DOCSLIB.ORG

716 759-2600 • • P 2013 50236-MCD Liner Notes by Wanda Brister and Scott Pool Trio Vocalise

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
716 759-2600 • • P 2013 50236-MCD Liner Notes by Wanda Brister and Scott Pool Trio Vocalise Scott Pool Since 2009, Scott Pool has served as Assistant Professor of Bassoon at the University of Texas Arlington. He has also been a faculty member/performer with the Orfeo International Music Festival (Italy), the Schlern International Music Festival (Italy), and from 2002-09 was Associate Professor of Bassoon at Valdosta State University (GA). Recognized as a Moosmann Artist, Scott has performed concerts and recitals throughout North and South America and Europe, and his bassoon performances have been featured on National Public Radio and from local to national television broadcasts. An avid proponent of new music, Scott has played an active role in either direct commissions or consortiums from both established and emerging contemporary composers, including Katherine Hoover, Chris Arrell and Jenni Brandon. In addition to Vocalise, Scott can also be heard on Landscapes: The Double Reed Music of Daniel Baldwin (2010), also released on Mark Records. Scott has served as principal bassoon with the Valdosta Symphony Orchestra and the Albany (GA) Symphony Orchestra, the Savannah Symphony Orchestra and has performed with the Plano Symphony Orchestra (TX), the Tucson Pops, the Tucson Symphony Orchestra, the Orchestra Symphonica UANL of Monterry, Mexico and the Oklahoma City Philharmonic. Technical Details: Recording Engineer: Micah Hayes Assistant Engineer: Eric Morrison, Micah Breedlove, Mark Gutiérrez, and Kory Morris Sound Technicians: Wanda Brister, Michael Evans, Amber Wyman and Lorraine Dow Editing and mastering: Fred Betschen Art design and layout: Jason Boldt, MarkArt Mark Records • 10815 Bodine Road • Clarence, NY 14031-0406 Ph: 716 759-2600 • www.markcustom.com • P 2013 50236-MCD Liner notes by Wanda Brister and Scott Pool Trio Vocalise Vocalise – Vocalise by Sergei Rachmaninoff (1873-1943) is one of his best-known melodies. It is from Opus 34, Wanda Brister No. 14, the last song of the opus. It was written in 1912 for Soprano and Piano and the vocalist uses any one vowel throughout the song. It was originally dedicated to Antonina Nezhdanova. Vocalise has been transcribed many Wanda Brister has performed throughout the US, Europe and Brazil. She has been times for a number of different instruments, and it has become a staple in the bassoon repertoire. In this version featured in forty operatic roles and has been soloist under conductors including conductors arranged by American bassoonist, Leonard Sharrow, he cleverly chooses to extend the bassoon part past the last vocal Penderecki, Tilson Thomas, Rutter, Entremont, and Queler. Brister has sung at Avery statement into the piano postlude, assigning one of the many crossing voices to the bassoon. Fisher Hall, the Kennedy Center, and has performed a solo recital, three oratorios and three operas at Carnegie Hall. Her recitals are innovative and she has introduced “cital titles” on Do Not Sing, My Beauty – This early song by Rachmaninoff was arranged by American pianist Richard Cionco, several occasions. specifically for Scott Pool and Natsuki Fukasawa. It’s original form comes from the Opus 4 cycle of songs written around 1892, and was dedicated to Rachmaninoff’s future wife, Natalya Satina. From a text of Alexander Pushkin, the She is on CDs Strauss Waltzes for Singing, Le premier matin du monde, Clarikenetics and song translates: Landscapes: The Double Reed Music of Daniel Baldwin. The songs of Madeleine Dring will soon be released on Cambria Records. Do not sing, my beauty, to me your sad songs of Georgia; Brister has studied with Nell Rankin, Beverly Wolff, and Enrico Di Giuseppe, and was granted they remind me a Doctor of Musical Arts from University of Nevada, Las Vegas where she worked with Carol of that other life and distant shore. Kimball. Her writings on Madeleine Dring have been cited in books, papers, and articles. She has contributed articles to the Journal of Singing on Dring and Jozef Szulc. Alas, They remind me, your cruel melodies, Brister teaches at Florida State University and has taught at University of Arizona, and of the steppe, the night and moonlit Baylor University. She has been Artist/Faculty at the Schlern International Music Festival features