Flute Concerto with Tango
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Thursday Playlist
February 20, 2020: (Full-page version) Close Window “Lesser artists borrow, great artists steal.” — Igor Stravinsky Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Liszt Hungarian Rhapsody No. 6 in D Budapest Festival Orchestra/Fischer Philips 456 570 028945657028 Awake! Symphony in D, "The Petrification of Phineus and 00:13 Buy Now! Dittersdorf Cantilena/Shepherd Chandos 8564/5 5014682856423 his Friends" 00:31 Buy Now! Haydn Symphony No. 076 in E flat Academy of Ancient Music/Hogwood BBC MM253 n/a Vonsattel/Sussmann/Swensen/O'Neill 01:01 Buy Now! Franck Piano Quintet in F minor Music@Menlo Live n/a 653738268220 /Finckel New York Chamber Music 01:35 Buy Now! Lully Suite ~ The Forced Marriage Dorian 90189 053479018922 Ensemble/Pederson 01:45 Buy Now! Mozart Fantasia in C minor, K. 475 Lars Vogt EMI 36080 094633608023 02:00 Buy Now! Weber Overture ~ Der Freischutz Philharmonia/Klemperer EMI 13073 n/a 02:11 Buy Now! Strauss, R. 2nd mvt (Andante) ~ Cello Sonata in F, Op. 6 Coppey/le Sage Harmonia Mundi 911550 794881314324 02:20 Buy Now! Mendelssohn Symphony No. 3 in A minor, Op. 56 "Scottish" London Classical Players/Norrington EMI 54000 077775400021 Rimsky- 02:59 Buy Now! Ivan the Terrible National Philharmonic/Stokowski Sony Classical 62647 074646264720 Korsakov 03:04 Buy Now! Tchaikovsky The Seasons (orchestrated version) Moscow Chamber Orchestra/Orbelian Delos 3255 013491325521 03:48 Buy Now! Handel Concerto Grosso in G, Op. 6 No. 1 Guildhall String Ensemble/Salter RCA 7895 078635789522 04:01 Buy Now! Devienne Flute Concerto 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. -
N Ew Y O R K F Lu T E F a Ir 2021
The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle -
PICCOLO/FLUTE AUDITION REPERTOIRE LIST Preliminary and Semifinal Rounds: October 27 - 29, 2014 Final Round: November 24, 2014 Onstage, Jones Hall
PICCOLO/FLUTE AUDITION REPERTOIRE LIST Preliminary and Semifinal Rounds: October 27 - 29, 2014 Final Round: November 24, 2014 Onstage, Jones Hall Solo Pieces: Piccolo: Liebermann Concerto, Mvt. I m. 145 – m. 208 Taffanel Andante Pastoral et Scherzettino* m. 1- m.28 Flute: Mozart Flute Concerto in G major Mvt II: m. 10 – m.27 Bizet Entr’acte (w/piano accompaniment m.1 – m. 23 from Theodore Presser Orchestral Excerpts) Semi-Final Round may begin with piano accompaniment for solo pieces listed above. There will be no opportunity to rehearse with a pianist beforehand. Candidates may tune before reading through each selection. One restart per piece is allowed if needed. Houston Symphony tunes to A=442. Piccolo Excerpts Bartok Concerto for Orchestra Mvt. III: m. 29 – m. 33; m. 123 – end Bartok Concerto for Orchestra Mvt. V: m. 418 – m.429 Beethoven Symphony No. 9 Mvt. IV: m. 343- m.432 or 16 before H to K Berlioz Symphonie Fantastique Mvt. V: 7 after #63 – 5 before #65 Brahms Haydn Variations Variation VIII (complete) Mahler Symphony No. 2 Mvt. V ‘Der Grosse Appell’: 5 after #30 - #31 Ravel Daphnis and Chloe 3 after #156 – 2 after #159 Ravel Mother Goose Mvt. II: #7 – #8 Ravel Mother Goose Mvt. III: beginning – 5 after #3; #7 – #8 Ravel Piano Concerto in G Major Beginning to #1 Rossini La Gazza Ladra m.1- m. 11; 18 after D - 25 after D; 32 after G - 39 after G Shostakovich Symphony No. 8 Mvt. II: m. 65 – m.113 Shostakovich Symphony No. 8 Mvt. IV: m. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. 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 Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Classics 1 Program Notes
Classics 1: Program Notes The Sights and Sounds of Stockton: Cityscape John Wineglass and San Joaquin Delta College media students In accordance with its mission to inspire joy and build community through music—and with the aim of generating community pride and awareness through art—the Stockton Symphony teamed up with award-winning composer John Wineglass and San Joaquin Delta College media students under the direction of Adriana Brogger and Kirstyn Russell to create a project titled The Sights and Sounds of Stockton. The Delta College media students, all of whom are from the area and live in the various quadrants of our city, fanned out into the community to gather pictures and videos of their daily environment. They brought the raw footage to class and collaborated to edit the “sights” of Stockton into a feature approximately ten to twelve minutes long. Wineglass visited Stockton