Fall Concert Calendar

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Fall Concert Calendar FALL CONCERT CALENDAR September 2019 Tuesday, October 15 | 12:30 p.m. Liana Paniyeva, Piano Tuesday, September 3 | 12:30 p.m. • J.S. Bach-Busoni: Chaconne Duo SF • Amy Beach: Dreaming • Astor Piazzolla: Lo Que Vendra; Liber Tango • Clara Schumann: Scherzo, Op. 3 No. 2 • Redamés Gnattali: From Suite Retratos: Ernesto • Frédéric Chopin: Piano Sonata No. 3 Nazareth (Valse); Anacieto de Medeiros (Schottische) in B Minor, Op. 58 • Sergio Assad: Jobiniana No.1 • Phillip Houghton: Brolga Sunday, October 20 | 2:00 p.m. SF Mint • Lennon-McCartney: Fool on the Hill; Penny Lane; She’s Jack Cimo, Guitar Leaving Home; Eleanor Rigby • Francisco Tárrega: Capricho Árabe • Manuel de Falla: La Vida Breve (arr. Emilio Pujol) • Giulio Regondi: Nocturne Reverie, Op. 19 • Paulo Bellinati: Jongo • Mauro Giuliani: La Rose • Ísaac Álbeniz: El Polo from Suite Iberia; Asturias and Tuesday, September 10 | 12:30 p.m. Sevilla from Suite Española Temescal String Quartet • Leo Brouser arr. : Canción de Cuna Carl Blake, Piano • William Walton: Bagatelle No. 1 • Antonín Dvorak: Piano Quintet in A Major, Op. 81 • Frederico Bustamente: Misionera Sunday, September 15 | 2:00 p.m. SF Mint Tuesday, October 22 | 12:30 p.m. Trio Garufa Strobe • Angel Villoldo: El Choclo • Vincent Russo: Visions and Visitations • Enrique Saborido: Felicia • Alexis Alrich: Water Colors • Pedro Laurenz: Milonga de mis Amores • W. A. Mozart: Oboe Quartet, K. 370/368b, Rondeau • Aníbal Troilo: Romance de barrio; La trampera • Juan D’Arienzo: Paciencia Tuesday, October 29 12:30 p.m. • Astor Piazzolla: Oblivion Jeffrey LaDeur, Piano; Kindra Scharich, Mezzo Soprano • Juan Carlos Cobián: El Motivo Program TBD • Cachilo Díaz: La Humilde • Enrique Maciel: La pulpera de Santa Lucía • Juan de Dios Filiberto: Quejas de Bandoneón November 2019 • Gerardo Matos Rodríguez: La Cumparsita Tuesday, November 5 | 12:30 p.m. Tuesday, September 17 | 12:30 p.m. Péter Tóth, Piano Gold Coast Chamber Players • W.A. Mozart: Sonata in D, K. 311 • Arcangelo Corelli: La Follia • Franz Schubert: Impromptu in F Minor, Op. 142 • Georg F. Telemann: Viola Concerto in G Major • Frédéric Chopin: Andante spianato et grande Polonaise • Antonio Vivaldi: Concerto No. 4 brillante, Op. 22 in F Minor, Op. 8, RV 297 • Benedetto Marcello: Cello Sonata No. 1 Tuesday, November 12 | 12:30 p.m. • Giuseppe Tartini: Violin Concerto in A Major, D. 96 Madeleine Mitchell, Violin; Miles Graber, Piano • J. S. Bach-Sitkovetsky: Goldberg Variations • Lili Boulanger: Nocturne • Herbert Howells: Three Pieces for Violin and Piano Tuesday, September 24 | 12:30 p.m. • John Cage: Nocturne William Wellborn, Piano • Edvard Grieg: Violin Sonata No. 3 in C Minor, Op. 45 • Charles-Valentin Alkan: Short works • Jan Václav Vorisek: Impromptus Tuesday, November 19 | 12:30 p.m. • Franz Schubert: Impromptus José López, Piano • Clara Schumann: Soirées musicales, Op. 6 October 2019 • C. P. E. Bach: Fantasy in C Major. Wq 59/6 • Fanny Hensel: From ‘Das Jhar’ • L. v. Beethoven: 6 Bagatelles, Op. 126 Tuesday, October 1 | 12:30 p.m. • Teresa Carreño: Partie! Op. 18, No. 2 Chase Jackson Trio • Nicolás Ruiz Espadero: 5 Grand transcriptions • Arthur Schwartz: Alone Together • Chase Jackson: Common Tones; Sun Spots; North; Sunday, November 24 | 2:00 p.m. SF Mint Vocabularies, Shades; Perpetual Carl Blake, Piano, Dan Flanagan, Violin • Wayne Shorter: Fee Di Foe Fum Eric Gaenslen, Cello • Miles Davis: Nardis • Trios of Fanny Mendelssohn and Clara Schumann • Joni Mitchell: Amelia • Ambrose Akinmusire: Hum Song Tuesday, November 26 | 12:30 p.m. Leo Jergovich, Piano Tuesday, October 8 | 12:30 p.m. Program TBD Isabelle Aboulker, France’s Greatest Living Song Composer/Piano This program supported by the Helen von Julia Kogan, Soprano Ammon Fund for Emerging Artists • Isabelle Aboulker: Song Collection Concerts are on Tuesdays at 12:30 p.m. at Old Saint Mary’s Cathedral: 660 California Street at Grant Avenue Admission: $5 donation ◈ Programs are subject to change without notice Call (415) 777-3211 or visit www.noontimeconcerts.org for more information. .
