ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
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Stylistic Influences and Application of Gebrauchsmusik in the Late Choral Cantatas of Daniel Pinkham Item Type text; Electronic Dissertation Authors Brown, Trent R. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 16:57:18 Link to Item http://hdl.handle.net/10150/195332 STYLISTIC INFLUENCES AND APPLICATION OF GEBRAUCHSMUSIK IN THE LATE CHORAL CANTATAS OF DANIEL PINKHAM by Trent R. Brown _________________________ Copyright © Trent R. Brown 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Trent R. Brown entitled Stylistic Influences and Application of Gebrauchsmusik in the Late Choral Cantatas of Daniel Pinkham and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________Date: 11/10/09 Bruce Chamberlain _______________________________________________Date: 11/10/09 Elizabeth Schauer _______________________________________________Date: 11/10/09 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document under my direction and recommend that it be accepted as fulfilling the document requirement. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12Th Century, Paris, Bibl
SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12th century, Paris, Bibl. Nat., ms . lat. 17,328) SACRED MUSIC Volume 99, Number 1 , Spring 1972 BERNSTEIN'S MASS 3 Herman Berlinski TU FELIX AUSTRIA 9 Reverend Robert Skeris MUSICAL SUPPLEMENT 13 REVIEWS 20 FROM THE EDITOR 25 NEWS 26 SACRED MUSIC Continuation of Caeci/ia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publication: 548 Lafond Avenue, Saint Paul, Minne sota 55103. Editorial office: Route 2, Box I, Irving, Texas 75062. Editorial Board Rev. Ralph S. March, S.O.Cist., Editor Mother C. A. Carroll, R.S.C.J. Rev. Lawrence Heiman, C.PP.S. J. Vincent Higginson Rev. Peter D. Nugent Rev. Elmer F. Pfeil Rev. Msgr. Richard J. Schuler Frank D. Szynskie Editorial correspondence: Rev. Ralph S. March, S.O.Cist., Route 2, Box I, Irving, Texas 75062 News: Rev. Msgr. Richard J. Schuler, 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Mother C. A. Carroll, R.S.C.J., Manhattanville College of the Sacred Heart, Purchase, New York 10577 Rev. Elmer F. Pfeil 3257 South Lake Drive Milwaukee, Wisconsin 53207 Membership and Circulation: Frank D. Szynskie, Boys Town, Nebraska 68010 AdvertisinR: Rev. Ralph S. March, S.O.Cist. CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Dr. Roger Wagner Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I. -
Detroit Symphony Orchestra SIXTEN EHRLING, Conductor
1966 Eighty-Eighth Season 1967 UNIVERSITY MUSICAL SOC I E TY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Sixth Program Eighty-eighth Annu.al Choral Union Series Complete Series 3545 First program in the Sesquicentennial Year of The University of Michigan Detroit Symphony Orchestra SIXTEN EHRLING, Conductor SUNDAY AFTERNOON, JANUARY 8, 1967, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to "Don Giovanni" MOZART Symphony No.8 in F major, Op. 93 BEETHOVEN Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace Variations for Orchestra LESLIE BASSETT 1966 Pulitzer Prize Composition (Ann Arbor premiere) INTERMISSION Symphony No.2 in D major, Op. 73 BRAHMS Allegro non troppo Adagio non troppo Allegretto grazioso quasi andantino Allegro con spirito Steinway Piano A R S LON G A V I T A BREVIS PROGRAM NOTES Overture to Don Giovanni WOLFGANG AMADEUS MOZART The Overture begins with an extensive, rather menacing introduction, which contains two themes from the final scene in which the statue of the commander receives Don Giovanni's dinner invitation. The main body of the overture (molto allegro) is in sonata allegro form. Symphony No.8 in F major, Op. 93 LUDWIG VAN BEETHOVEN Standing between the giant Seventh and Ninth Symphonies, the F-major Sym phony has often been looked upon as a jolly, likeable, little cousin but one without much substance. Beethoven even contributed to this impression by calling it "my little one." It is not so often remembered, however, that he went on to say that it was "much better" than tbe Seventh. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Jewish Organists and Organs in German Synagogues
Jewish Organists and Organs in German Synagogues The title alone sounds nonsensical to most of us. But there is now an entire book on the subject, carried out with meticulous care by a German writer, describing herself as “a scholar who is not Jewish”, prompted by her accidental discovery that such people and activities once flourished. More than that, they continue into our present era and will do so in the future, it is hoped. Her research led to a comprehensive work in German, published in 2005. Now we have its English translation, published by the Oxford University Press in 2009: The Organ and Its Music in German-Jewish Culture by Tina Frühauf ISBN 978-0-19-533706-8 (284 pages, hard-back) We regard the organ as a Christian possession, a vital part of the religious service. But it was only slowly accepted ca. 900—1100 CE, when still a primitive instrument, and even then it was not incorporated into the liturgy. By comparison, instrumental music (whatever its form may have been) was apparently used in prayer by the ancient Hebrews; there is even a possibility that an organ — the magrepha — was used in the Temple in Jerusalem. It was not until the 15th century that Christianity adopted the organ as a devotional instrument, and this was slow to take hold. The Presbyterian Church, for example, did not accept the organ in services until well into the 19th century. There was concern that organ music would be regarded as frivolous, unworthy of the gravity of religion. Jewish orthodox practice continues to take this attitude. -
