2010 Repertoire Comparison Conductors with Over 30 Works
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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Music as Representational Art Permalink https://escholarship.org/uc/item/1vv9t9pz Author Walker, Daniel Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Volume I Music as Representational Art Volume II Awakening A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Daniel Walker 2014 © Copyright by Daniel Walker 2014 ABSTRACT OF THE DISSERTATION Volume I Music as Representational Art Volume II Awakening by Daniel Walker Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes to this dissertation; the first is a monograph, and the second is a musical composition, both of which are described below. Volume I Music is a language that can be used to express a vast range of ideas and emotions. It has been part of the human experience since before recorded history, and has established a unique place in our consciousness, and in our hearts by expressing that which words alone cannot express. ii My individual interest in the musical language is its use in telling stories, and in particular in the form of composition referred to as program music; music that tells a story on its own without the aid of images, dance or text. The topic of this dissertation follows this line of interest with specific focus on the compositional techniques and creative approach that divide program music across a representational spectrum from literal to abstract. -
Emily Jackson, Soprano Kathryn Piña, Soprano Mark Metcalf, Collaborative Pianist
Presents Emily Jackson, soprano Kathryn Piña, soprano Mark Metcalf, collaborative pianist Friday, April 23, 2021 ` 8:30 PM PepsiCo Recital Hall Program Cuatro Madrigales Amatorios Joaquín Rodrigo (1901-1999) 1. ¿Con qué la lavaré? 2. Vos me matásteis 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre Ms. Piña Three Irish Folksong Settings John Corigliano (b. 1938) 1. The Salley Gardens 2. The Foggy Dew 3. She Moved Thro’The Fair Ms. Jackson Dr. Kristen Queen, flute Selections from 24 Canzoncine Isabella Colbran (1785-1845) Benché ti sia crudel T’intendo, si mio cor Professor Mallory McHenry, harp In uomini, in soldati from Cosi fan tutte W. A. Mozart (1756-1791) Ms. Piña Er Ist Gekommen in Sturm und Regen Clara Schumann Die Lorelei (1819-1896) O wär ich schön from Fidelio Ludwig van Beethoven (1770-1827) Ms. Jackson Of Memories and Dreams Patrick Vu (b. 1998) 1. Spring Heart Cleaning 2. Honey 3. Iris 4. On the Hillside *world premiere* Ms. Piña Patrick Vu, collaborative pianist Selections from Clarières dans le ciel Lili Boulanger (1893-1918) Parfois, je suis triste Nous nous aimerons tant Ms. Jackson Tarantelle Gabriel Fauré (1845-1924) Ms. Jackson and Ms. Piña This recital is given in partial fulfillment of the requirements for a Bachelor’s Degree of Music with a vocal emphasis. Ms. Piña is a student of Dr. James Rodriguez and Emily Jackson is a student of Professor Angela Turner Wilson. The use of recording equipment or taking photographs is prohibited. Please silence all electronic devices including watches, pagers and phones. -
To Read Or Download the Competition Program Guide
THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory. -
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. -
Teacher's Guide
Aram Demirjian, Music Director Very Young People’s Concerts Maryville: Wednesday, February 26, 2020 Knoxville: Thursday, February 27, 2020 Teacher’s Guide This page is left blank intentionally (inside cover). CONTENTS New in 2019-2020: Online Audio ................... 2 Meet the Conductor/ Audience Job Description .......................... 3 About the Program Meredith Wilson ......................................... 4 W.C. Handy ................................................ 5 Juventino Rosas ........................................... 6 Steve Reich .................................................. 7 James Price Johnson .................................... 8 Mason Bates ................................................ 9 Sam Hyken ................................................ 10 Teacher’s Guide Ludwig van Beethoven .............................. 11 Anatomy of a Symphony Orchestra ........ 12-13 Please refer to a related Activity to prepare your students for the Meet the KSO Percussion Section ......... 14-15 concert. Meet the Guest Artists .................................. 16 Please listen to a suggested piece Lesson: Beethoven’s Symphony No. 5 ......... 17 or excerpt to help your students hear specific sounds or ideas. Teaching Activities & Lessons ...................... 18 Concert Program ..................................... 19-20 Curriculum Reinforcement/Activities/ Additional Resources ............................... 21 PROGRAM REPERTOIRE WILSON/arr. Anderson Seventy Six Trombones HANDY St. Louis Blues March ROSAS Sombre las -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Unifying Elements of John Corigliano's
UNIFYING ELEMENTS OF JOHN CORIGLIANO'S ETUDE FANTASY By JANINA KUZMAS Undergraduate Diploma with honors, Sumgait College of Music, USSR, 1985 B. Mus., with the highest honors, Vilnius Conservatory, Lithuania, 1991 Performance Certificate, Lithuanian Academy of Music, 1993 M. Mus., Bowling Green State University, USA, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 2002 © Janina Kuzmas 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ~':<c It CC L Department of III -! ' The University of British Columbia Vancouver, Canada Date J/difc-L DE-6 (2/88) ABSTRACT John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. -
A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No. -
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. -
Flute Concerto (Symphonic Tale), Op
Clarinet Concerto No. 1 in F minor, Op. 73 Carl Maria von Weber I. Allegro (1786-1826) Taylor Heap, clarinet Lara Urrutia, piano Cello Concerto in B minor, Op. 104, B. 191 Antonin Dvorák SOLO CONCERTO COMPETITION I. Allegro (1841-1904) Finals Xue Chen, cello Monday, November 3, 2014 - 2 p.m. Stephanie Lovell, piano MEMORIAL CHAPEL The Bell Song Léo Delibes SET I (1836-1891) Flute Concerto (Symphonic Tale), Op. 43a Peter Benoit Caro Nome Guiseppe Verdi Movements I & II (excerpt) (1834-1901) Mayu Uchiyama, soprano Victoria Jones, flute Edward Yarnelle, piano Lara Urrutia, piano - BREAK - Di Provenza il mar, il suol Giuseppe Verdi from La Traviata (1813-1901) SET II Ein Madehen oder Weibchen Wolfgang Amadeus Mozart Piano Concerto No. 2 in F minor, Op. 21 Frédéric Chopin from Die Zauberflöte (1756-1791) I. Maestoso (1810-1849) Justin Brunette, baritone Michael Malakouti, piano Richard Bentley, piano Lara Urrutia, piano Piano Concerto in A minor, Op. 16 Edvard Grieg I. Allegro molto moderato (1843-1907) Amy Rooney, piano Stephanie Lovell, piano Que fais-tu, blanche tourterelle Charles Gounod ABOUT THE CONCERTO COMPETITION from Roméo et Juliette (1818-1893) Beginning in 1976, the Concerto Competition has become an annual event Cruda Sorte Gioacchino Rossini for the University of Redlands School of Music and its students. Music from L’Ataliana in Algeri (1792-1868) students compete for the coveted prize of performing as soloist with the Redlands Symphony Orchestra, the University Orchestra or the Wind Jordan Otis, soprano Ensemble. Twyla Meyer, piano This year the Preliminary Rounds of the Competition took place on Friday, October 31st and Saturday, November 1st. -
View List (.Pdf)
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.