DOCSLIB.ORG

ONW Choirs! Spending Time with Her Husband and Family

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ONW Choirs! Spending Time with Her Husband and Family About the Students About the Director Pamela Williamson is the Olathe Northwest choir students are a wonderful Choral Music Director at representation of the diverse student body as a Olathe Northwest High whole. Students are talented, friendly, positive, School. Pam has been a and there is a spirit of teamwork present in our music educator in Kansas daily rehearsals and performances. Throughout public schools for over 28 our school history, ONW Choirs have consistent- years, and has been at ly earned superior (1) ratings at State Large ONW since 2006, where Group Contest, and Regional and State Solo and she is also the Performing Ensemble Festivals. We have also had a large Arts Department Chair. Under her leadership, the number of students earn places in the KMEA ONW Choirs have consistently earned superior Northwest District and Kansas Statewide Honor ratings at Regional and State Music festivals and Choirs. With more than 200 students in our cho- contests. The ONW Da Capo Singers were ral program, there are many things happening selected by audition to perform at the 2011 KMEA that we encourage you to become involved in! Statewide In-service Workshop. Students in Mrs. Welcome to Williamson’ program have performed with Kansas District and Statewide Honor Choirs, SWACDA and National ACDA Honor Choirs, with the Kansas City Chorale and the Kansas City Symphony. The Olathe Northwest choirs earned the top award at Festival Disney as ‘Best in Show” in 2010 and First Place in their division in Orlando, Florida where they also earned Raven Choral Superior ratings in 2016. Our choir earned Superior Musical Performance and Outstanding in Class Music awards at the 2013 Alamo Showcase of Music Festival in San Antonio, Texas. The choirs traveled to New York City in 2019. Department Pam has earned Bachelor and Master’s Degrees in Music Education from the UMKC Conservatory of Music. Pam has been a member of the Grammy Award winning Kansas City Chorale since 1991 and has been a featured soloist on several of the Chorale’s recordings and in many performances. Pam is an active music director, church musician, clinician and accompanist for a variety of events in Find Your Voice in the and around the Kansas City area. Pam is the proud mother of three wonderful sons and enjoys ONW Choirs! spending time with her husband and family. www.onwchoir.org For additional information, please contact Pam Williamson, ONW Choral Director, at 913-780-7150 or email her at 21300 College Blvd. We are excited to continue this tradition of choral [email protected] Olathe, KS 66061 excellence, and hope that you will join us! Phone: 913-780-7150 ONW Raven Choirs Choirs at ONW Musical Opportunities ONW Freshman Women’s Concert Choir ONW Men’s Ensemble ONW Belle Chanson Dolce Voce Advanced Travel Year: 2021-2022 Sing! Women (by audition) Fall Choral Concert Winter Choral Concert Use your voice to share your talent and express yourself! Spring Choral Concert S Da Capo Singers Regional Solo/Ensemble Festival Chamber Choir State Solo/Ensemble Festival Performing Arts Fall Musical Inspire! (by audition) Music is the vehicle, State Large Group Contest I You are the inspiration. Various Solo Opportunities ONW Chorale Harmony Explosion Contest (by audition) KMEA NE District Honor Choir Network! Kansas Statewide Honor Choir Join with other ONW students National Anthem at Games to form a community of music Lettering in Choir N making and friendship. Fine Arts/Music Endorsement Holiday Caroling Gigs Grow! Men’s Choral Day Be a part of an exciting time of Masterworks Concert growth in our Choral Olathe Winterfest G Department. Kansas City Chorale Youth Concert Raven Pops Concert Freshman Vocal Solo Festival .
Load more

Recommended publications
  • The Bach Experience
    MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA.
    [Show full text]
  • Introduction
    Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen.
