Birce, VCU Clarinet Myra Cardenas, VCU Emily Avesian, VCU Laura Hayes, VCU Adrian Sandi, VCU Gabrielle Sakellarides, VCU Bassoon Viola Josh Krohn, VCU Amanda Ata, VCU Kemi Owens-Hart, VCU Horn Kim Ryan, VCU Amanda Burton, VCU Lindsay Soltow, James River H.S. Erin Mitchell, VCU David Pinilla, VCU Cello James Slater, VCU Amber Blankenship, VCU David Chamberlin, VCU Trumpet Maria Gordon-El, VCU Cole Baty, VCU Ned Haskins, VCU Alex Samawicz, VCU Caley Ross, VCU Trombone Bass Reggie Pace, VCU Everett Allen, VCU Will Patti, VCU Joyce Bennett, UR Kazuma Muroi, UR Jay Calabro, VCU Thba Stephanie Fairbairn, VCU The Richmond Intercollegiate Orchestra is an ensemble comprised of students from both the University of Richmond and Virginia Com­ monwealth University, as well as guests from Richmond area high schools. In additiol} to tonight's concert, which caps off the Spring semester, the orchestra has recently performed David Diamond's Rounds in the UR dance company's production of Eric Hawkins Clas­ sic Kite Tails, and has also accompanied trumpeter Rex Richardson in VCU's annual Scholarship Benefit Concert. The ensemble is conducted by James Wilson, cellist and Coordinator of Stringed Instruments at VCU. Mr. Wilson would like to express his gratitude to the members of the orchestra, who have made such great music and such memorable moments over the past two years. .
Recommended publications
  • Wednesday-Saturday •March 7-10, 2018
    HHH from Washington, DC HHH The United States Army Band “Pershing’s- Own” AMERICAN TROM- BONE- WORKSHOPWEDNESDAY-SATURDAY • MARCH 7-10, 2018 2018 AMERICAN TROMBONE WORKSHOP WORKSHOP COMMITTEE WORKSHOP Chairman MSG Sam Woodhead Assistant Chairman SFC Chris Branagan Jazz Coordinator SFC Victor Barranco Solo Competition Coordinator SSG Omar Dejesus Quartet Competition Coordinator SFC C. Dale Moore Composition Competition Coordinator SFC James Kazik Welcome to the 2018 United States Army Band “Pershing’s Educational Coordinator Own” American Trombone Workshop. This marks the 25th MSG Craig Arnold year “Pershing’s Own” has organized and hosted the American Exhibits Coordinator Trombone Workshop. From its beginning in 1974 as the Eastern SSG Adam McColley Trombone Workshop, hosted by John Marcellus and John Archivist Mellick at Towson University, to today’s ATW, the workshop SFC Trent Stockton continues as an integral event for The U.S. Army Band “Pershing’s Own,” hosting leading soloists, clinicians, and educators, while Webmaster and Video Support also showcasing emerging young performers and trombone choirs SFC Thomas Bratten from all across the country. This year’s headlining artists include ARMY BAND SUPPORT BAND ARMY Boston Symphony Orchestra bass trombonist James Markey; Support Element Leader tenor trombonists Natalie Mannix, Joseph Rodriguez, Mark SGM Craig Lauinger Davidson, and Alex Iles; and the legendary Tom “Bones” Malone Marketing, Public Affairs, and Photography Support of the Blues Brothers and David Letterman’s Late Show Band, Ms. Jen Maly, SFC Chris Branagan, and who will all be performing with the outstanding ensembles of SSG Victoria Chamberlin “Pershing’s Own.” Music Library and Arranging SGM Laura Lineberger, MSG Michael Brown, Among the many ensemble concerts, solo performances, SFC James Kazik, SSG Rogelio Garza, and SSG Sara Corry and competitions, you will be able to see our featured artists Resource Management in masterclasses, lectures, and informative education panel MSG Winston J.