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  • Francisco Tárrega (1852 – 1909
    UNIVERSIDADE FEDERAL DO CEARÁ PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO FACULDADE DE EDUCAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO CURSO DE DOUTORADO EM EDUCAÇÃO BRASILEIRA MARCO TULIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ HABITUS E FORMAÇÃO MUSICAL Fortaleza – CE 2010 MARCO TULIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ: HABITUS E FORMAÇÃO MUSICAL Tese de Doutorado submetida a defesa junto à Linha de Pesquisa: Educação, Currículo e Ensino / Eixo Temático Ensino de Música do Programa de Pós-Graduação em Educação Brasileira da Universidade Federal do Ceará - UFC. Orientador: Professor Doutor Luiz Botelho Albuquerque Fortaleza – CE 2010 C874v Costa, Marco Túlio Ferreira da. O Violão Clube do Ceará: habitus e formação musical. / Marco Túlio Ferreira da Costa. – Fortaleza (CE), 2010. 131f. : il.; 31 cm. Tese (Doutorado) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação, Fortaleza (CE), 2010. Orientação: Prof. Dr. Luiz Botelho Albuquerque. 1- VIOLÃO - ESTUDO E ENSINO. 2 – VIOLÃO CLUBE DO CEARÁ - HISTÓRIA E CRÍTICA. 3- MÚSICA - ESTUDO E ENSINO – FORTALEZA (CE). 4- EDUCAÇÃO MUSICAL. 5- CULTURA E EDUCAÇÃO. 6 - ARTES - ESTUDO E ENSINO – FORTALEZA (CE). I - Albuquerque, Luiz Botelho (Orient). II - Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação. III – Título. CDD: 787.87 07 MARCO TÚLIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ HABITUS E FORMAÇÃO MUSICAL Área de Concentração: Ensino em Música APROVADO EM ____/_____/______ BANCA EXAMINADORA _________________________________________________________ Prof. Dr. Luiz Botelho Albuquerque (UFC) Presidente da Banca _________________________________________________________ Prof. Dr. Carlos Velásquez Rueda Examinador (UNIFOR) _________________________________________________________ Prof. Dr. Elvis de Azevedo Mattos Examinador (UFC) _________________________________________________________ Profa Dra Ana Maria Iório Dias Examinadora (UFC) _________________________________________________________ Prof.
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  • Mark Hilliard Wilson St
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  • Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies
    Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies Paul Ballam–Cross B.Mus (Performance), M.L.I.S A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music Abstract This thesis examines how contemporary composers approach the guitar and counterpoint. An historical overview of the guitar is provided at the outset of the thesis, leading to detailed examination of contrapuntal technique in an extended twentieth-century work by Miklós Rózsa, and addresses effective guitar performance techniques in relation to different kinds of contrapuntal textures. These historical, technical and performance considerations then inform a series of interviews with six contemporary composers (Stephen Hough, Angelo Gilardino, Stephen Goss, Tilmann Hoppstock, Ross Edwards, and Richard Charlton). These interviews aim to provide insight into how 21st century composers approach contrapuntal writing for the guitar. The interviews are paired with detailed discussions of representative works for guitar by each composer. These discussions deal particularly with difficulties in practical performance and with how the composer has achieved their compositional goals. This thesis therefore seeks to discover how approaches to the guitar and counterpoint (including challenges, limitations and strategies) have changed and evolved throughout the instrument’s existence, up to some of the most recent works composed for it. i Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly–authored works that I have included in my thesis.
