Jerona Music Catalogue

Total Page:16

File Type:pdf, Size:1020Kb

Jerona Music Catalogue Triofor Violin,Guitar and Piano (1972). COLLECTIONS - MULTIPLE COMPOSERS violin, guitar, piano B02235 score 14.00 Album I.Compositions for Flute Solo (6) (includes works of Barkin, Frank,Gerber,Zuckerman,Rausch & Kreiger). B02236 playing scores (3) 35.00 B01171 solo flute 10.00 Album I.Compositions for Horn Solo (5) (includes works of Caclooppo, BOYKAN, Martin (b.1931) Williams,Pope & Rausch). Psalm 126. B01181 solo horn 13.00 B02435 mixed chorus a cappella 2.00 Album I.Compositions for Violin Solo (5) (includes works of Barkin, String Quartet No.2 (1974). Gerber,Lee,Philippot & Williams). string quartet B01121 solo violin 13.00 B02440 study score 10.00 Album I.Pieces for Viola Solo (5) (includes works of Krenek,Pollock & B02440 set of parts 73.00 Wright). Triofor Violin,Cello and Piano (1968). B01131 solo viola 13.00 violin, cello, piano Album I.Songs for Low Male Voiceand Piano (10) (includes works of B02445 study score 10.00 Hall,Hobson & Leibowitz). B02445 set of parts 68.00 B01191 voice, piano 12.00 Album II.Compositions for Cello Solo (7) (includes works of Edwards, BRAHMS, Johannes (1833-1897) Gerber,Peyton,Philippot,Williams,Winkler & Zuckerman). B01142 solo cello 13.00 Canons (13) for Women’s Voices,Op.113 (German). women’s choir a cappella Album II.Compositions for Violin Solo (4) (includes works of Leibowitz, C01006 choral score 3.00 Perle & Philippot). B01122 solo violin 13.00 BRUCKNER, Anton (1824-1896) Album III.Compositions for Cello Solo (2) (includes works of Casanova Psalm 112 (German). & Perle). double mixed chorus, orchestra B01143 solo cello 10.00 C01008 vocal score 8.00 Album IV.Compositions for Piano (3) (includes works of Edwards, score & parts (price on request) James & Winkler). B01105 solo piano 13.00 BUXTEHUDE, Dietrich (1637-1707) ARLAN, Dennis Was mich auf dieser Welt betruebt (Bux WV 105). solo soprano, 2 violins, b.c. The Daughter of the Double Duke of Dingle (children’s opera). B02770 set of parts 8.00 opera performance material (rental) CASANOVA, Andre (b.1919) J1035 vocal score 23.00 Due Canzone,Op.49 (1973). Meanwhile,Back at Cinderella’s (children’s opera). solo A sax, cl, tpt, B gtr, elec organ, perc opera B03145 score 14.00 performance material (rental) BPC145 set of parts (custom print) 75.00 J1025 vocal score 20.00 CHAN, Pierre BABBITT, Milton (b.1916) Quintet after “La Jeune Parque”(1970). Du;Song Cycle (1951). voice, chamber ensemble B02125 soprano, piano 6.00 B03425 score 10.00 Piano Compositions (3) (1948). Suite (1975). B02130 solo piano 10.00 flute, viola, harp BPC350 playing scores (3) 50.00 The Widow’s Lament in Springtime (1950). B02135 soprano, piano 4.00 CHILD, Peter (b.1953) BACH, Johann Bernhard (1676-1749) Duo for Flute and Percussion (1979). flute, percussion Concerto for Piano in G major,Op.1,No.4 (A.Mann). B03490 study score 10.00 solo piano, string orchestra R000012 score & parts 17.00 BPC490 set of parts (custom print) 30.00 R000011 solo piano 10.00 DELIUS, Frederick (1862-1934) BARKIN, Elaine (b.1932) Sea Drift (German-English). Baritone, chorus, orchestra Mixed Modes (1975). C01001 vocal score 4.00 clarinet(b.cl),violin, viola, cello, piano B02150 playing score 14.00 score & parts (price on request) String Trio(1976). string trio EDWARDS, George B02155 study score 10.00 Draconian Measures. B05320 solo piano 13.00 BASSOON REPERTOIRE - GARFIELD Kreuz und Quer (1971). Bassoon Player’s Orchestral Repertoire,Vol.1:Tchaikovsky flute, clarinet, violin, viola, cello Symphonies 4-6. BPE335 score (custom print) 33.00 J1030 solo bassoon 18.00 BPE335 set of parts (custom print) 60.00 Veined Variety (1978). BERGER, Arthur (b.1912) soprano, flute(picc), clarinet(b cl)violin, cello BPE340 score (custom print) 45.00 Partita (1947). set of parts (rental) B02225 solo piano 10.00 Three Pieces for Two Pianos (1961). 2 pianos, 4 hands B02230 playing scores (2) 20.00 Creature to Creature. ERLEBACH, Philipp Heinrich (1657-1714) soprano, flute, harp B07458 playing score 13.00 Ihr Gedanken. solo soprano, 2 violins, b.c. Nocturnes (1976). B05725 score & set of parts 8.00 voice, flute, oboe, violin, cello, vibraphone BPG462 score (custom print) 18.00 FRANK, Andrew (b.1946) BPG462 set of parts (custom print) 28.00 BPG462 vocal score (custom print) 14.00 Alto Rhapsody for Solo Alto Saxophone (1973/83). B06702 solo alto saxophone 10.00 Questions on Nature (1964). voice, oboe, piano, percussion Caprice for Two Violas (1980). BPG465 score (custom print) 38.00 B06705 2 violas 10.00 BPG465 set of parts (custom print) 68.00 Fantasy Variations for Cello (1983). B06710 solo cello 5.00 The Resounding Lyre (1983). high voice, fl, ob, bsn, tpt, vn, va, vc Pastorale for Flute and Oboe (1982). B07470 study score 10.00 B06725 flute, oboe 23.00 set of parts (rental) Three Preludes for Piano (1981). B06730 solo piano 8.00 Rhymes from the Hill (1968). voice, clarinet, cello, marimba Rhapsody III for Violin (1982). BPG472 score (custom print) 18.00 B06735 solo violin 4.00 BPG472 set of parts (custom print) 45.00 Rhapsody IV for Solo Clarinet (1974/83). BPG472 vocal score (custom print) 15.00 B06736 solo clarinet 13.00 Songs of Youthand Madness (1977). Serenata for Solo Harp (1983). voice, chamber orchestra B06739 solo harp 15.00 BPG473 score (custom print) 25.00 parts (rental) Sonata da Camera II (1984). flute, viola, harp BPG473 vocal score (custom print) 25.00 B06742 set of parts 25.00 Spiritual Madrigals (1965). Sonata for Violin (1981). men’s chorus, bassoon, viola, cello B06740 violin, piano 15.00 B07480 score 5.00 String Quartet No.3 (1982). BPG480 set of parts (custom print) 25.00 string quartet B06745 study score 10.00 GILEADI, Michael Concerto for Euphonium. GERBER, Steven J1031 euphonium(trombone), piano 10.00 String Quartet No.1 (1973). string quartet HALL, Jeffrey BPG302 score (custom print) 25.00 BPG302 set of parts (custom print) 68.00 From the Supai Formation (1976). string orchestra String Quartet No.2. B08175 study score 10.00 string quartet parts (rental) BPG303 score (custom print) 17.00 String Trio(1971). HANDEL, George Frideric (1685-1759) string trio BPG306 score (custom print) 38.00 Hallelujah,Amen (from “Judas Maccabaeus”) (English). BPG306 set of parts (custom print) 45.00 mixed chorus, piano C02004 vocal