Octubafest! Receive a Hardcopy, Please Call 319-273-2028

Total Page：16

File Type：pdf, Size：1020Kb

Octubafest! Receive a Hardcopy, Please Call 319-273-2028

Upcoming Events Ann Bradfield, saxophone Friday, November 1 at 6 p.m. Davis Hall, GBPAC GBPAC Artist Series: Melissa Etheridge Tuesday, November 5 at 7 p.m. Great Hall, GBPAC UNITUBA Concert Friday, November 8 at 8 p.m. Davis Hall, GBPAC The School of Music Calendar of Events is available online at music.uni.edu/events. To OcTUBAfest! receive a hardcopy, please call 319-273-2028. In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic Directed by devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. In the event of an emergency, please use the exit Stephanie Ycaza nearest to you. Please contact the usher staff if you need assistance. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Tuesday, October 29, 2019, 8 p.m. Davis Hall, Gallagher Bluedorn Program Music 4 Tubas . .John Stevens Tango Études . Astor Piazzolla 3. Rock 3. Molto marcato e energico (1921-1992) Adam Denner, Nathan Jones, Donovan Klutho, Aaron Manning Stephanie Ycaza Second Suite in F . Gustav Holst Locus Iste . Anton Bruckner 1. March (1874-1934) (1824-1896) 2. Song Without Words Arr. Tim Olt Marziale from Symphony no. 2 . Pyotr Ilyich Tchaikovsky 3. Song Of The Blacksmith (1840-1893) 4. Fantasia On The"Dargason" Zach Eberle, Noah Huff, Brad Lorence, Stephanie Ycaza TubaDetermined: Sam Nau, Terra Hill, Adam Denner, Alan Beving Lichtensteiner Polka . Edmund Kotscher (1909-1990) Lyri-Tech . .Eugene Anderson Ran . .Toshinobu Kinoshita (b.1944) Nathan Jones Nic Englin, Aidan Shorey, Nathan Jones, Donovan Klutho Red Rose Polka . .Joseph Olivadoti (1893-1977) O Vos Omnes . .Tomas Luis de Victoria Adam Plautz and Coby Insisienmay (1548-1611) Trans. James Self Beer Barrel Polka . arr. Skip Gray Blue Snow . .Reagan Shonk France Quartet: (b. 1996) Terra Hill, Aidan Shorey, Donovan Klutho, Aaron Manning Terra Hill, Nic Englin, Zach Eberle, Aidan Shorey .