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  • Download the Point Classics Catalogue
    THOUSANDS OF HOURS OF GREAT CLASSICAL RECORDINGS ALL ROYALTY CLEARED FOR MASTER RIGHT PERFORMANCE AND PUBLISHING USAGE Point Classics is a wholly owned subsidiary Of One Media iP Group Plc. One Media iP Ltd, Pinewood Studios, 623 East Props, Pinewood Road, Iver Heath, Buckinghamshire, SL0 0NH, England. T: 44 (0) 1753 78 5500 E: [email protected] USA Contact: Mary Kuehn. E: [email protected] www.onemediaip.com www.pointclassics.com Calling all Advertisers, Agencies, Radio Productions, TV & Film Music Sync Supervisors, Gaming companies, Web Designers, Music Workshops, Schools, Universities, Live Event Organisers and Exhibitors. The problem with music is that you have to pay every time you use it. Imagine a classical music library at your fingertips that you simply rent annually; no extras, no hidden costs, just one annual fee and use and use and use. Thousands of the worlds best classical movements. Over 300 ready-made 30 second commercial edits, over 500 ready-made 5 second (best-of-the-best known bits) sound bites (‘stings’) all commercially prepared. All for one annual fee with no additional royalties. No public domain music. All music copyright and publishing cleared for worldwide use and registered at the Library of Congress. All recorded in stereo and supplied to you as WAV files for full broadcast quality. THE DEAL • Single annual Fee only. • 5 Second ‘Classical Stings’ edited and ready to use. • No Royalty charges. • Our library includes every genre of classical music for your film, TV, radio or audio project. • Music delivered on a hard drive/FTP for upload You’ll find the production music you need to your internal system for all team access.
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  • Ben Sullivan
    Saturday, May 27, 2017 • 9:00 p.m ​ Ben Sullivan Junior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Saturday, May 27, 2017 • 9:00 p.m. ​ DePaul Recital Hall Ben Sullivan, classical guitar Junior Recital Diana Ortiz, violin PROGRAM Francisco Tárrega (1852 - 1909) El Columpio Edvard Grieg (1843 - 1907) Lyric Pieces Book III (1886), Op 43, No 2 Ensom vandrer (Lonely Wanderer) Fernando Sor (1778 - 1839) Estudio No 11, Op 6 (1815) Francisco Tárrega (1852 - 1909) Marieta Federico Moreno Torroba (1891 - 1982) Sonatina (1924) Astor Piazzolla (1921 - 1992) Histoire du Tango (1986) II. Cafe 1930 I. Bordel 1900 Ben Sullivan is from the studio of Mark Maxwell. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Ben Sullivan • May 27, 2017 PROGRAM NOTES Fransicso Tárrega (1852-1909) El Columpio Duration: 4 minutes ​ Tárrega was a Spanish born composer and often regarded as one of the greatest guitarists in history. Legend claims, that as a child he was thrown into an irrigation channel by his nanny for constantly wetting the bed. This caused a severe injury to his eyes. In fear of his eminent blindness, his father sent him to study at the Madrid Conservatory in Spain. Here, he would learn to make a living as a composer and performer. His professors of composition quickly told him to drop any idea of a career with the piano, and to focus all of his efforts on the guitar.