several times to get a feel for the area, and he worked with the students on the overall scope of the project as well as details of compilation to achieve a compelling outcome. He then composed the accompanying symphonic score for tonight’s live performance with the Stockton Symphony. This week he has also been meeting with composition students to discuss the composition process and how a composer works with visual components, and he engaged in a public forum with students and members of our community to discuss his work on this project. Winner of three Daytime Emmy Awards and recipient of four additional Emmy nominations, John Wineglass has performed on five continents, before five U.S. -
Oboe Concertos
OBOE CONCERTOS LINER NOTES CD1-3 desire to provide the first recording of Vivaldi’s complete oboe Vivaldi: Oboe Concertos works. All things considered, even the concertos whose It is more than likely that Vivaldi’s earliest concertos for wind authenticity cannot be entirely ascertained reveal Vivaldi’s instruments were those he composed for the oboe. The Pietà remarkable popularity throughout Europe during the early years documents reveal a specific interest on his part for the of the 1700s, from Venice to Sweden, including Germany, instrument, mentioning the names of a succession of master Holland and England. If a contemporary publisher or composer oboists: Ignazio Rion, Ludwig Erdmann and Ignazio Sieber, as used the composer’s name in vain, perhaps attempting to well as Onofrio Penati, who had previously been a member of emulate his style, clearly he did so in the hope of improving his the San Marco orchestra. However, it was probably not one of chances of success, since Vivaldi was one of the most famous these musicians who inspired Vivaldi to write for the oboe, but and widely admired composers of his time. Indeed, in this sense instead the German soloist Johann Christian Richter, who was in imitation bears witness to the eminence of the original. Venice along with his colleagues Pisandel and Zelenka in 1716- Various problems regarding interpretation of text came to 1717, in the entourage of Prince Frederick Augustus of Saxony. the fore during the preparation of the manuscripts’ critical As C. Fertonani has suggested, Vivaldi probably dedicated the edition, with one possible source of ambiguity being Vivaldi’s Concerto RV455 ‘Saxony’ and the Sonata RV53 to Richter, who use of the expression da capo at the end of a movement (which may well have been the designated oboist for the Concerto was used so as to save him having to write out the previous RV447 as well, since this work also called for remarkable tutti’s parts in full). -
Flute: Late Style in Carl Nielsen’S Works for Flute
THE “ARCADIAN” FLUTE: LATE STYLE IN CARL NIELSEN’S WORKS FOR FLUTE A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2004 by Beth E. Chandler B.M., Baylor University, 1993 M.M., New England Conservatory, 1996 Committee Chair: bruce d. mcclung, Ph.D. ABSTRACT Revered as Denmark’s most celebrated musical figure and regarded as one of the finest, albeit under recognized composers, Carl Nielsen (1865–1931) holds a place as one of the most individual and creative artists of his time. Straddling the nineteenth and twentieth centuries and with consideration to the dramatically changing musical climate of that time, Nielsen’s vast output is stylistically complex. His music spans an array of styles, with elements of Romanticism in his early works, to an outright rejection of these same principles and an adoption of extensive progressivism in later works, all the while maintaining features of neoclassicism. There are six known works by Carl Nielsen that include flute in a solo or chamber role. These works date from his late, mature compositional period and include a short piece for solo flute from the incidental music to Aladdin, Op. 34 (1918–19); three pieces from the incidental music to Moderen (The mother), Op. 41 (1920): “Taagen letter” (The fog is lifting) for flute and piano or harp, “Børnene spiller” (The children are playing) for solo flute, and “Tro og håb spiller” (Faith and hope are playing) for flute and viola; the Wind Quintet, Op. -
Rep List 1.Pub
Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; please contact Carol Sesnowitz, contest coordinator, at [email protected] for repertoire approval no later than November 1. VIOLIN Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bach All Violin concerti Schumann Cello Concerto in A minor Beethoven Violin Concerto in D major Stamitz All Cello concerti Beethoven Romance No. 1 in G major R. Strauss Romanze in F major Beethoven Romance No. 2 in F major Tchaikovsky Variations on a Rococo Theme, Op.33 Bériot Scéne de Ballet, Op. 100 Vivaldi All Cello concerti Bériot Violin Concerto No. 9 in A minor Bruch Violin Concerto No. 1 in G minor BASS Haydn All Violin concerti Bottesini Double Bass Concerto No.2 in B minor Kabalevsky Violin Concerto in C Major, Op. 48 Capuzzi Double Bass Concerto in D major Lalo Symphonie Espagnole Dittersdorf Double Bass Concerto in E major Massenet Méditation from Thaïs Dragonetti All Double Bass concerti Mendelssohn Violin Concerto in E minor, Op.64 Koussevitsky Double Bass Concerto in F-sharp minor Mozart Violin Concerto No. 1 in B-flat major Vanhal Concerto for Double Bass Mozart Violin Concerto No. 2 in D major Mozart Violin Concerto No. 3 in G major HARP Mozart Violin Concerto No. 4 in D major Alwyn Lyra angelica Mozart Violin Concerto No. 5 in A major Boieldieu Harp Concerto Paganini Violin Concert No. 1 in D major, Op. 6 Debussy Danses sacree et profane Prokofiev Violin Concerto No. -
Hybridity in Flute Music of Four Contemporary Composers
HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools. -
UNLV Symphony Orchestra Taras Krysa, Music Director and Conductor Zixuan Yan, Flute Grace-Haeun Kim, Piano
College of Fine Arts presents the UNLV Symphony Orchestra Taras Krysa, Music Director and Conductor Zixuan Yan, Flute Grace-Haeun Kim, Piano PROGRAM Concerto for flute and orchestra Carl Nielsen Allegro moderato (1865–1931) Allegretto un poco – Adagio ma non troppo – Allegretto – Poco adagio – Tempo di Marcia Zixuan Yan, flute Ioannis Protopapas, guest conductor INTERMISSION Piano Concerto No. 3 in C Major, Op. 26 Sergei Prokofiev Andante – Allegro (1891–1953) Tema con variazioni Allegro ma non troppo Grace-Haeun Kim, piano Wednesday, April 24, 2019 7:30 p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas PROGRAM NOTES Danish composer Carl Nielsen wrote his concerto for flute in 1926 after hearing the Copenhagen Wind Quintet rehearse five Years prior, and vowing to write a concerto for each of the musicians. Although his health only allowed him to write this concerto and, one other for clarinet, both pieces are considered international, standard repertoire. The flute concerto’s Paris premiere in October 1926 was completely dedicated to the work, with a temporary ending, and the composer proclaimed it as one of the “greatest experiences” of his life. His ailing health hindered Nielsen the completion of the concerto by a few months; the completed version was performed in Copenhagen in January 1927. Nielsen’s flute concerto is a blend of the composer’s traditional style and the modernist trends of the 1920s, a neoclassical work with a little humor. It took Russian composer Sergei Prokofiev eight years to turn simple sketches into his virtuosic, third piano concerto. -
Introduction
INTRODUCTION Three keyboard concertos by Carl Philipp Emanuel Bach Bach’s original keyboard concertos. The sources transmit- are included in the present volume: the Concerto in B-flat ting the three works similarly reflect their differing histo- Major, Wq 28 (H 434); the Concerto in A Major, Wq 29 ries; whereas we have the composer’s autograph score and (H 437); and the Concerto in B Minor, Wq 30 (H 440). house parts for Wq 30, no such authoritative documenta- All three works are listed in the catalogue of Bach’s estate tion survives for either Wq 28 or 29. (NV 1790, pp. 31–32) in the section devoted to the con- certos: Concertos in B-flat Major and A Major, No. 29. B. dur. B[erlin]. 1751. Clavier, 2 Violinen, Bratsche und Wq 28 and 29 Baß; ist auch für das Violoncell und die Flöte gesezt. No. 30. A. dur. P[otsdam]. 1753. Clavier, 2 Violinen, Bratsche Wq 28 and 29 are the second and third of three concertos und Baß; ist auch für das Violoncell und die Flöte gesezt. that, in the words of NV 1790, were “also set for violon- 1 No. 31. H. moll. P. 1753. Clavier, 2 Violinen, Bratsche und Baß. cello and flute.” Along with Wq 26, these were the first documented instances in which Bach wrote multiple ver- While Wq 28–30 are numbered successively in NV 1790, sions of a concerto for different solo instruments (see table these works differ in their histories in ways that have left 1), a practice that remained exceptional for him.2 We do a mark on the nature of the pieces themselves.