    [Show full text]
  • 2064 Congressional Record-Senate. February 12
    2064 CONGRESSIONAL RECORD-SENATE. FEBRUARY 12, By Mr. CRUMPACKER: Petitions of 158 pastors of churches, SENATE. Sunday school officers and teachers, of Lafayette, Ind., and citi­ zens of Jasper County, Ind., to forbid the sale of intoxicating THURSDAY, February 12, 1903. liquors in all Government buildings-to the Committee on Alco­ Prayer by Rev. F. J. P.R.ETTYMAN, of the city of Washington. ­ holic Liquor Traffic. T~e Secretary proceeded to read the Journal of yesterday s pro· By Mr. DRAPER: Petition of the American Blind People's ceedings, when, on request of Mr. BEVERIDGE, and by unanimous Higher Education and General Improvement Association favor­ consent, the further reading was dispensed with. ing the higher education of the blind-to the Committee ~n Edu­ The PRESIDENT pro tempore. The Journal will stand ap• cation. proved. By Mr. FITZGERALD: Resolutions of the American Chamber VETO MESSAGE-KATIE A.. NOLAN. of Commerce, of Paris, France, in favor of the adoption of the metric system in the United States-to the Committee on Coinage, The PRESIDE.NT pro tempore laid before the Senate the fol­ Weights, and Measures. ' lowing. message from the President of the United States; which By Mr. GOLDFOGLE: Resolutions of United Israel Lodge, was rea-d, and, with the accompanying bill, referred to the Com· No. 182, Order of B'rith Abraham, of New York City, N.Y., re­ mittee on Post-Offices and Post-Roads: . lating to methods of the Immigration Bureau at the port of New To the Senate: York~to the Con!m.ittee on Immigration and Naturalization.
    [Show full text]
  • De Smet Jesuit High School Fine Arts Department Spring 2021 End Of
    De Smet Jesuit High School Fine Arts Department The Star Spangled Banner – Concert Band presents By Jonathan Stafford Smith Spring 2021 End of Semester Instrumental Music Concert Arr. John Phillip Sousa featuring Georgia on My Mind – Honors Jazz Combo By: Hoagie Carmichael and Stuart Gorrell Honors Instrumental Jazz Combo Featured soloists: Matt Licari (piano), Aidan Bartholet (guitar) Aidan Bartholet ’21 – Guitar Matt Licari ’21 – Piano Emmett Concannon ‘22 – Violin Charlie Llorico ’22 – Guitar Eye of the Tiger – Jazz Combo Justin Konieczny ’21 – Trombone Henry Reeder ’21 – Bass By: Frankie Sullivan and Jim Peterik Arr: Dave Wolpe Instrumental Jazz Combo Featured soloist: Liam Weishaar (trumpet) Clark Chamberlin ’24 – Piano Nick Montellano ’23 – Trumpet Andy Cross ’22 – Guitar Will Rasure ’22 – Drums Final Countdown – Concert Band Kalle Evjen ’23 – Alto Sax Rico Struckhoff ’24 – Tenor Sax By: Joey Tempest Drew Hahn ’23 – Bass Gabe Talken ’22 – Trumpet Arr: John Higgins Sebastian Helling ’24 – Adri Theerman-Rodriguez ’23 – Trumpet and Bari Sax Trombone Dominic Ilardi ’22 – Guitar Tyler Tucker ’23 – Bass Over the Rainbow – Honors Jazz Combo Aidan Madigan ’23 – Alto Sax Zach Veluz ’23 – Piano By: Harold Arlen Hudson Miller ’24 – Trumpet Liam Weishaar ’21 – Trumpet Arr: Jamey Aebersold Featured soloists: Aidan Bartholet (guitar), Justin Konieczny (trombone) Jazz Lab Charlie Erker ’24 – Drums Oliver Nichols ’24 – Guitar Dorian Journey – Jazz Lab Brady Govero ’23 – Guitar Nick Phillips ’24 – Guitar By: Doug Beach and George Shutack Tom Hale
    [Show full text]
  • Builders of Dreams
    THE MAGAZINE OF THE HAAS SCHOOL OF BUSINESS AT THE UNIVERSITY OF CALIFORNIA, BERKELEY University of California, Berkeley Nonprofit Organization Haas School of Business U.S. Postage 545 Student Services #1900 Paid Berkeley, CA 94720-1900 University of California, Berkeley BerkeleyHaasFall 2016 6 SUPERCHARGED 10 LESSONS FROM MT. EVEREST 16 A HEALTHY SUCCESS Quantifying the economic power of reliable Mountaineering illustrates the dangers of Albert Lee, MBA 04, helped make MyFitnessPal energy in developing nations groupthink for workplace teams the world’s leading fitness app · 2 · 1997 002 · 2 992 007 1 · 7 · 20 98 12 1 · · 2 2 0 8 1 9 6 1 · · E 7 M 7 9 April 28-30 B 1 A · 2 2 0 7 1 9 5 1 REUNIONREUNION WEEKENDWEEKEND Business