The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
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Aram Khachaturian
Boris Berezovsky ARAM KHACHATURIAN Boris Berezovsky has established a great reputation, both as the most powerful of Violin Sonata and Dances from Gayaneh & Spartacus virtuoso pianists and as a musician gifted with a unique insight and a great sensitivity. Born in Moscow, Boris Berezovsky studied at the Moscow Conservatory with Eliso Hideko Udagawa violin Virsaladze and privately with Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as "an artist of exceptional promise, a player of dazzling virtuosity and formidable power". Two years later he won the Gold Boris Berezovsky piano Medal at the 1990 International Tchaïkovsky Competition in Moscow. Boris Berezovsky is regularly invited by the most prominent orchestras including the Philharmonia of London/Leonard Slatkin, the New York Philharmonic/Kurt Mazur, the Munich Philharmonic, Oslo Philharmonic, the Danish National Radio Symphony/Leif Segerstam, the Frankfurt Radio Symphony/Dmitri Kitaenko, the Birmingham Sympho- ny, the Berlin Symphonic Orchestra/ Marek Janowski, the Rotterdam Philharmonic, the Orchestre National de France. His partners in Chamber Music include Brigitte Engerer, Vadim Repin, Dmitri Makhtin, and Alexander Kniazev. Boris Berezovsky is often invited to the most prestigious international recitals series: The Berlin Philharmonic Piano serie, Concertgebouw International piano serie and the Royal Festival Hall Internatinal Piano series in London and to the great stages as the Théâtre des Champs-Elysées in Paris, the Palace of fine Arts in Brussells, the Konzerthaus of Vienna, the Megaron in Athena. 12 NI 6269 NI 6269 1 Her recent CD with the Philharmonia Orchestra was released by Signum Records in 2010 to coincide with her recital in Cadogan Hall. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
I Know, Don't Know How Full Score
Jazz Lines Publications Presents i know, don’t know how Arranged by bob brookmeyer prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score jlp-8417 Music by Gerry Mulligan © 1955-1983 Criterion Music Corporation All Rights Reserved Used By Permission International Copyright Secured Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. This Arrangement Has Been Authorized by the Gerry and Franca Mulligan Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA gerry mulligan concert jazz band series i know, don’t know how (1960) Background: Gerry Mulligan’s role in the history of jazz is that of a renaissance man. For most, he is considered one of, if not the, greatest baritone saxophonist the music has seen. In addition to his prowess as an instrumentalist, his skills as a composer and arranger are also viewed as being among the top in the art form. Perhaps less frequently ac- knowledged is his creativity as a bandleader, having been one of the pioneers of using a rhythm section without chordal accompaniment in several different formats. Born in Queens, NY on April 6, 1927, Mulligan found himself frequently moving around as a child due to his fa- ther’s work as an engineer. From an early age, Mulligan’s father instilled a pronounced sense of organization and discipline into the youngest of his four sons, traits that would serve an integral role in the young Mulligan’s musi- cal education. -
Marina Tsvetaeva 1
Marina Tsvetaeva 1 Marina Tsvetaeva Marina Tsvetaeva Tsvetaeva in 1925 Born Marina Ivanovna Tsvetaeva 8 October 1892 Moscow, Russian Empire Died 31 August 1941 (aged 48) Yelabuga, USSR Occupation Poet and writer Nationality Russian Education Sorbonne, Paris Literary movement Russian Symbolism Spouse(s) Sergei "Seryozha" Yakovlevich Efron Marina Ivanovna Tsvetaeva (Russian: Мари́на Ива́новна Цвета́ева; 8 October [O.S. 26 September] 1892 – 31 August 1941) was a Russian and Soviet poet. Her work is considered among some of the greatest in twentieth century Russian literature.