Some Solo and Collaborative Piano Music by Composers of African Descent
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DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A. -
2015-2016 New Music Festival
Tenth Annual New Music Festival 4 events I 5 world premieres I 40 performers Ellen Taaffe Zwilich, Composer-in Residence Lisa Leonard, Director February 23 - February 26, 2016 2015-2016 Season SPOTLIGHT I: YOUNG COMPOSERS Tuesday, February 23 at 7:30 p.m. Matthew Hakkarainen Florida MTNA winner (b.2000) The Suite for Three Animals (2015) Hopping Hare Growling Bear Galloping Mare Matthew Hakkarainen, violin David Jonathan Rogers Piano Trio, Op.10 (2015) (b. 1990) Arcs Fractals Collage Yasa Poletaeva, violin; Elizabeth Lee, cello Darren Matias, piano Trevor Mansell Six Miniatures for Wind Trio (2014) (b. 1996) World Premiere Pastorale Nocturne March Minuet Aubade Rondo Cameron Hewes, clarinet; Trevor Mansell, oboe Michael Pittman, bassoon Alfredo Cabrera (b. 1996) from The Whistler Suite, Op. 5 (2015-16) Innocence World Premiere Sadness & Avarice Beauty & Anger Sheng-Yuan Kuan, piano Pause Chen Liang Two movements from String Quartet (2015-2016) (b. 1991) World Premiere Andante Rondo Junheng Chen & Yvonne Lee, violins Hao Chang, viola; Nikki Khabaz Vahed, cello Anthony Trujillo The Four Nocturnes (2015) (b. 1995) World Premiere Matthew Calderon, piano Matthew Carlton Septet (2015) (b. 1992) World Premiere John Weisberg, oboe; Cameron Hewes, bass clarinet Hugo Valverde, French horn; Michael Pittman, bassoon Yaroslava Poletaeva, violin; Darren Matias, piano Anastasiya Timofeeva, celesta MASTER CLASS with ELLEN TAAFFE ZWILICH Wednesday, February 24 at 7:30 p.m. Selections from the following compositions by Lynn student composers will be performed and discussed. Alfredo Cabrera (b. 1996) from The Whistler Suite, Op. 5 (2015-16) Innocence Sadness & Avarice Beauty & Anger Sheng-Yuan Kuan, piano Chen Liang Two movements from String Quartet (2015-2016) (b. -
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Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby
A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me. -
The Structural Fragmentation in Zwilich's Millennium Fantasy
The structural fragmentation in Zwilich’s Millennium Fantasy Kheng K. Koay* Abstract This study explores Zwilich’s Millennium Fantasy (2000), which not only exemplifies the nature of Zwilich’s personal creativity, but also reveals different musical influences on the composer. In her music Zwilich employs a variety of techniques to promote different playful impressions and surprises. The continuous playing of tricks on listeners throughout the two movements is one of the musical characters of the piece. In most cases, the sense of fragmentation created in the composition also results from Zwilich’s playful musical construction. In addition, jazz, popular and traditional idioms are nicely and evenly treated in the composition; the composition is not confined to one musical style. This piece might serve as a model of the perfect balance which Zwilich strikes between traditional and popular styles. Keywords 20th century – American music – woman composer – contemporary music – musical analysis – musical style. Resumo Este estudo aborda a Fantasia Milênio (2000), de Zwilich, obra que exemplifica a natureza da criatividade pessoal da compositora e revela diversas influências musicais. Na sua música Zwilich emprega uma variedade de técnicas para promover diferentes impressões lúdicas e surpresas. O jogo contínuo de truques sobre ouvintes ao longo dos dois movimentos é uma das características da peça musical. Na maioria dos casos, o sentido de fragmentação criado na composição também resulta da construção de musical lúdica de Zwilich. Além disso, o jazz, idiomas populares e tradicionais são tratados com destreza na composição, que não se confina em um estilo musical. Essa peça pode servir como um modelo do equilíbrio com que Zwilich maneja estilos tradicionais e populares. -
Summergarden
For Immediate Release July 1990 Summergarden JAZZ-INFLUENCED STRAVINSKY WORKS PERFORMED AT THE MUSEUM OF MODERN ART Friday and Saturday, July 20 and 21, 7:30 p.m. Sculpture Garden open from 6:00 to 10:00 p.m. Seven jazz-influenced works by the Russian composer Igor Stravinsky (1882-1971) are presented in the third week of SUMMERGARDEN at The Museum of Modern Art. Made possible by PaineWebber Group Inc., SUMMERGARDEN offers free weekend evenings in the Museum's Abby Aldrich Rockefeller Sculpture Garden. The 1990 concert series marks the fourth collaboration between the Museum and The Juilliard School. Paul Zukofsky, artistic director of SUMMERGARDEN, conducts artists of The Juilliard School performing: La Marseillaise (Claude Joseph Rouget de Lisle) (1919) Three Pieces (1918) Histoire du soldat (1918) Souvenir d'un marche Boche (1915) Valse pour les enfants (1916-17) Piano-Rag-Music (1919) Septet (1953) Four concerts in the SUMMERGARDEN series are being specially recorded at the Museum for PaineWebber's Traditions, a weekly radio program that is broadcast on Concert Music Network in over thirty major cities across the country. The first New York broadcast is scheduled for July 22 at 9:00 p.m. on WNCN-FM. more - Friday and Saturday evenings in the Sculpture Garden of The Museum of Modern Art are made possible by PaineWebber Group Inc. 11 West 53 Street, New York, N.Y 10019-5498 Tel: 212-708-9850 Cable: MODERNART Telex: 62370 MODART Telefax: 212-708-9889 2 During SUMMERGARDEN, the Summer Cafe serves light fare and beverages. The Garden is open from 6:00 to 10:00 p.m., and concerts begin at 7:30 p.m. -