of a poor, distant maiden! and now works at Orfeo Music Festival in Italy. That sweet and fateful apparition I forget when you appear; Natsuki Fukasawa but you sing, and before me I picture that image anew. Honored as a Steinway Artist, Natsuki Fukasawa’s music career has taken her throughout the U.S. as well as Europe, Scandinavia, Israel, Australia, Japan and China in the role L’invitation au voyage – Emmanuel Chabrier (1841-1894) was a composition student of César Franck. His closest of soloist and chamber musician. As a founding member of the award-winning Jalina friends were composers who also wrote well for the voice (Chausson, Duparc, and Ibert). This group was called la Trio, Natsuki has won many accolades and international prizes, including a rave review bande à Franck. A collector of fine art, Chabrier patronized so many impressionist painters that he was often featured in Fanfare magazine and the 2006 Best Chamber Music Recording of the Year from the in the works of Cézanne, Renoir, Monet, Manet, Letour, Sisley, and others. The writer of dozens of songs and several Danish Music Awards. operettas, Chabrier used Charles Baudelaire’s (1821-1867) poem, “L’invitation au voyage,” which was also set to music by his friend Henri Duparc in the same year (1870). Chabrier’s addition of the bassoon for color provides this particular Natsuki’s recent highlights include a tour of Italy performing Gershwin’s Concerto in work a special place the category of chamber music for mixed ensembles. The Duparc setting of the poem is more F as well as performances of Beethoven’s Piano Concerto No. 3 with the Sacramento famous, but Chabrier’s certainly holds its own in the extended repertoire. Philharmonic and Rachmaninoff’s Piano Concerto No. 2 with the Camellia Symphony (U.S.). My child, my sister, Natsuki serves on the artist faculty for the Orfeo International Music Festival in the Italian dream of the sweetness Alps, and California Capitol Chamber Music Workshop in Sacramento. She has taught at of going there to live together! To love at leisure, California State University Sacramento, St. Mary’s College of California in Moraga, and to love and to die has been a guest faculty at University of South Florida. She also enjoys nurturing young in a country that is like you! The misty suns talents in her own private studio. Her main teachers include Takako Fukasawa (her of those brooding skies have for me the same charm so mysterious mother), Fumiko Ishikawa, Mark Richman, Martin Canin, Jan Panenka, Anne Koscielny, as your fickle eyes Ferenc Rados, and violist Tim Frederiksen. She is a Fulbright Scholar and has earned her degrees from New York’s shining through their tears. Juilliard, the Prague Academy in Czech Republic, and the University of Maryland. There, all is harmony and beauty, luxury, calm and voluptuous. Natsuki records for the Classico and Da Capo record labels and her career is noted in the World of Women in Classical Music and Who’s Who in America. 2 7 “Birdsong” See on the canals, sleep the vessels, which are vagabonds. It is to satisfy He doesn’t know the world at all “Man Proposes, God Disposes” your smallest desire Who stays in his nest and doesn’t go out. Who was helpless back in Prague, they have come from the ends of the earth. The sinking suns He doesn’t know what birds know best And who was rich before, clothe the fields, Nor what I want to sing about, He’s a poor soul here in Terezin, the canals, the entire town That the world is full of loveliness. His body’s bruised and sore. with reddish-orange and gold. The world falls asleep When dewdrops sparkle in the grass Who was toughened up before, in a warmth and light. And earth’s aflood with morning light, He’ll survive these days. There, all is harmony and beauty, luxury, calm and voluptuousness. A blackbird sings upon a bush But who was used to servants To greet the dawning after night. Will sink into his grave. Edgar Alan Poe Songs - Beverly McLarry (b. 1935) chose three Edgar Alan Poe poems that give a different side of the Then I know how fine it is to live. writer who is known for his macabre storytelling. She inserts “la la la” into the first poem, “Thou wouldst be loved,” Koleba something that we would not necessarily associate with Poe. McLarry’s sense of humor and comic timing is evident in Hey, try to open up your heart this setting, with the voice and bassoon constantly “pitching” and “catching,” beginning