[1] She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it. In an attempt to save her daughter Irina from starvation, she placed her in a state orphanage in 1919, where she died of hunger. As an anti-Bolshevik supporter of Imperialism, Tsvetaeva was exiled in 1922, living with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Shunned and suspect, Tsvetaeva's isolation was compounded. Both her husband Sergey Efron and her daughter Ariadna Efron (Alya) were arrested for espionage in 1941; Alya served over eight years in prison and her husband was executed. Without means of support and in deep isolation, Tsvetaeva committed suicide in 1941. As a lyrical poet, her passion and daring linguistic experimentation mark her striking chronicler of her times and the depths of the human condition. Marina Tsvetaeva 2 Early years Marina Tsvetaeva was born in Moscow, her surname evokes association with flowers. Her father was Ivan Vladimirovich Tsvetaev, a professor of Fine Art at the University of Moscow,[1] who later founded the Alexander III Museum, which is now known as the Pushkin Museum of Fine Arts. -
Lyubov Orlova: Stalinism’S Shining Star,’ Senses of Cinema, Issue 23: the Female Actor, December 2002
Dina Iordanova, ‘Lyubov Orlova: Stalinism’s Shining Star,’ Senses of Cinema, Issue 23: The Female Actor, December 2002. Available: https://www.sensesofcinema.com/2002/the-female-actor/orlova/ Lyubov Orlova: Stalinism’s Shining Star Dina Iordanova Issue 23 A Lyubov Orlova filmography appears at the bottom of this article. A misguided assumption about Soviet cinema, which still persists, is that it’s a national cinema mostly comprised of depressing war dramas in which popular genres were neglected and even suppressed. This is certainly not the picture of Soviet cinema I remember when, 1 growing up in 1960s Bulgaria, I could enjoy a fair share of popular films, like the Soviet action-adventure Neulovimyye mstiteli/The Elusive Avengers (1966) or Yuri Nikulin’s superb comedies, all playing in theatres alongside the comedies of Louis de Funès or Raj Kapoor’s ever-popular weepy Awara/The Vagabond (1951). A highlight was Eldar Ryazanov’s musical, Karnavalnaya noch/Carnival Night (1956), with Lyudmila Gurchenko’s unforgettable dancing and singing. Made several years before I was even born, Carnival Night was so popular that by the time I started watching movies it was still regularly playing in theatres as well as being shown on television. Here, a buoyant and beautiful Lydmila Gurchenko leads a group of amateur actors to undermine the plans of the Culture Ministry and its boring leadership in order to turn a New Year’s Eve celebration into an exciting vibrant extravaganza, with confetti, sparklers and crackers. It was only later, in my teenage years when I started visiting the Sofia Cinémathèque, that I realized how Carnival Night in many aspects replicated Grigoriy Aleksandrov’s musical extravaganzas of the 1930s. -
LUISA MILLER Opera Company Stages Verdi’S Seldom-Performed Melodrama Saturday
Sandel: Equality is the key to the common good, Page B3 The Chautauquan Daily One Dollar Chautauqua, New York The Official Newspaper of Chautauqua Institution | Weekend Edition July 9 & 10, 2011 Volume CXXXV, Issue 13 LUISA MILLER Opera Company stages Verdi’s seldom-performed melodrama Saturday Josh Cooper | Staff Writer Photo | Ellie Haugsby ex, rivalry, secret identities, extor- tion, poisonings, sword fights and murder. Sound like a typical evening in Chautauqua? SThese may not be normal occurrences in this placid town, but Saturday is an excep- tion, as the melodrama of Giuseppe Verdi’s Luisa Miller explodes across the Amphithe- ater stage in operatic proportions. For one night only, the Chautauqua Opera Company will stage this rarely performed oeuvre of the 19th-century Italian composer. Verdi’s melodramma tragico in tre atti, as the librettist describes it, was first heard in Naples in 1849. It is based on the play of Friedrich von Schil- ler, “Kabale und Liebe,” which, loosely translated, means “Politics and Passion.” The story is full of over-the-top drama. Jay Lesenger, the Chautauqua Opera Com- pany’s artistic/general director, said the size of the story fits the size of the stage. “It’s larger than life,” Lesenger said. “I think that’s great for the Amphitheater because it’s a larger-than-life venue.” The Drama The scene is Tyrol, in what we now know as Austria, in the 1700s. Luisa is the daughter of a soldier, and she is in love with a man who the town knows as Carlo, but who is really Rodolfo, the son of the powerful Count Walter. -