score 1.00 Triofor Violin,Cello and Piano (1968). violin, cello, piano Messiah (Urtext) (Alfred Mann). BPG304 score & parts (custom print) 73.00 soli, chorus, orch R000061 score (3 vols) 50.00 Variations for Piano (1970). R000062 set of parts 63.00 solo piano BPG308 (custom print) 25.00 R000063 extra strings (specify qty per part) 6.00 Voicesfor Piano (1976). Oh Lovely Peace (from “Judas Maccabaeus”) (English). solo piano 2-part women’s chorus, piano BPG310 (custom print) 20.00 C02003 vocal score 1.00 Woodwind Quartet (1967). Two Ornamented Organ Concertos,Op.4/2 & 4/5 (Fuller). flute, oboe, clarinet, bassoon J1010 solo organ 15.00 B07305 study score 10.00 Sing unto God (from “Judas Maccabaeus”) (English). BPG305 set of parts (custom print) 60.00 mixed chorus, piano C02002 vocal score 1.00 GIBBONS, Orlando (1583-1625) Ten Small Keyboard Fugues;Lessons in composition (A.Mann). R000090 solo piano 7.00 Concerted Anthems (A.Mann & M.Strauss). solo tenor, mixed chorus, string orchestra R000031 score 5.00 HOFFMANN, Richard (b.1925) R000033 set of parts 6.00 Changes for Chimes. R000034 extra strings (specify qty per part) 1.00 chimes (4 players) R000032 choral score 1.00 BPH545 playing scores (2) (custom print) 50.00 Concerto for Cello (1959). GIDEON, Miriam (1906-1996) solo cello, orchestra B08540 large score 25.00 Condemned Playground (1963). parts (rental) solo soprano, solo tenor, fl, bsn, str qrt BPG455 large score (custom print) 38.00 Concerto for Piano (1954). BPG455 set of parts (custom print) 65.00 solo piano, orchestra BPH540 score (custom print) 55.00 B07455 study score 10.00 parts (rental) Decadanse (1972). cl, b cl, tpt, tbn, vn, db, perc KIRCHNER, Leon (b.1919) BPH548 score (custom print) 24.00 Piano Sonata (1948). Duo for Viola and Cello (1949). B11470 solo piano 10.00 viola, cello B08550 parts 10.00 KRENEK, Ernst (1900-1991) Duo for Violin and Piano (1949). violin, piano Sonata for Viola,Op.92/ 3. BPH551 (custom print) 15.00 B01131 solo viola 13.00 Fantasy and Fugue (1951). solo organ KROEGER, Karl (b.1932) BPH555 (custom print) 13.00 Variations on a Hymn by William Billings. String Quartet No.3 “On Revient Toujours”(1974). wind ensemble string quartet J3102 score & parts 30.00 BPH560 score (custom print) 25.00 J3103 extra score 7.00 BPH560 set of parts (custom print) 58.00 Variations for Piano No.2 (1957). LANSKY, Paul (b.1944) B08585 solo piano 10.00 Dance Suite (1977) B12170 solo piano 10.00 HOOVER, Katherine (b.1937) String Quartet (1977). Duo (6 Simple Duets) (1982). string quartet 2 flutes BPL179 score (custom print) 30.00 BPH615 (custom print) 13.00 Set for Clarinet (1978). LEE, Eugene B08618 solo clarinet 5.00 Afterimages (1975). Suite for 2 Flutes (1983). B12250 mixed chorus a cappella 2.00 B08620 2 flutes 10.00 Mutationes (1979). violin, cello HUDSON, Joseph B12260 study score 5.00 B12261 parts 8.00 Reflexives (1974). solo piano, tape B08730 piano part 18.00 LEIBOWITZ, Rene (1913-1972) B08730 tape (custom print) 24.00 A se stesso,Op.37/3 (1955). B12305 mixed chorus a cappella 2.00 IVES, Charles Edward (1874-1954) Art for Art’s Sake,Op.52 (1959). Central Park in the Dark (No.1 of Three Outdoor Scenes).