Copy Link

Recommended publications

MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov.
[Show full text]
The Impact of the Third Reich on Famous Composers by Bwaar Omer
The Impact of the Third Reich on Famous Composers By Bwaar Omer Germany is known as a land of poets and thinkers and has been the origin of many great composers and artists. In the early 1920s, the country was becoming a hub for artists and new music. In the time of the Weimar Republic during the roaring twenties, jazz music was a symbol of the time and it was used to represent the acceptance of the newly introduced cultures. Many conservatives, however, opposed this rise of for- eign culture and new music. Guido Fackler, a German scientist, contends this became a more apparent issue when Adolf Hitler (1889-1945) took power in 1933 and created the Third Reich. The forbidden music during the Third Reich, known as degen- erative music, was deemed to be anti-German and people who listened to it were not considered true Germans by nationalists. A famous composer who was negatively affected by the brand of degenerative music was Kurt Weill (1900-1950). Weill was a Jewish composer and playwright who was using his com- positions and stories in order to expose the Nazi agenda and criticize society for not foreseeing the perils to come (Hinton par. 11). Weill was exiled from Germany when the Nazi party took power and he went to America to continue his career. While Weill was exiled from Germany and lacked power to fight back, the Nazis created propaganda to attack any type of music associated with Jews and blacks. The “Entartete Musik” poster portrays a cartoon of a black individual playing a saxo- phone whose lips have been enlarged in an attempt to make him look more like an animal rather than a human.
[Show full text]
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
[Show full text]
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reﬂects
[Show full text]
The Analytical Study of Anton Bruckner Symphony NO.8
Frontiers in Art Research ISSN 2618-1568 Vol. 1, Issue 3: 14-19, DOI: 10.25236/FAR.20190303 The analytical study of Anton Bruckner Symphony NO.8 Lei Dong, Naixin Lu Academy of music, Shandong University of Technology, Zibo 255000, China; *Corresponding Author ABSTRACT.As a representative composer of late romanticism, Bruckner created many classic works in his life. The Eighth Symphony is one of the representative classical works in his later years. In the summer of 1884, Bruckner began to work on The Eighth Symphony, which was completed in the fall of 1887. During the creation of The Eighth Symphony, Bruckner ushered in two major events in his life, namely, The Deum and The Seventh Symphony successfully performed for the first time, and received wide appreciation and spread. All of these helped Bruckner gain a worldwide reputation. In view of the classic of The Eighth Symphony, many composers are studying it carefully. However, there are still many problems troubling researchers in the study, which restrict the development of contemporary music. Based on this, this paper briefly analyzes Bruckner's Symphony NO. 8. KEYWORDS: Theme; Polyphony; Harmony; Music form 1. Introduction As a famous composer in the late period of romanticism, Bruckner often used religious music forms such as Mass in his works[1]. Based on this, he combined with the folk national music and expressed his feelings and beliefs thoroughly. His music works are very poetic and religious, with strong romantic and lyrical characteristics. The Eighth Symphony is full of life philosophy. The classic of it is its ability to tug at the heartstrings, and expressing a strong piety and reverence for religion.
[Show full text]
HUMMEL Mozart’S Symphonies Nos
HUMMEL Mozart’s Symphonies Nos. 38 ‘Prague’, 39 and 40 Arranged for Flute, Violin, Cello and Piano Uwe Grodd • Friedemann Eichhorn Martin Rummel • Roland Krüger Johann Nepomuk Hummel (1778–1837) his privy council, after acceding to the throne in 1775, was pirated copies of his original manuscripts were always a Wolfgang Amadeus Mozart (1756-1791) that of poet, artist and politician Johann Wolfgang von threat. Hummel was suspicious of editions published on the Goethe. The court theatre immediately became the central continent. In a letter to a friend he wrote: “How come … Mozartʼs Symphonies Nos. 38 ʻPragueʼ, 39 and 40 focus of city life and the addition of the new Hoftheater in you do not find a single note from an honourable German arranged by Hummel for flute, violin, cello and piano 1791 ensured the predominance of music. Hummelʼs publisher?” The editions for this recording were made using dedication of his arrangement of the Prague Symphony Hummelʼs English publications from Chappell and Co In 1786, at the age of eight, Hummel went to live and study aus dem Serail. Hummelʼs lack of diplomacy, however, reads “This Symphony is respectfully dedicated to His (1823-4) for which J. R. Schultz acted as intermediary in with Wolfgang Amadé Mozart in Vienna. During his two combined with his disregard of dress codes, “loud and Excellency Baron von Goethe, Minister of State to His London. While England and France had regulations years as a lodger in the familyʼs apartment in the pushy” manner and devotion to his own performing career Royal Highness the Grand Duke of Saxe Weimar by J.
[Show full text]
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Y H P a R G O T O H P
ChiCago Symphony orCheStra riCCardo muti zell muSiC direCtor y h p a r g o t o h P g r e b n e s o R d d o T OCTOBER 13 @15, 2017 ZELLERBACH HALL, UC BERKELEY FALL 2017 ORCHESTRA RESIDENCY ABOUT THE ARTISTS Salzburg mozarteum and the golden Johann Strauss award by the Johann Strauss Society of Vienna. he is also an honorary member of Vienna’s gesellschaft der musikfreunde, the Vienna hofmusikkapelle, the Vienna philhar - monic, and the Vienna State opera. in addition to his distinguished appoint - ments as music director, muti has received innumerable international honors. he is a Cavaliere di gran Croce of the italian republic, officer of the French legion of honor, and a recipient of the german Verdienstkreuz. Queen elizabeth ii bestowed on him the title of hon - y h orary Knight Commander of the British em - p a r g pire, russian president Vladimir putin awarded o t o h P him the order of Friendship, and pope Bene - g r e dict XVi made him a Knight of the grand b n e s Cross First Class of the order of Saint gregory o R d d the great—the highest papal honor. muti also o T has received israel’s Wolf prize for the arts, Riccardo Muti Sweden’s prestigious Birgit nilsson prize, Spain’s Born in naples, italy, riccardo muti is one of prince of asturias award for the arts, Japan’s the preeminent conductors of our day. in 2010, order of the rising Sun gold and Silver when he became the 10th music director of the Star decoration, and the gold medal from italy’s Chicago Symphony orchestra (CSo), he had ministry of Foreign affairs as well as the more than 40 years of experience at the helm of prestigious “presidente della repubblica” award maggio musicale Fiorentino (1968–1980), the from the italian government.