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  • Sábado 24 De Octubre 2020
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  • Pablo Sáinz Villegas
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  • Recuerdos De La Alhambra Memories of the Alhambra Originally Composed for Classical Guitar
    Recuerdos de la Alhambra Memories of the Alhambra originally composed for classical guitar The music, “Memories of the Alhambra,” reflects on a magnificent castle overlooking the city of Granada in southern Spain. Built during the 12th and 13th centuries while Spain was under Moorish dominion, the Alhambra is a picturesque and exceptional manifestation of Arabic and Islamic culture that prevailed in Spain for nearly eight centuries (711-1492). Here is a beautiful and effective piano setting of this familiar composition for classical guitar by Francisco Tárrega born November 29, 1852 at Vilareal in Spain. He began guitar studies at age eight and later studied piano and theory. He was one of the great guitar virtuosos and teachers of the 19th Century and was professor of guitar at the conservatory of Madrid and later at Barcelona. He died December 15, 1909. q = 88 Francisco Tárrega (1852-1909) Piano arrangement— Franklin Eddings Expressively and unhurried with some freedom 3 ? = > 4 l & ˙ œ l _˙ œ l ˙ . l ˙ œ l l p _œ l l _œ _œ l _œ _œ l 3 œ œ œ œ l 4 œ ˙ . œ œ œ l œ ˙ . œ œ œ l œ ˙ . œ œ œ l œ ˙ . œ œ l l ? l l l l with pedal 5 ? l & ˙ œ l ˙ œ l ˙ . l ˙ . l l _œ _œ l _œ _œ l _œ _œ l cresc. _œ _œ l l œ ˙ . œ œ œ l œ ˙ . œ œ œ l œ ˙ . œ œ œ l œ ˙ . œ œ œ l l ? l l l &l £ 9 A ˙ œ œ œ l & l ˙ l œ œ œ # ˙ .
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  • Francisco Tárrega and the Art of Guitar Transcription
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  • IGRC Conference 18Th - 23Rd March 2016
    IGRC Conference 18th - 23rd March 2016 Abstracts and Biographies SATURDAY 19th MARCH 2016 Session 1 – 9.00 am to 10.30 am Papers in TB18 Benjamin Bruant (IGRC, University of Surrey) Andrès Segovia’s collaboration with Mario Castelnuovo-Tedesco (MCT): Case study - Passacaglia opus 180 The Passacaglia, opus 180, was composed by Mario Castelnuovo-Tedesco in 1956 and is dedicated to Andrès Segovia, who never played or recorded it. The score was published in 1970 by Berben, a publishing house which had never previously worked with Andrès Segovia. The score was revised and fingered in 1968 by the guitarist and musicologist Angelo Gilardino. We can therefore question if Segovia had any influence on the piece, during the compositional, editing or publication process. When the immediate answer would seem to be that Segovia’s influence on the piece is limited or even non-existent, the newly discovered correspondences between the composer and the guitarist refute this hypothesis. This case study, based on analysis of the manuscript score as well as study of the correspondences between Segovia and MCT, aims to define the role of Segovia in the compositional process, to question the value of the publication of the Passacaglia and to assess the importance of historical information contained in the MCT/Segovia correspondences. Born in Le Havre (France), Benjamin Bruant began his musical study at the age of seven in his hometown. After getting a bachelor degree in Physics, he moved to Paris in order to improve his music knowledge. He studied with Pedro Ibanez at the Conservatoire Nationale de Region of Paris for three years.
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  • Vicente Goì†Mez Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8jh3sbs No online items Guide to the Vicente Gómez Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Vicente Gómez IGRA.VGC 1 Collection Contributing Institution: Special Collections & Archives Title: Vicente Gómez Collection Creator: Gómez, Vicente, 1911-2001 Identifier/Call Number: IGRA.VGC Extent: 32.63 linear feet Extent: 10.2 Gigabytes Date (inclusive): 1862-1996 Date (bulk): 1940-1979 Abstract: Vicente Gómez was a well-known guitarist, composer, arranger, teacher, and business owner. His most notable performance was playing Romance de Amor in the 1941 film Blood and Sand. Gómez had a successful career performing and writing music as well as starting and maintaining two businesses, La Zambra nightclub in New York and the Academy of Spanish Arts in Los Angeles. The Vicente Gómez Collection documents his music library collection, his original compositions, teaching career, and his days in the U.S. Army. The collection includes scores, photographs, sound recordings, programs, and a trophy, and dates between 1862-1996. Language of Material: English,Spanish; Castilian,Russian,German,French Biographical Information: Vicente Gomez was a classical guitarist, composer, arranger, and teacher. He was born in 1911 in Madrid, Spain. He learned to play guitar when he was 8 years old in his father's tavern. At age twelve, he began training with Quintin Esquembre, who had studied with Francisco Tarrega, at Madrid's Real Conservatorio.
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