Leaders of the Year 2017 BUILDERS Relive the best of your Berkeley-Haas experience! Catch up with classmates, listen to engaging lectures, make new connections, and bring your OF DREAMS family back to campus. Susan Chamberlin, MBA 87, and her husband, Steve, spent years planning new Everything you loved about business school—without the exams. structures and cityscapes. Now they’re redesigning the world of public education. haas.berkeley.edu/reunion #haasreunion #haasalumni Question the Status Quo Fall 2016 EXECUTIVE EDITOR FEATURES AND DEPARTMENTS The Beyond Yourself Issue Confidence Without Attitude Ute Frey UP FRONT MANAGING EDITOR Students Always Amy Marcott DESIGN Beyond Yourself Cuttriss & Hambleton, Berkeley STAFF WRITERS Berkeley-Haas alumni enjoy 15% off Laura Counts, Kim Girard, open-enrollment programs.
    [Show full text]
  • A History of Sampling
    Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A history of sampling HUGH DAVIES Organised Sound / Volume 1 / Issue 01 / April 1996, pp 3 - 11 DOI: null, Published online: 08 September 2000 Link to this article: http://journals.cambridge.org/abstract_S135577189600012X How to cite this article: HUGH DAVIES (1996). A history of sampling. Organised Sound, 1, pp 3-11 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 128.59.222.12 on 11 May 2014 TUTORIAL ARTICLE A history of sampling HUGH DAVIES 25 Albert Road, London N4 3RR Since the mid-1980s commercial digital samplers have At the end of the 1980s other digital methods of become widespread. The idea of musical instruments which solving some of the problems inherent in high quality have no sounds of their own is, however, much older, not PCM began to be explored. In ®gure 1(b) pulse-ampli- just in the form of analogue samplers like the Mellotron, tude is shown as a vertical measurement in which but in ancient myths and legends from China and elsewhere. information is encoded as the relative height of each This history of both digital and analogue samplers relates successive regular pulse. The remaining possibilities the latter to the early musique concreÁte of Pierre Schaeffer and others, and also describes a variety of one-off systems are horizontal, such as a string of coded numerical devised by composers and performers. values for PCM, and the relative widths (lengths) of otherwise identical pulses and their density (the spac- ing between them).
    [Show full text]
  • Tom Waits 2011.Pdf
    WILLISEEYOUTCfNIGHTONADOWNTOWNTRAINEVERYNIGHTISJUSTTHESAMEYOULEAVEMELONELYNOW TOM WAITS BY ROB BOWMAN § IS THE CASE Lord Buckley, and Charles Bukowski; the pri­ with a select few mal rock & roll crunch of the Rolling Stones; genre-defining the German cabaret stylings of Kurt artists such as Weill; the postwar, alternate world of invented Miles Davis, Bob instruments and rugged individualism o f avant- Dylan, and Joni garde composer Harry Partch; the proto-metal MitcheH,Tom Writs, blues of 1950s and 1960s Howlin’ Wolf and over the course of his nearly forty-year their extension into the w orld o f Captain B eef- career, has operated under the maxim “He heart’s late-i96os avant-rock; the archaic for­ not busy being born is busy dying.” Refus­ malism o f 19th-century parlor ballads; Dylan’s ing to stay still and rest on his laurels, Waits early- and mid-sixties transformation of the has continuously sought new influences, possibilities of language in the worlds of both dramatically reinventing himself and his art folk and rock; the elegance of pre-war Irving along the way. In Berlin, Cole Porter, the process, he has WAITS SEEM S and Hoagy Carmichael; forged a highly the sophistication of original, personal, TO HAVE NO postwar Frank Sinatra; and idiosyncratic LIMITS TO HIS and, more recently, the musical lexicon, bone-crushing grooves resulting in one of IMAGINATION of 1980s and 1990s the most distinc­ funk and hip-hop. In­ tive, rich, and diverse bodies of recorded deed, the art of Tom Waits has altogether tran­ work in American popular music history. scended time and, to some degree, place.