The New York Virtuoso Singers
Merkin Concert Hall at Kaufman Center Presents The New York Virtuoso Singers Announcing the 25th Anniversary Season Merkin Concert Hall Performances – 2012-13 Concerts Feature 25 Commissioned Works by Major American Composers The New York Virtuoso Singers, Harold Rosenbaum, Conductor and Artistic Director, have announced Merkin Concert Hall dates for their 2012-13 concert season. This will be the group’s 25th anniversary season. To celebrate, they will present concerts on October 21, 2012 and March 3, 2013 at Kaufman Center’s Merkin Concert Hall, 129 West 67th St. (btw Broadway and Amsterdam) in Manhattan, marking their return to the hall where they presented their first concert in 1988. These concerts will feature world premieres of commissioned new works from 25 major American composers – Mark Adamo, Bruce Adolphe, William Bolcom, John Corigliano, Richard Danielpour, Roger Davidson, David Del Tredici, David Felder, John Harbison, Stephen Hartke, Jennifer Higdon, Aaron Jay Kernis, David Lang, Fred Lerdahl, Thea Musgrave, Shulamit Ran, Joseph Schwantner, Steven Stucky, Augusta Read Thomas, Joan Tower, George Tsontakis, Richard Wernick, Chen Yi, Yehudi Wyner and Ellen Taaffe Zwilich. Both concerts will also feature The Canticum Novum Youth Choir, Edie Rosenbaum, Director. The Merkin Concert Hall dates are: Sunday, October 21, 2012 at 3 pm - 25th Anniversary Celebration Pre-concert discussion with the composers at 2:15 pm World premieres by Jennifer Higdon, George Tsontakis, John Corigliano, David Del Tredici, Shulamit Ran, John Harbison, Steven Stucky, Stephen Hartke, Fred Lerdahl, Chen Yi, Bruce Adolphe and Yehudi Wyner – with Brent Funderburk, piano. More about this concert at http://kaufman-center.org/mch/event/the-new-york-virtuoso- singers. -
A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye's À La Manière De Stravinsky Pour Trombone Et Piano
A COMPARISON OF RHYTHM, ARTICULATION, AND HARMONY IN JEAN- MICHEL DEFAYE’S À LA MANIÈRE DE STRAVINSKY POUR TROMBONE ET PIANO TO COM MON COMPOSITIONAL STRATEGIES OF IGOR STRAVINSKY Dustin Kyle Mullins, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Tony Baker, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Mullins, Dustin Kyle. A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye’s À la Manière de Stravinsky pour Trombone et Piano to Common Compositional Strategies of Igor Stravinsky. Doctor of Musical Arts (Performance), August 2014, 45 pp., 2 tables, 27 examples, references, 28 titles. À la Manière de Stravinsky is one piece in a series of works composed by Jean- Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
Middlesex University Research Repository an Open Access Repository Of
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dromey, Christopher ORCID: https://orcid.org/0000-0002-3275-4777 (2020) Stravinsky’s ear for instruments. In: Stravinsky in Context. Griffiths, Graham, ed. Composers in Context . Cambridge University Press, pp. 170-178. ISBN 9781108422192, e-ISBN 9781108381086, e-ISBN 9781108390262. [Book Section] (doi:10.1017/9781108381086.024) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/28757/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. -
An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky Robert Sivy [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Sivy, Robert, "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/1025 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Robert Sivy entitled "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Brendan P. McConville, Major Professor We have read this thesis and recommend its acceptance: Barbara Murphy, Donald Pederson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Robert Jacob Sivy August 2011 Copyright © 2011 by Robert Jacob Sivy All rights reserved. -
Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia or online at wrti.org Saturday, September 6th, 2003, 5:00-6:00 p.m. • Ellen Taaffe Zwilich (b.1939). Concerto for Piano (1986). Florida State University Orchestra, Michael Stern, Joseph Kalichstein, Koch 7537. 24:59 • Wolfgang Amadeus Mozart (1756-1791). Concerto for Clarinet and Orchestra, III. Allegro. Mostly Mozart Orchestra, Gerard Schwartz, David Shifrin, Delos 3020. 9:13 • Interview with Ellen Taaffe Zwilich and Donald Spieth, Music Director of the Lehigh Valley Chamber Orchestra On this month’s program we are delighted not only to hear the beautiful and expressive Piano Concerto of Ellen Taaffe Zwilich, but to speak to the composer as well. As examples of the public and critical esteem in which she is held, we need only mention that she was named the 1999 Musical America Composer of the Year, and of course in 1983 she received the Pulitzer Prize in Music, the first woman ever to be so recognized. Donald Spieth has programmed Zwilich’s new Clarinet Concerto for the September 12th and 13th concerts of the Lehigh Valley Chamber Orchestra, performed by the soloist for whom it was written, David Shifrin. Also on the program will be Mozart’s Clarinet Concerto, and today we’ll hear just a bit of it, the Rondo finale. Listen for the lovely sound of Shifrin’s clarinet, which is actually an extended “basset” clarinet (with extra low notes). Mozart composed this work for this longer instrument, and scholars have only recently reconstructed the work and rediscovered this unusual forerunner to the modern clarinet.