    [Show full text]
  • Ctspubs Brochure Nov 2005
    THE MUSIC OF CLAUDE T. SMITH CONCERT BAND WORKS ENJOY A CD RECORDING CTS = Claude T. Smith Publications WJ = Wingert-Jones HL = Hal Leonard TITLE GRADE PUBLISHER TITLE GRADE PUBLISHER $1 OF THE MUSIC OF 7.95 each Acclamation..............................................................5 ..............Kalmus Intrada: Adoration and Praise ..................................4 ................CTS All 6 for Across the Wide Missouri (Concert Band) ................3..................WJ Introduction and Caccia............................................3 ................CTS $60 Affirmation and Credo ..............................................4 ................CTS Introduction and Fugato............................................3 ................CTS Claude T. Smith Allegheny Portrait ....................................................4 ................CTS Invocation and Jubiloso ............................................2 ..................HL Allegro and Intermezzo Overture ..............................3 ................CTS Island Fiesta ............................................................3 ................CTS America the Beautiful ..............................................2 ................CTS Joyance....................................................................5..................WJ CLAUDE T. SMITH: CLAUDE T. SMITH: American Folk Trilogy ..............................................3 ................CTS Jubilant Prelude ......................................................4 ..................HL A SYMPHONIC PORTRAIT
    [Show full text]
  • The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University
    [Show full text]
  • The Treatment of the Chorale Wie Scan Leuchtet Der Iorgenstern in Organ Compositions from the Seven Teenth Century to the Twentieth Century
    379 THE TREATMENT OF THE CHORALE WIE SCAN LEUCHTET DER IORGENSTERN IN ORGAN COMPOSITIONS FROM THE SEVEN TEENTH CENTURY TO THE TWENTIETH CENTURY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Paul Winston Renick, B. M. Denton, Texas August, 1961 PREFACE The chorale Wie schn iihtet derMorgenstern was popular from its very outset in 1589. That it has retained its popularity down to the present day is evident by its continually appearing in hymnbooks and being used as a cantus in organ compositions as well as forming the basis for other media of musical composition. The treatment of organ compositions based on this single chorale not only exemplifies the curiously novel attraction that this tune has held for composers, but also supplies a common denominator by which the history of the organ chorale can be generally stated. iii TABLE OF CONTENTS Page PREFACE . * . * . * . * * * . * . LIST OF ILLUSTRATIONS . .0.0..0... 0 .0. .. V Chapter I. THE LUTHERAN CHORALE. .. .. The Development of the Chorale up to Bach The Chorale Wie sch8n leuchtet der Morgenstern II. BEGINNINGS OF THE ORGAN CHORALE . .14 III* ORGAN CHORALS BASED ON WIE SCHN IN THE BAROQUE ERA .. *. .. * . .. 25 Samuel Scheidt Dietrich Buxtehude Johann Christoph Bach Johann Pachelbel Johann Heinrich Buttstet Andreas Armsdorf J. S. Bach IV. ORGAN COMPOSITIONS BASED ON WIE SCHON ...... 42 AFTER BACH . 4 Johann Christian Rinck Max Reger Sigf rid Karg-Elert Heinrich Kaminsky Ernst Pepping Johann Nepomuk David Flor Peeters and Garth Edmund son V.
    [Show full text]
  • The Bach Experience
    MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, January 30, 2011 – 9:45A.M. The Bach Experience BWV 171: ‘Gott, wie dein Name, so ist auch dein Ruhm’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting BWV 171: ‘Gott, wie dein Name, so ist auch dein Ruhm’ - Composed and performed as early as January 1, 1729 for New Year or Feast of the Circumcision; first movement appears later in the Credo of the B Minor Mass: ‘Patrem omnipotentem’ - Scored for three trumpets, timpani, two oboes, and strings; solos for soprano, alto, tenor and bass - Central message is the name of Christ – the purity of Jesus’ name as a means of intercession, power and strength - The libretto is compiled and authored by Picander, drawing on Psalm 48:10 for the opening movement. - Duration: about 21 minutes Some helpful German words to know . Ruhm fame Wolken clouds Süsser sweet Trost comfort Ruh rest or peace Kreuze cross lauf laugh verfolget persecuted Heliand savior See the morning’s bulletin for a complete translation of Cantata 171. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an exact restatement of the opening section: ABA.
    [Show full text]
  • 10.-Baroque-J.S.Bach.Pdf
    The HIGH BAROQUE:! J. S. BACH Johann Sebastian Bach, 1685-1750 The HIGH BAROQUE:! J. S. BACH J. S. BACH was best-known during his lifetime as a keyboard virtuoso Born into family of musicians. Lives a provincial life, never traveling out of Germany The youngest of eight children, Bach was educated by his brother, Johann Christoph. The HIGH BAROQUE:! J. S. BACH CAREER Arnstadt 1707 Organist Weimar 1708-1717 Organist, Konzertmeister Cöthen 1717-1723 Kapellmeister Leipzig 1723- Kapellmeister, Teacher The HIGH BAROQUE:! J. S. BACH Bach wrote in almost ALL the genres of music in the late Baroque EXCEPT the most important of that era, OPERA. Bach tended to write in sets of compositions, systematically pursuing the invention of an idea, elaborating it through every possible permutation. The HIGH BAROQUE:! J. S. BACH Bach’s compositions spring from his jobs: Many secular compositions for his court positions at WEIMAR and CöTHEN, and religious music for his later position at LEIPZIG. As a virtuoso keyboardist, Bach writes keyboard music through out his life. The HIGH BAROQUE:! J. S. BACH 1707 Bach obtains his first position of organist at the Arnstadt Neukirche. Obtains permission to travel Lübeck to hear the organist Buxtehude… and stays away for 4 months! The HIGH BAROQUE:! J. S. BACH 1708-1717 (Weimar) Position at court of Weimar, first as organist, and then as Konzertmeister in 1714. During his Weimar years Bach gets to know G. P. TELEMANN, who is working nearby in Eisenach. Bach marries Maria Barbara who has his first children. The HIGH BAROQUE:! J.