and ending thoughts sent their To beauty; go to the woods someday “The Old House” way by the other. McLarry has directed choirs in secondary schools, colleges, churches, and communities in Texas, And weave a wreath of memory there. Deserted here, the old house Kansas, and Oklahoma. She has degrees from Miami University, Oxford, Ohio, and Southern Methodist University in Then if the tears obscure your way Stands in silence, asleep. Dallas. A soprano, McLarry’s vocal writing is intuitive and experiential. This cycle was composed in 1985 for bassoonist, You’ll know how wonderful it is The old house used to be so nice, Betty Johnson, longtime principal bassoonist of the Oklahoma City Symphony Orchestra. As a past winner of the To be alive. Before, standing there, Miriam Gideon Prize for composition, McLarry writes of her process: It was so nice. Anonymous Now it is deserted, rotting in silence – The project of setting poetry to music might be viewed as similar to that of a jeweler creating a setting for What a waste of houses, a precious gem, a semi-precious gem, or a whimsical pebble.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 559188 Bk Harbison US
    559757 bk Corigliano US_559757 bk Corigliano US 22/07/2013 13:03 Page 8 John CORIGLIANO Conjurer Vocalise Evelyn Glennie, Percussion Hila Plitmann, Soprano Albany Symphony Bronze mask, Benin, David Alan Miller from the collection of John Corigliano Photo: Richard Howe 559757 bk Corigliano US_559757 bk Corigliano US 22/07/2013 13:03 Page 2 John Corigliano (b. 1938) David Alan Miller Conjurer • Vocalise David Alan Miller has established a reputation as one of the leading The American John Corigliano continues to add to one of American conductors of his generation. Frequently in demand as a guest the richest, most unusual, and most widely celebrated conductor, he has conducted the orchestras of Baltimore, Detroit, bodies of work any composer has created over the last forty Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh, years. Corigliano’s numerous scores, including three San Francisco, Minnesota and Chicago as well as the New World symphonies and eight concertos among over one hundred Symphony and the New York City Ballet. He is also founder and Artistic chamber, vocal, choral, and orchestral works, have been Director of New Paths in Music, a festival in New York City dedicated to performed and recorded by many of the most prominent presenting the works of significant non-American composers who are not orchestras, soloists, and chamber musicians in the world. yet well known in the United States. As Music Director of the Albany Recent scores include One Sweet Morning (2011) written Symphony, a position he has held since 1992, David Alan Miller has for the tenth anniversary of 9/11 and performed by mezzo- proven himself a creative and compelling orchestra builder.
    [Show full text]
  • Rach-Three Rocks Meadowbrook
    d RACH­THREE ROCKS MEADOWBROOK: A Retrospective Review By Chris Brockman If aesthetic experiences ever come up in a conversation (and they do occasionally), I am ready to recount my greatest one of all. It happened at the Meadowbrook Music Festival, Au­ gust 30, 1969, and it was hearing and seeing Andre Watts play Rachmaninoff’s Piano Concerto No. 3 with the Detroit Sym­ phony, conducted by Seiji Ozawa. There are clear reasons why this performance remains embedded in my conscious­ ness after forty years. I’d like to present these in sharing one of the best things that happened to me as a student at Oak­ land University Back in those days and at least until I graduated in 1971, O.U. students could attend Meadowbrook concerts for free, if they sat on the hill. This was a wonderful advantage for me and, I’m sure, for other students. For one thing, I had married in the middle of the ’67–68 school year, and by the time of the 1969 concert my wife and I had a baby to take care of. We lived in the Coral Ridge Apartments in Rochester, and to make our $135 a month rent, my wife worked at the Brass Lamp in Rochester. I delivered pizzas for Little Caesar in Pontiac and worked for my father, a paint contractor, in the summer. (At various times, I did painting at Sunset Manor, Meadowbrook Hall, the Meadowbrook greenhouse, the old stables, and even 92 the children’s playhouse. I also helped paint the dressing rooms under the stage at the Baldwin Pavilion!) The gist of all this is that my wife (also an O.U.