The Schillinger System of Musical Composition and Contemporary Computer Music
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Publications and Scholarship Faculty of Animation, Arts & Design (FAAD) 1988 The chiS llinger System of Musical Composition and Contemporary Computer Music Bruno Degazio Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/faad_publications Part of the Composition Commons, and the Software Engineering Commons SOURCE Citation Degazio, Bruno, "The chiS llinger System of Musical Composition and Contemporary Computer Music" (1988). Publications and Scholarship. 12. https://source.sheridancollege.ca/faad_publications/12 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the Faculty of Animation, Arts & Design (FAAD) at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Publications and Scholarship by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. The Schillinger System of Musical Composition and Contemporary Co1nputerMusic by Bruno Degazio, MMus Department of Photo/Electric Arts Ontario College of Art Toronto, Ontario © Bruno Degazio, 1988 • Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ont etc jouees au Canada, aux Etats-Unis et en Autriche. 11 poursuit des recherches sur la geometrie fractale. 11 enseigne au Ontario College of Arts. • Bruno Degazio was born in 1958. He has received a BMus and MM us from the University of Toronto (1981) and has received awards from the Canada Council (1987), the Ontario Arts Council (1987), and an award for the film score to "Resurrected Fields" at the Baltimore Film Festival (1986). -
Testimony of Ross A. Klein, Phd Before the Senate Committee on Commerce, Science, and Transportation Hearings on “Oversight O
Testimony of Ross A. Klein, PhD Before the Senate Committee on Commerce, Science, and Transportation Hearings on “Oversight of the Cruise Industry” Thursday, March 1, 2012 Russell Senate Office Building Room #253 Ross A. Klein, PhD, is an international authority on the cruise ship industry. He has published four books, six monographs/reports for nongovernmental organizations, and more than two dozen articles and book chapters. He is a professor at Memorial University of Newfoundland in St. John’s, Newfoundland, Canada and is online at www.cruisejunkie.com. His CV can be found at www.cruisejunkie.com/vita.pdf He can by contacted at [email protected] or [email protected] TABLE OF CONTENTS Oral Testimony 2 Written Testimony 4 I. Safety and Security Issues 4 Onboard Crime 5 Persons Overboard 7 Abandoning a Ship in an Emergency 8 Crew Training 9 Muster Drills 9 Functionality of Life-Saving Equipment 10 Shipboard Black Boxes 11 Crime Reporting 11 Death on the High Seas Act (DOHSA) 12 II. Environmental Issues 12 North American Emission Control Area 13 Regulation of Grey Water 14 Regulation of Sewage 15 Sewage Treatment 15 Marine Sanitation Devices (MSD) 15 Advanced Wastewater Treatment Systems (AWTS) 16 Sewage Sludge 17 Incinerators 17 Solid Waste 18 Oily Bilge 19 Patchwork of Regulations and the Clean Cruise Ship Act 20 III. Medical Care and Illness 22 Malpractice and Liability 23 Norovirus and Other Illness Outbreaks 25 Potable Water 26 IV. Labour Issues 27 U.S. Congressional Interest 28 U.S. Courts and Labor 29 Arbitration Clauses 30 Crew Member Work Conditions 31 Appendix A: Events at Sea 33 Appendix B: Analysis of Crime Reports Received by the FBI from Cruise Ships, 2007 – 2008 51 1 ORAL TESTIMONY It is an honor to be asked to share my knowledge and insights with the U.S.