Recommended publications
  • The Flute Music of Yuko Uebayashi
    THE FLUTE MUSIC OF YUKO UEBAYASHI: ANALYTIC STUDY AND DISCUSSION OF SELECTED WORKS by PEI-SAN CHIU Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University July 2016 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 ______________________________________ Thomas Robertello, Research Director ______________________________________ Don Freund ______________________________________ Kathleen McLean ______________________________________ Linda Strommen June 14, 2016 ii ACKNOWLEDGEMENTS Thanks to my flute professor Thomas Robertello for his guidance as a research director and as mentor during my study in Indiana University. My appreciation and gratitude also expressed to the committee members: Prof. Kathleen McLean, Prof. Linda Strommen and Dr. Don Freund for their time and suggestions. Special thanks to Ms. Yuko Uebayashi for sharing her music and insight, and being cooperative to make this document happen. Thanks to Prof. Emile Naoumoff and Jean Ferrandis for their coaching and share their role in the creation and performance of this study. Also,I would also like to thank the pianists: Mengyi Yang, Li-Ying Chang and Alber Chien. They have all contributed significantly to this project. Thanks to Alex Krawczyk for his kind and patient assistance for the editorial suggestion. Thanks to Satoshi Takagaki for his translation on the program notes. Finally, I would like to thank my parents Wan-Chuan Chiu and Su-Jen Lin for their constant encouragement and financial support, and also my dearest sister, I-Ping Chiu and my other half, Chen-Wei Wei, for everything.
    [Show full text]
  • 1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
    1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr.
    [Show full text]
  • Vol. XII/6, Vienna 1999)
    Bruckner Journal Issued three times a year and sold by subscription Editorial and advertising: telephone 0115 928 8300 2 Rivergreen Close, Beeston, GB-Nottingham NG9 3ES Subscriptions and mailing: telephone 01384 566 383 4 Lu)worth Close, Halesowen, West Midlands B63 2UJ VOLUME FIVE, NUMBER THREE, NOVEMBER 2001 Editor: Peter Palmer Managing Editor: Raymond Cox Associate Editor: Crawford Howie In This Issue page Concerts 2 Compact Discs 7 Publications 14 Skrowaczewski Speaks 17 Bruckner1s Third: 1st Edition by Crawford Howie 22 Austerity or Charm ,. by David Aldeborgh 26 l: Poem by Adam Zagajewski 32 Feedback 33 Jottings 34 Calendar 36 Copyright in all material is retained by the author. Photograph (page 9) by Peter Kloos. Translation (pages 17-21) by Peter Palmer. Silhouette: Otto Bohler. Contributors - the next copy deadline is 15 January 2002. Material other than letters in typescript, please. BUS T BY VI KTOR TIL GN E R - see page 16 2 CON C E R T S On Sunday 3 June lorin Maazel conducted the Phil harmonia Orchestra in Bruckner's Eighth Symphony in the Royal Festival Hall, london. The division of critical opinion in the national broadsheets is largely reflected in the reactions of our own correspondents. First, JEREMY WILKINSON reports on a performance given by the same forces two nights earlier in the De Montfort Hall, Leicester. For him, this was a deeply personal occasion: We were celebrating my mother's birthday but also commemorating the anniversary of the loss of my twin brother. How fitting to come and hear Bruckner's great masterpiece, so full of bleakness, tension and emotion.
    [Show full text]
  • Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op
    Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde Item Type Electronic Dissertation; text Authors Zuniga Chanto, Fernando 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 09/10/2021 13:14:01 Link to Item http://hdl.handle.net/10150/145124 ALTERNATIVE STRATEGIES FOR THE REFINEMENT OF BASSOON TECHNIQUE THROUGH THE CONCERT ETUDES, OP. 26, BY LUDWIG MILDE by Fernando Zúñiga Chanto ______________________________ Copyright © Fernando Zúñiga Chanto 2011 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 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Fernando Zúñiga Chanto entitled Alternative Strategies for the Refinement of Bassoon Technique Through The Concert Etudes, Op. 26, by Ludwig Milde and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 4/18/2011 William Dietz Date: 4/18/2011 Jerry Kirkbride Date: 4/18/2011 Brian Luce 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 prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
    Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u.
    [Show full text]
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • Mendelssohn's Elijah
    Boston University College of Fine Arts School of Music presents Boston University Symphony Orchestra and Symphonic Chorus Mendelssohn’s Elijah Ann Howard Jones conductor Monday, April 11 Symphony Hall Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphonic Chorus April 11, 2011 Boston University Symphony Orchestra Symphony Hall Ann Howard Jones, conductor The 229th concert in the 2010–11 season Elijah, op.