[Show full text]
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files.
[Show full text]
Complete Piano Music
Bruckner COMPLETE PIANO MUSIC Francesco Pasqualotto Anton Bruckner 1824-1896 Anton Bruckner (1824-1896) largely focused his creative efforts as a composer on the Complete Piano Music organ, choral works and major symphonies. Yet he also occasionally wrote for the piano, which in the early 19th century was the instrument his colleagues favoured for Quattro Lancier – Quadrille (1850) 16. Fantasia No.3 in E flat 1’15 their most important works. Although writing for the piano may have been a relative 1. Quadrille No.1 1’12 17. Fantasia No.4 in F: Langsam 1’17 sideline for Bruckner, the outcome is interesting on a number of accounts. 2. Quadrille No.2: Allegro 1’53 Some of his piano compositions are real gems, full of intense feeling and personal 3. Quadrille No.3: Allegro 2’52 18. Mazurka in A minor (1862) 1’10 reflections, as Erinnerung and Stille Betrachtung an einem Herbstabend immediately 4. Quadrille No.4: Allegro 3’21 19. Stille Betrachtung an einem reveal. Another interesting feature lies in the musical idioms and forms that most Herbstabend (1863) 1’56 influenced his as a composer, since he continued to study composition through the 5. Steiermärker (1850) 1’36 20. Fantasia in G (1868): Langsam age of nearly forty. Somewhat surprisingly, he was not so much interested in the 6. Klavierstück in E flat (1856) 0’57 un mit Gefühl – Allegro 3’21 modus operandi of his immediate predecessors (Mendelssohn, Chopin, etc.), but in 7. Sonata in G minor (1862) 7’15 21. Erinnerung: the paradigms established by Haydn, Mozart and Beethoven, who were composers 8.
[Show full text]
ECU School of Music Program Guidelines
Concert Program Guidelines About the Style Guidelines & General Program Information The concert program guidelines in this document are intended to provide a style reference for performers when submitting information for printed recital programs at the ECU School of Music. All programs and event information should adhere to the SoM Event Timeline found in the School of Music Handbook which is published each academic year. Student performers are responsible for researching and submitting complete and accurate program information by the specified deadline for their event, and for proofing the draft program prior to their designated recital jury. Templates and all other pertinent recital are available online at ecu.edu/music under the “Current Students” tab and the “Recital Packet” link. Fonts should not be changed, only font size. Do not adjust text box size or the programs will not print properly. The submitted program copy should include all performers (with optional bios) and repertoire to be performed, including full titles, movements, and composer name(s) and dates, in accordance with the guidelines below. All submissions should be verified for accuracy by checking The New Grove Dictionary of Music and Musicians for title and catalog information. Deviations from these style guidelines may be considered by faculty/administration upon request from the performer in certain circumstances, such as a non-traditional concert format (e.g. lecture-recital, thematic recital, etc.) or to more clearly communicate to the audience how the concert is to be performed (e.g. spacing of works on the page to indicate works performed as a “set” without interruption of applause).
[Show full text]
Symphonisches Prludium in C Minor
Symphonisches Praeludium in C Minor »Rudolf Krzyzanowski cop. 1876« / »von Anton Bruckner« Facsimile and Score, edited by Wolfgang Hiltl. Doblinger/Vienna, 2002; STP 704, ISMN 012-18981-7 (score on sale; orchestral parts on hire) The history of this ouverture-like symphonic movement in C-minor of 293 bars length, ascribed to Anton Bruckner, is most curious: After the Second World War, the Viennese composer Heinrich Tschuppik discovered an unknown, music manuscript in the estate of his uncle, the composer Rudolf Krzyzanowski (5 April 1859 – 21 June 1911). He was a pupil of Anton Bruckner and is known to Brucknerians because he, together with Gustav Mahler, prepared the Piano Arrangement of Bruckner's Third Symphony. The manuscript constitutes an orchestral score of 43 pages, bearing the inscript »Rudolf Krzyzanowski cop. 1876« on the first page, and on the last page, in large, blue letters, »von Anton Bruckner«. Tschuppik immediately reported in public about his finding (›Ein neu aufgefundenes Werk Anton Bruckners‹, in: Schweizerische Musikzeitung 88/1948, p. 391; ›Bruckners Sinfonisches Praeludium‹, in: Sueddeutsche Zeitung, 8 September 1949). He also prepared his own, clean copy of the score, copied out orchestral parts, and also arranged a four stave particello of the movement in two copies. Tschuppik had also shown the piece to Bruckner scholars Max Auer and Franz Graeflinger, and as well to the Swiss conductor Volkmar Andreae. Their opinion on Bruckner's authorship was positive, and Andreae agreed to give the first performance of the
[Show full text]
Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices
Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices by Andrea Harrandt Anton Bruckner Editor's note: This article is based on a paper presented in February men's choirs during his Linz period (1855 to 1868). After his 1994 at the first Bruckner conference held in the U. S. ("Perspectives appointment as town and cathedral organist in Linz, he be on Anton Bruckner"), Connecticut College, New London. came a member of the Liedertafel Frohsinn in March 1856. This society was the most important singing club in Linz. The beginning of the nineteenth century saw a gradual shift Bruckner sang second tenor, though in the archives of the from aristocratic to middle-class dominated social structure. Liedertafel he is listed as a first bass. l At the society's meeting of One outgrowth of that shift was the establishment of male October 31, 1856, he was elected assistant librarian for the choral societies-Liedertafel-Gedanke-that permitted social season. 2 In that position he was able to acquire first-hand contact and companionship regardless of class strictures. The knowledge of the standard Liedertafel repertory. development began in Germany where Carl Friedrich Zelter founded the Berliner Liedertafel in 1809. The Berlin model Repertory was followed in Leipzig (1815), Breslau and Magdeburg (1819), The most popular pieces performed by mid-nineteenth and Stuttgart (1824). In 1827 the first German festival of songs century Liedertafels are contained in a collection published took place in Plochingen (Wiirttemberg); the next big event by the Regensburger Liederkranz, a male choral society was a festival in Wiirzburg (1845).
[Show full text]