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • The Inception of Trumpet Performance in Brazil and Four Selected
    THE INCEPTION OF TRUMPET PERFORMANCE IN BRAZIL AND FOUR SELECTED SOLOS FOR TRUMPET AND PIANO, INCLUDING MODERN PERFORMANCE EDITIONS: FANTASIA FOR TRUMPET (1854) BY HENRIQUE ALVES DE MESQUITA (1830-1906); VOCALISE-ETUDE (1929) BY HEITOR VILLA-LOBOS (1887-1959); INVOCATION AND POINT (1968) BY OSVALDO COSTA DE LACERDA (1927-2011); AND CONCERTO FOR TRUMPET AND PIANO (2004) BY EDMUNDO VILLANI-CÔRTES (B. 1930) A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Clayton Juliano Rodrigues Miranda In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music July 2016 Fargo, North Dakota North Dakota State University Graduate School Title THE INCEPTION OF TRUMPET PERFORMANCE IN BRAZIL AND FOUR SELECTED SOLOS FOR TRUMPET AND PIANO, INCLUDING MODERN PERFORMANCE EDITIONS: FANTASIA FOR TRUMPET (1854) BY HENRIQUE ALVES DE MESQUITA (1830-1906); VOCALISE- ETUDE (1929) BY HEITOR VILLA-LOBOS (1887-1959); INVOCATION AND POINT (1968) BY OSVALDO COSTA DE LACERDA (1927-2011); AND CONCERTO FOR TRUMPET AND PIANO (2004) BY EDMUNDO VILLANI-CÔRTES (B. 1930) By Clayton Juliano Rodrigues Miranda The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Jeremy Brekke Chair Dr. Cassie Keogh Dr. Robert W. Groves Dr. Betsy Birmingham Approved: 6/13/2016 Dr. John Miller Date Department Chair ABSTRACT This disquisition provides a modern performance edition of four Brazilian compositions for trumpet and piano by Henrique Alves de Mesquita’ (1830–1906) Fantasia para Piston [Fantasy for trumpet, 1854], Heitor Villa-Lobos’s (1887–1959) Vocalise-Estudo [Vocalise-etude, 1929], Invocação e Ponto [Invocation and point] by Osvaldo Costa de Lacerda (1927-2011), and Edmundo Villani-Cortes’s (b.
    [Show full text]
  • Alan Gilbert Conducts World Premiere of William Bolcom's
    New York Philharmonic Contact: Katherine E. Johnson (212) 875 -5718; [email protected] May 23–June 11, 2016 JUNE 10, 2016, AT DAVID GEFFEN HALL: ALAN GILBERT To Conduct the NEW YORK PHILHARMONIC World Premiere of William BOLCOM’s Trombone Concerto with Principal Trombone JOSEPH ALESSI New York Premiere of John CORIGLIANO’s Conjurer, with Percussionist MARTIN GRUBINGER As part of the NY PHIL BIENNIAL, Alan Gilbert will lead the New York Philharmonic at David Geffen Hall in works by two American composers of the same generation: the World Premiere–Philharmonic Co-Commission of a Trombone Concerto by William Bolcom (United States, b. 1938), with Philharmonic Principal Trombone Joseph Alessi as soloist, and the New York Premiere of Conjurer by John Corigliano (United States, b. 1938), with percussionist Martin Grubinger as soloist in his Philharmonic debut. William Bolcom said of the commission for his Trombone Concerto: “Joseph Alessi’s recordings have shown a consummate musician with perfect intonation, wide stylistic sense, lyrical phrasing, and dazzling technique. I hope and intend that Joe’s warmth and geniality will find their way into this concerto, along with his interpretative breadth.” The work is a Philharmonic co-commission with the Shanghai Symphony Orchestra, made possible with generous support from Edward Stanford and Barbara Scheulen. The Philharmonic has performed six works by William Bolcom since 1973, including the World Premiere of his Clarinet Concerto, commissioned by the Philharmonic (1992, with former Principal Clarinet Stanley Drucker and led by Leonard Slatkin) as part of its 150th anniversary celebration. Joseph Alessi premiered 2012–15 Marie-Josée Kravis Composer-in-Residence Christopher Rouse’s Pulitzer Prize–winning Trombone Concerto, also commissioned for the Orchestra’s 150th anniversary project (1992, led by Leonard Slatkin), and Melinda Wagner’s Trombone Concerto (2007, led by Lorin Maazel).