    [Show full text]
  • 22. BIS 25. MAI 2015 Die Sparkasse Regensburg Treibt Kultur An
    € Preis: 5,00 MUSIK VOM MITTELALTER BIS ZUR ROMANTIK KONZERTE AN HISTORISCHEN STÄTTEN Regensburger Domspatzen L’ Orfeo Barockorchester (Österreich) Profeti della Quinta (Israel/Schweiz) Rachel Podger (Großbritannien) Echo du Danube (Deutschland) Ensemble Leones (Deutschland/Schweiz) Musica Humana 430 (Polen/Deutschland) The Marian Consort (Großbritannien) Rose Consort of Viols (Großbritannien) Ensemble Stravaganza (Frankreich) Concerto Palatino (Italien) Batzdorfer Hofkapelle (Deutschland) Harmonie Universelle (Deutschland) Phantasm (Großbritannien) New York Polyphony (USA) Il Suonar Parlante Orchestra (Italien) Les Ambassadeurs (Frankreich) Verkaufsausstellung von Nachbauten historischer Musikinstrumente, von Noten, Büchern und CDs 22. BIS 25. MAI 2015 Die Sparkasse Regensburg treibt Kultur an. Mit rund 640.000 Euro engagiert sich die Sparkasse Regensburg ganz weit vorne als Förderin der Kunst und Kultur in Regensburg. Viele große Musik-Ereignisse – darunter Jugend musiziert, die Tage Alter Musik, das Musikfestival Palazzo und die Schloss- festspiele Thurn und Taxis – wären ohne die Unterstützung der Sparkasse Regens- burg nicht möglich. s Sparkasse Regensburg TAGE ALTER Musik REGEnsbuRG MAi 2015 VVoorrwwoorrtt GGrruußßwwoorrtt GGrruußßwwoorrtt Vier Tage Alte Musik pur Musikereignis von internationalem Rang Einzigartiges Festival Liebe Musikfreunde, die TAGE ALTER MUSIK REGENS - BURG finden in diesem Jahr zum 31. Mal statt. In den vier Tagen des Festi- vals können wir Ihnen auch heuer wieder anregende Begegnungen mit Musik vergangener
    [Show full text]
  • An Arthur Berger
    AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962.
    [Show full text]
  • Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University
    Eastern Illinois University The Keep Music Programs The Earl Boyd Collection 2015 Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/earl_boyd_programs Part of the Music Commons Recommended Citation Boyd, Earl, "Faculty Woodwind Quartet Flyer" (2015). Music Programs. 29. http://thekeep.eiu.edu/earl_boyd_programs/29 This Book is brought to you for free and open access by the The Earl Boyd Collection at The Keep. It has been accepted for inclusion in Music Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. 0 €astenn 1tt1nols Un1vens1ty w oo0w1n0 Quintet Dear Music Director: Your flutist, oboist, clarinetist, bassoonists, and hornists will welcome the opportunity to hear and work personally with the fine performers in the Eastern Illinois University Woodwind Quintet You are invited to write or call Rhoderick Key, Chairman, Music Department, Eastern Illinois University, Charleston, Illinois, 61920 Phone 217-581-2917 Scheduled to suit your program FLUTE - Robert C. Snyder, flutist, frequent recitalist in Illinois and recent performer at Carnegie Recital Hall in New York, clinician, · writer, and band direetor, graduated from Indiana University with a Masters Degree in Woodwinds and complet~ his doctorate in History and Literature at University of Missouri at Kansas City. He has studied with Vallie Kirk at Washburn University of Topeka, James Pellerite at Indiana University, and William Kincaid. OBOE -Joseph Martin, oboist, double-reed specialist, recitalist, and clinician, graduated with his Masters Degree in Education from East Carolina University in North Carolina. Mr. Martin directs a University stage band and assists in the Symphony Orchestra program.
    [Show full text]
  • 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.
    [Show full text]
  • Solo List and Reccomended List for 02-03-04 Ver 3
    Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano.
    [Show full text]