    [Show full text]
  • The 'Horse Whisperer
    The ‘Horse whisperer Page 1 of 2 THE ‘HORSE WHISPERER If you go out to the woods today, you just might run into Mark Linkous from SPARKLEHORSE. KIM PORCELLI holds the flashlight Kim Porcelli “I couldn’t record up there for ages, after I saw that Blair Witch movie,” Mark Linkous drawls, in a whisper-soft, sloe- gin Southern-gentleman murmur. He’s talking about Static King, the converted one-room smokehouse deep in the Virginia woods where much of his grisly, spooky, beautiful third album It’s A Wonderful Life was born; and, truly, this writer must report that to hear a six-foot-six native Virginian in a cowboy hat tell you he is afraid of the dark, is a hilarious and beautiful thing. “I kept imaginin’ stuff out in the field,” he murmurs, “and every time there was some animal around, every time a branch snapped, or a horse went Ppppph! I’d be jumpin’ out of my skin.” Mark Linkous, Sparklehorse’s gentle rider, is the last man on earth you’d expect to get skittish from a case of the deep-rural heebiejeebies. Surely It’s A Wonderful Life – a fragile, mould- mottled and ultimately transcendent song-cycle of death and life, swarming with ghost-babies and insects, frogs and birds and ponies, the benevolent spirits of the dead and the not-yet-born – surely this is all the proof we need that we’ve nothing to fear from the mysteries of the natural world, or what Linkous’ hero Cormac McCarthy called the outer dark.
    [Show full text]
  • Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
    Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern.
    [Show full text]
  • The Machine Age in the 1920S
    BECOMING MODERN: AMERICA IN THE 1920S PRIMARY SOURCE COLLECTION ONTEMPORAR Y * IN OMMENTARY THE T WENTIES C “A vision of modern progress,” illustration in Popular Science Monthly, February 1928 (detail) — THE “MACHINE AGE” — Will MACHINES liberate man or enslave him? Will they deliver a bounteous future previously unimaginable, or a barren soulless prison of man’s making? Perennial questions. Here we examine how they were addressed in the 1920s through the writings of industrialists, engineers, economists, clergymen, novelists, a dramatist, a humorist, and other voices who cheered, mourned, or questioned the longterm consequences for man of his precocious offspring, the machine. People call this the mechanistic age, enlarge upon its many Edward S. Martin objectionable features and grumble about the acceleration of “Model T and the Millennium” life and all that. But what would they have? Is the mechanistic Harper’s, February 1928 age a good thing or a bad thing? Is the speeding up of life a basis for satisfaction or for regret? Twenty miles on the highway in old times used to be a pretty fair day’s work for a team. It took three or four hours to do it. When it was done the horses needed to rest and be fed. Now it is something to be done, where the roads are good, in half an hour or a little more by a creature that is not tired when it has done it. The speeding up of life is trying of course, but who can doubt that it is an immense achievement! Our great property in this life is time, and when we get about more quickly we save it.
    [Show full text]
  • Thomas Chrowder Chamberlin 1843-1928
    NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA BIOGRAPHICAL MEMOIRS VOLUME XV ELEVENTH MEMOIR BIOGRAPHICAL MEMOIR OF THOMAS CHROWDER CHAMBERLIN 1843-1928 BY ROLLIN THOMAS CHAMBERLIN PRESENTED TO THE ACADEMY AT THE AUTUMN MEETING, 1932 THOMAS CHROWDER CHAMBERLIN 1843-1928 BY ROI.LIN THOMAS CHAMBERLIN THE ANTECEDENTS The Chamberlain family has been traced back to the ancient Norman counts of Sankville, knights from which stock took an active part in the conquest of England under William the Con- queror and were repaid for their services with large estates in the counties of Gloucester, Oxford, York, and Warwick. The founder of the family of Chamberlain in England, as an inde- pendent branch of the house of Sankville in Normandy, is said by some to have been Richard, "Grand Chamberlain" to King Stephen, who assumed his surname from his office.1 According to another account, it was the Count of Sankville, chamberlain to King Henry the Second, who gave rise to the name in 1154. In the early days of the American colonies several members of the Chamberlain family emigrated from England to the new country, among whom was Henry Chamberlain, who came to Hingham, Massachusetts, in 1638 from the parish of Hingham, County Norfolk, England, having crossed the Atlantic in the ship "Diligent," with his wife, his mother, and his two children. He was one of many who, under the leadership of the Rev. Robert Peck, fled from the religious persecution in England at that time. Later this branch of the family was engaged in ship building in New England.