Duo Montagnard
albums, and touring throughout the U.S.A. He works as an instructor at the Musician’s Institute in Hollywood where he teaches composition. He has also held part-time teaching positions at UC Irvine and UC Riverside. www.christiandubeau.com ABOUT DAVID CONTE David Conte is the composer of over one hundred and fifty works published by E. C. Schirmer Music Company, including 7 operas, works for chorus, solo voice, orchestra, band, and chamber music. He has received commissions from Chanticleer, the San Francisco Symphony Chorus, the Oakland, Stockton, and Dayton Symphonies, the Atlantic Classical Orchestra, and from the American Guild of Organists. In 2007 he received the Raymond Brock commission from the American Choral Directors Association, one of the nation’s highest honors in choral music. He co-wrote the film score for the acclaimed documentary Ballets Russes, shown at the Sundance and Toronto Film Festivals in 2005, and composed the music for the PBS documentary, Orozco: Man of Fire, shown on GUEST ARTIST RECITAL the American Masters Series in the fall of 2007. In 1982, Conte lived and worked with Aaron Copland while preparing a study of the composer’s sketches, having received a Fulbright Fellowship for study with Copland’s teacher Nadia Boulanger in Paris, where he was one of her last students. He earned his bachelor’s degree from Bowling Green State University and his master’s and doctoral degrees from Cornell University. He is Professor of Composition and Chair of the Composition Department at the San Francisco Conservatory of Music. In 2010 he was appointed to the composition faculty of the European American Musical Alliance in Paris. -
Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions. -
4940010-9Eda5e-809730512629.Pdf
cantilena II Charles-Marie Widor (1844-1937) Suite for flute and piano, Op. 34 17:07 1 Moderato 3:33 2 Scherzo: Allegro vivace 2:52 3 Romance: Andantino 4:19 4 Final: Vivace 6:22 Cecile Chaminade (1857-1944) 5 Concertino, Op. 107 8:12 Henri Dutilleux (1916-2013) 6 Sonatine for flute and piano 10:11 Otar Taktakishvili (1924-1989) Sonata for flute and piano 18:07 7 Allegro cantabile 6:52 8 Aria: Moderato con moto 5:07 9 Allegro scherzando 6:07 Astor Piazzolla (1921-1992) Histoire du Tango 23:48 10 Bordel 1900 4:14 11 Café 1930 9:08 12 Night-club 1960 5:19 13 Concert d’aujourd’hui 5:06 Total CD duration 78:08 Odinn Baldvinsson flute Patricia Romero piano THE MUSIC Charles-Marie Widor (1844-1937) is today mainly recognised for his compositions for the organ, in particular ten large-scale works described as “Symphonies for Organ”. From 1870 to 1934 he was the organist of St. Sulpice in Paris, and was professor of organ at the Paris Conservatoire, following in the footsteps of Cesar Franck. He was, however, a prolific composer, his output including three operas, symphonies, concertos, chamber music, piano solos and songs. Of his chamber works, perhaps one of his finest pieces is this Suite for Flute and Piano, Op. 34. Widor composed the Suite in 1877 (although it was not published until 1898) for Paul Taffanel (1844-1908), a fellow professor at the Conservatoire and a fine, highly influential flautist who developed many technical aspects of flute playing to the extent that France became the acknowledged centre of the flute in Europe. -
Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music. -
School of Music Program Notes
First Half Deanna Buringrud,flute Gail Novak,piano Honors Project Recital Hall I April 7, 2019 j 12 p.m. Program Sonata for Flute and Piano Francis Poulenc Allegro malinconico Cantilena Presto giocoso First Sonata, for Flute and Piano Bohuslav Martinu I II III INTERMISSION ARIZONA STATE UNIVERSITY School of Music Program Notes First Sonata for Flute and Piano, Bohuslav Marinu (Dec. 1890 - 1959) Bohuslav Marinu was a Czech composer of early-mid 20th century. Bohuslav grew up in a family without material wealth. He began violin at a young age and excelled quickly. The town was impressed by his talent when attending his recitals, and raised the funds to send him to the Prague Conservatory in 1906. Martinu was expelled from the Prague conservatory in 1910 due to "incorrigible negligence." Martinu became more interested in the composition aspect of music than his individual performance, and as such did not practice his violin enough. First Sonata for Flute and Piano was composed in 1945 in South Orleans, Cape Cod. During this time, Marinu was living in the United States to escape France when it was occupied by the Nazis in WW2. Though he didn't speak english very well, Martinu quickly adapted to his environment and ended up teaching both at Princeton and the Tanglewood institution in Berkshire. First Sonata was written for Georges Laurent, the principle flutist of the Boston Symphony. It premiered in New York 1949. Remnants ofMartinu's past can be heard throughout the sonata, such as the perfect fourths in the first movement that represent the church bells his father rang.