    [Show full text]
  • 2010 Repertoire Comparison Conductors with Over 30 Works
    2010 Repertoire Comparison Conductors with over 30 Works Bychkov, Semyon Jarvi, Paavo Slatkin, Leonard Woods, Kenneth 1. BARTOK: The Miraculous 1. J.S. Bach: Brandenburg Concerto No.1 1. ADAMS: Violin Concerto 1. Arnold- The Inn of Sixth Happiness in F major, BWV 1046 Mandarin Suite, Op 19 2. BARBER: Capricorn Concerto 2. Bach- Goldberg Variations (arr. 2. J.S. Bach: Keyboard Concerto No.4 in 2. BARTOK Viola Concerto 3. BARBER: Cello Concerto Sitkovetsky for string trio) (5) 3. BEETHOVEN: Piano Concerto No A Major, BWV 1055 (Awadagin Pratt) 3. Beethoven- Coriolan Overture 3. Bach (orch.Webern): Fuga Ricercare 4. BARBER: Symphony No. 1 2 4. Beethoven- Fidelio Overture from The Musical Offering 4. BEETHOVEN: Piano Concerto 5. BATES: Liquid Interface 5. Beethoven String Trio in G Major, 4. J. S. Bach: Suite No.2 in B minor, BWV 6. BEETHOVEN: Symphony No. 3, No5 (Emperor) 1067 opus 9 no. 1 (9) 5. BERLIOZ: Symphonie Fantastique 5. Bartók: Divertimento “Eroica” 6. Beethoven- String Trio in D Major, 6. BRAHMS: Concerto for Violin and 6. Bartók: Piano Conc. No.1 (Yefim 7. BEETHOVEN: Symphony No. 8 op 9 no. 2 (5) Cello in A minor Op 102 Bronfman) 8. BERLIOZ: Le Corsaire 7. Beethoven- Romance no. 1 for 7. BRAHMS Symphony No 2 7. Bartók: Piano Concerto No.3 (Radu 9. BRAHMS: Symphony No. 2 Violin and Orchestra Lupu) 8. BRAHMS: Symphony No 3, Op 90, 10. BERLIOZ: Roman Carnival Overture 8. Beethoven- Symphony no. 2 F major 8. Berlioz: Les nuits d’été 9. Beethoven- Symphony no. 3 9.
    [Show full text]
  • Vocalise an Evening of Vocal Music (B Ut Not Only)
    Department of MUSIC College of Fine Arts presents E The New Music Ensemble for the 21 st Century Virko Ba ley, music director and conductor Ken Ueno, composer-in-residence Julia Bentley, singer-in -residence Vocalise An evening of vocal music (b ut not only) PROGRAM Joshua Fishbein English Romantic Songs (2009) J (b.1984) Music, when soft voices die (P. B. Shelley) Asleep! 0 sleep a little while, white pearl! (John Keats) Timothy Haft, piano Justin Marquis Dreams (poem by Paul Laurence Dunbar) (2014) (b. 1989) Enzu Chang Sijo Ill (Hwang Chin-i) (2014) (b . 1981) Daniel A. Watabayashi Against Idleness and Mischief (Issac Watts) (2014) (b. 1991) Ryan Kelly, piano Britta Epling Night Scenes (2014) (b. 1992) Silent Evening From Shadows Midnight Escapade Sharon Nakama, oboe Katharine Smith, cello Jae Ahn-Benton, piano Tianci Zheng Music, when soft voices die (P. B. Shelley) (2014) (b. 1993) Richard Belgard The Age Demanded (Ezra Pond) (2014) (b. 1971) Maxwell R. Lafontant Memories Lost (Tyler Hag y) (2011, rev. 2014) (b. 1990) Jae Ahn-Benton, piano INTERMISSIO N Virko Baley From the Emily Dickinson Songbook (2000) (b . 1938) Love Can Do Al l But Rraise the Dead Oh, Honey of an Hour There is a Solitude of Space Timothy Haft, piano Jennifer Bellar Songs of Ethereality (revised 2014) (b . 1983) 1. Air and Angels (John Donne) 2. The Distant (Yannis Ritsos) 3. Perhaps Not to Be (Pablo Neruda) Timothy Haft, piano Ken Ueno WATT - for baritone saxophone, percussion, (b. 1971) and electronic sounds (2000) Justi n Marquis, baritone sax Caleb Pickering, pe rcussion Ken Ueno I pulse, when you breathe (Ken Ueno) (2008) Carmella Cao, alto fl ute Ken Ueno The Aleph Ken Ueno, singer Monday, December 1, 2014 7:30 p.m.