    [Show full text]
  • A MELLOTRON Is a Musical Keyboard That Plays Back Pre Recorded Sound on Magnetic Tape, the Early Version of a Music Sampler
    A MELLOTRON is a musical keyboard that plays back pre recorded sound on magnetic tape, the early version of a music sampler. The MELLOTRON had its origins in a garage in California in the early fifties by Harry Chamberlin, who one day decided to record himself playing various melodies on his home organ. He had the idea of playing back these recorded melodies with a specific key that would allow virtually anyone to sit down and play an entire song from playing back pre-recorded tracks. After much trial and error, The CHAMBERLIN became a reality as a two bank side by side arrangement with 35 keys on each bank. Each keynote contained a roller and pressure pad that when struck would contact the tape to one of 70 playback heads. A capstan with a roller or drum the full width of the keyboard was chain driven by a motor. The left bank of keys contained a library of different rhythm and melodies while the right featured a range of solo and combined instruments. This meant that each instrument had to be recorded one note at a time and each note copied to a strip of tape. The first units were clunky and prone to tape jams and not a very uniform sound from note to note due to the inconsistency of the playback heads By the early sixties Chamberlin was fabricating these units in his garage, but now had to get the word out to the masses and hired a salesman, Bill Fransen, to demonstrate the units. Bill had heard of an electronics manufacturer and supplier in England, Bradmatic, that manufactured a line of tape recorders and radios.
    [Show full text]
  • PATRICK WARREN (Discography) Year Album / Project Artist Credit
    PATRICK WARREN (Discography) 1/1/19 Recording Year Album / Project Artist Credit Label 2019 TBD Sara Bareilles Keyboards, String Arrangements 2018 TBD Elisa Composing, Conducting, producing Universal Italy 2018 All These Things Thomas Dybdahl Keyboards, Programming, Composer Piano, Wurlitzer Piano, Harmonium, 2018 Anthem Madeleine Peyroux String Arrangements, Dulcitone, Shouts, Composer 2018 Indigo Kandace Springs String Arrangements 2018 Over the Years… Graham Nash Wurlitzer Piano 2018 She Remembers Everything Rosanne Cash Mellotron, Piano 2018 String Theory Hanson Chamberlin, Group Member Superfly [Original Motion Picture 2018 Soundtrack] Future Strings 2018 The Pains of Growing Alessia Cara Strings 2018 Wanderer Cat Power Arranger, Strings Piano, Organ, Keyboards, Pump 2018 Whistle Down the Wind Joan Baez Organ, Tack Piano 2018 Years in the Making Loudon Wainwright III Piano 2017 Grace Lizz Wright Keyboards 2017 Happy Accidents Jamie Lawson String Arrangements Keyboards, Organ (Hammond), Jupiter Calling The Corrs 2017 Strings, Synthesizer 2017 Life. Love. Flesh. Blood Imelda May Keyboard Arrangements, Keyboards 2017 Love and Murder Leslie Mendelson Strings Bassoon, Flute, Organ, Piano, Strings, 2017 Lust for Life Lana Del Rey Synthesizer, Tack Piano, Waterphone 2017 Popular Van Hunt Conductor 2017 The Christmas Wish Herb Alpert Keyboards 2017 The Natalie Merchant Collection Natalie Merchant Chamberlin, Pump Organ 2017 Wonder: Introducing Natalie Merchant Natalie Merchant Chamberlin, Organ Conductor, Horn Arrangements, String Arrangements,
    [Show full text]