    [Show full text]
  • Tifh CHORALE CANTATAS
    BACH'S TREATMIET OF TBE CHORALi IN TIfh CHORALE CANTATAS ThSIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Floyd Henry quist, B.A. Denton, Texas August, 1950 N. T. S. C. LIBRARY CONTENTS Page LIST OF ILLUSTRATIONS. ...... .... v PIEFACE . vii Chapter I. ITRODUCTION..............1 II. TECHURCH CANTATA.............T S Origin of the Cantata The Cantata in Germany Heinrich Sch-Utz Other Early German Composers Bach and the Chorale Cantata The Cantata in the Worship Service III. TEEHE CHORAI.E . * , . * * . , . , *. * * ,.., 19 Origin and Evolution The Reformation, Confessional and Pietistic Periods of German Hymnody Reformation and its Influence In the Church In Musical Composition IV. TREATENT OF THED J1SIC OF THE CHORAIJS . * 44 Bach's Aesthetics and Philosophy Bach's Musical Language and Pictorialism V. TYPES OF CHORAJETREATENT. 66 Chorale Fantasia Simple Chorale Embellished Chorale Extended Chorale Unison Chorale Aria Chorale Dialogue Chorale iii CONTENTS (Cont. ) Chapter Page VI. TREATMENT OF THE WORDS OF ThE CHORALES . 103 Introduction Treatment of the Texts in the Chorale Cantatas CONCLUSION . .. ................ 142 APPENDICES * . .143 Alphabetical List of the Chorale Cantatas Numerical List of the Chorale Cantatas Bach Cantatas According to the Liturgical Year A Chronological Outline of Chorale Sources The Magnificat Recorded Chorale Cantatas BIBLIOGRAPHY . 161 iv LIST OF ILLUSTRATIO1S Figure Page 1. Illustration of the wave motive from Cantata No. 10e # * * # s * a * # . 0 . 0 . 53 2. Illustration of the angel motive in Cantata No. 122, - - . 55 3. Illustration of the motive of beating wings, from Cantata No.
    [Show full text]
  • JS Bach's Chorales
    2017 Patricia Carpenter Emerging Scholar Award J. S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source Derek Remeš In a recent study by Robin A. Leaver, the Sibley Choralbuch (Rochester, NY) was re-identified as likely stemming from J. S. Bach’s students in Dresden from around 1730–40 (2016). The manuscript contains 227 figured-bass chorales—melodies with single figured basses—and thus matches the first part of C. P. E. Bach’s description of his father’s teaching method, where students first received a figured-bass chorale and added two inner voices. Later, students composed their own basses and figures. Here, the plural “basses” is significant, because several “multiple-bass” chorale sources have also come to light in recent years, many stemming from J. S. Bach’s students, Kittel and Kirnberger, who discuss this technique in their treatises. These sources suggest that a little-known, keyboard chorale tradition also played an important role in Bach’s pedagogy. The present article attempts to reconstruct this pedagogical process using contemporaneous German sources. For as much as we admire J. S. Bach’s music, we know relatively little about how he taught composition. One thing we do know is that Bach began instruction with figured- bass chorales. Bach’s chorale harmonizations are still part of the curriculum today, but they are usually used to teach harmonic analysis, not composition—that is, we use the same materials (chorale melodies), but to different ends. Thus, developing a clearer understanding of Bach’s pedagogical methods can inform modern-day pedagogy.