    [Show full text]
  • Finding Lewis-Like Joy in the Music of Sergei Rachmaninoff
    RANDY NEWMAN, PH.D. FINDINGFINDING LEWIS-LIKE LEWIS-LIKE JOY IN THE MUSIC OF JOYSERGEI RACHMANINOFFIN THE MUSIC OF SERGEI RACHMANINOFF RANDY NEWMAN, PH.D. SENIOR TEACHING FELLOW FOR APOLOGETICS AND EVANGELISM, C.S. LEWIS INSTITUTE Lewis wrote a lot about joy. But he meant something different than the word’s usual connotations. Rather than a feeling of happiness or elation, C.S. he meant that bittersweet experience of longing for something just beyond our reach. He identified it as the central story of his life. In one of his most content-packed sentences, he defined joy as “an unsatisfied desire, which is itself more desirable than any satisfaction.”1 You might want to read that sentence again. It’s dense. But for me, it resonates as one of the most helpful statements I’ve ever heard. Lewis put into words the feeling I had experienced at the end of every concert, after seeing a beautiful sunset, or while watching the credits at the end of great movie. In fact, Lewis confirmed I was not alone in my experience. In his sermon “The Weight of Glory,” he explained more about this sense of longing: “We usually notice it just as the moment of vision dies away, as the music ends, or as the landscape loses the celestial light.”2 In Surprised by Joy, Lewis recounted his earliest memory of this unsatisfied desire when seeing something beautiful. His brother, Warnie, had made a replica of their garden on top of a biscuit tin and brought it inside to show off. Lewis remembered, “That was the first beauty I ever knew.
    [Show full text]
  • Suggested Solos for Tuba Euphonium (Symbiosisduo
    Gail Robertson - Clinic Handout FMEA 2011 Convention Suggested EUPHONIUM and TROMBONE solos for students to use at Solo and Ensemble Festivals: (Please check the current FBA list to make sure they are still on it!) Solos that are Best for 6th Graders: (1st year players) Air Noble Jacques Robert Conqueror Leonard B. Smith/Leonard Falcone Happy Song Edmund J. Siennicki Pied Piper Forrest L. Buchtel The Rooster Edmund J. Siennicki Solos that are best for 7th graders: In the Hall of the Mountain King Edvard Grieg/G. E. Holmes Minuet in G J.S. Bach/Ronald C. Dishinger Minstrel Boy Forrest L. Buchtel Polovetsian Dances Alexander Borodin/Forrest L. Buchtel Sparkles Floyd O. Harris The Young Prince Floyd O. Harris Solos that are Best for 8th Graders: Asleep in the Deep Henry W. Petrie/Harold L. Walters Brass Bangles Floyd O. Harris Carnival of Venice Henry W. Davis Deep River David Uber Evening in the country Bela Bartok/Floyd O. Harris Honor and Arms Frederick Handel/Allen Ostrander The Jolly Peasant Robert Schumann/G. E. Holmes March of the Marionette Charles Gounod/Harold L. Walters Ocean Beach Floyd O. Harris Pavane Pour Infante Défunte Maurice Ravel/Ronald Dishinger Red Canyons Clair W. Johnson Toreador’s Song form Carmen Georges Bizet/G. E. Holmes Solos that are Best for advanced 8th graders and 9th Graders: Arioso (From Cantata No. 156) Johann Sebastian Bach/H.R. Kent Concert Aria W. A. Mozart/H. Voxman Concert Rondo (k. 371) W. A. Mozart/Jay Ernst Fancy Free Clay Smith Fantasy for Trombone James Curnow Mirror Lake Edward Montgomery My Regards Edward Llewellyn Prelude and Minuet Arcangelo Corelli/Richard E.
    [Show full text]