    [Show full text]
  • A Transformational Method for Chorale Generation
    A Transformational Method for Chorale Generation Raymond Whorley1 and Darrell Conklin1,2 1 Department of Computer Science and Artificial Intelligence University of the Basque Country UPV/EHU, San Sebasti´an, Spain 2 IKERBASQUE, Basque Foundation for Science, Bilbao, Spain [email protected],[email protected] Abstract. Music sampled from a statistical model tends to lack long- term structure. This problem can be ameliorated by transforming an existing piece of music into a new one, such that the structure of the original is retained. A method for transforming Bach chorales is pre- sented here. Sampling is constrained by chord symbols, phrase boundary information, soprano note lengths and key regions from the original mu- sic. Two corpora are used: one of hymn tune harmonisations by various composers, and the other of chorale melody harmonisations by J. S. Bach. 1 Introduction A problem with Markov models for music generation is that music sampled from a model tends to lack long-term structure; that is, the output can seem to wander due to the limited context used. The solution proposed here is to transform an existing piece of music such that the new piece is related to the original in some abstract way. To generate a well-structured four-part harmonic texture, hopefully including a coherent and novel melody, a structural template is created from a chorale melody harmonisation by J. S. Bach. Multiple pieces are then generated in line with the template with the aim of finding low cross- entropy (negative mean log probability) solutions, as these tend to be in better compliance with generally agreed rules of harmony [1].
    [Show full text]
  • Bach: the Complete Organ Works, Vol. 4
    .3,%227)&%78-%2&%', 8LI'SQTPIXI3VKER;SVOW:SP (%:-(+33() 8VMRMX]'SPPIKI'LETIP'EQFVMHKI 0IMT^MK'LSVEPIW CD1 1 Komm, heiliger Geist, BWV 651 [5.47] 2 Komm, heiliger Geist, BWV 652 [9.17] 3 An Wasserfl üssen Babylon, BWV 653 [4.53] 4 An Wasserfl üssen Babylon, BWV 653b [4.40] 5 Schmücke dich, o liebe Seele, BWV 654 [6.13] 6 Herr Jesu Christ, dich zu uns wend, BWV 655 [3.30] 7 O Lamm Gottes, unschuldig, BWV 656 [8.36] 8 Nun danket alle Gott, BWV 657 [3.59] 9 Von Gott will ich nicht lassen, BWV 658 [4.06] CD2 1 Nun komm, der Heiden Heiland, BWV 659 [4.10] 2 Nun komm, der Heiden Heiland (I), BWV 660 [2.56] 3 Nun komm, der Heiden Heiland (II), BWV 661 [3.29] 4 Allein Gott in der Höh sei Ehr (I), BWV 662 [7.11] 5 Allein Gott in der Höh sei Ehr (I), BWV 663 [6.20] 6 Allein Gott in der Höh sei Ehr (I), BWV 664 [4.45] 7 Jesus Christus, unser Heiland (I), BWV 665 [5.05] 8 Jesus Christus, unser Heiland (II), BWV 666 [3.26] 9 Komm, Gott Schöpfer, heiliger, BWV 667 [2.19] 0 Wenn wir in höchsten Nöten sein, BWV 668a [2.19] Total Timings [87.14] &%',&)%98=%2(&)0-)* Arnstadt, where he was appointed as organist 8,)36+%2;36/73*.7&%', in August of that year, remaining for four years, his fi rst major professional organist post (Wolff Introduction – Bach and the Organ 2001 p. 526). Clearly showing remarkable talent The organ loomed large from early on in Bach’s as a player from an early age, Bach’s career life.
    [Show full text]
  • Johann Sebastian Bach and the Lutheran Chorale
    Johann Sebastian Bach and the Lutheran Chorale Erinn Losness Writer’s comment: Johann Sebastian Bach’s use of the Lutheran chorale is a broad topic that has already been researched extensively by music scholars and historians. While it seemed a daunting task to add any original ideas to the readily available wealth of knowledge, I gradually discovered that most of the available sources focused on factual data. For example, several books mentioned instances when Bach incorpo- rated chorales into larger vocal compositions, but often failed to ques- tion why Bach decided to place chorales in those specific musical contexts. They also neglected to examine how Bach’s musical treatment of the chorale was unique and original. For this reason, I desired to write a paper that was not merely accurate, but also interpretive. Many thanks to Professor Jeffrey Thomas, who taught me that an understand- ing of the text is paramount in uncovering the significance of Bach’s vocal works, and without whom this paper might have remained a dry and inconclusive mound of stale facts and undeveloped ideas. —Erinn Losness Instructor’s comment: During the winter quarter of 2003, I taught an undergraduate seminar (Music 121: Topics in Music History), and chose to focus on “Baroque Oratorio: The Cantatas, Passions, and Mass in B Minor of J.S. Bach,” a rather broad topic to say the least. The “oratorio” took its predominant shape as a musical genre during the late Renaissance and early Baroque periods, even though its distant antecedents occurred in the Middle Ages. In this course we studied the history and definitions of the form, and applied those definitions— somewhat willfully—to the vocal works of Bach.
    [Show full text]