Alabama Bandmasters Association All-State Solo Festival Approved Solo

Total Page:16

File Type:pdf, Size:1020Kb

Alabama Bandmasters Association All-State Solo Festival Approved Solo AlabamaBandmastersAssociation AllͲStateSoloFestival ApprovedSoloList Piccolo Flute Oboe EnglishHorn Bassoon BbClarinet BassClarinet SopranoSaxophone AltoSaxophone TenorSaxophone BaritoneSaxophone Cornet FrenchHorn Trombone Baritone Tuba SnareDrumorMultiplePercussion Timpani MalletPercussion DoubleBass COMPOSER/ARRANGER COMPOSITION PUBLISHER INSTRUMENT SCOREORDER Barot,B.ͲFox,D. SuiteforPiccolo&Piano Alry Piccolo 1 Boeuf,Georges SeptPreludes(anythreeincl.VII) BillͲ(TP) Piccolo 1 Isaacson,Michael FearlessWhistler,The(unaccp) Alry Piccolo 1 Lax,F,ͲTrott,L. FantasiaonMexicanAirs Alry Piccolo 1 Paloyan,Serg VentD’Est BillͲ(TP) Piccolo 1 Rabol,Georges SongeCaribe BillͲ(TP) Piccolo 1 Rogers,B. StudyforSoloPiccoloorFlute RMP Piccolo 1 Vivaldi,A.ͲArbatsky,Y. ConcertoinCMajor(anymvt) M&M Piccolo 1 Vivaldi,A.ͲBeaumadier,J. ConcertoenDoMajeur(anymvt) BillͲ(TP) Piccolo 1 Vivaldi,A.ͲBeaurnadier,J. ConcertoenLaMineur(anymvt) BillͲ(TP) Piccolo 1 Vivaldi,A.ͲJoosen,B. ConcertoinAMinor(omit2ndmvt) HE Piccolo 1 Vivaldi.A.ͲRampal,J. ConcertoinCMajor(1st&2nd,or2nd&3rdmvts) Int Piccolo 1 Wilder,A.ͲSchuller/Nanzetta SonataNo.1(3rdmvt) MarͲ(HL) Piccolo 1 Alexander,J. MonodyforFlute(unaccp) GMPͲ(So) Flute 2 Andersen,J. VariationsDrolatiques CBͲ(CF) Flute 2 Anderson,J.ͲCavally,R.(22) DeuxiemeImpromptu0p54 So Flute 2 Anderson.J. BalladeetDansedesSylphes So Flute 2 Aubin,T. ConcertinoDell’Amicizia Led Flute 2 Baber,Joseph Divertimento(omitIntermezzo) AIry Flute 2 Bach SonataNo.2 Vivace Flute 2 Bach SonataNo.3 Vivace Flute 2 Bach SonataNo.4 Vivace Flute 2 Bach SonataNo.5 Vivace Flute 2 Bach SonataNo.5(1storlasttwomvts) CB(CF) Flute 2 Bach SonataNo.6 Vivace Flute 2 Bach SonataNo.7 Vivace Flute 2 Bach SonataNo.I Vivace Flute 2 Bach SonataNo.I(Ist,or3rd&4thmvts) CBͲ(CF) Flute 2 Bach–Tournerie(8) SonatasIor5 So Flute 2 Bach,C.P.E.ͲEphross,A. SonatainAMinor(unaccp)(playanytwomvts) So Flute 2 Bach,C.P.E.ͲEphross,A. SonatainG So Flute 2 Bach,C.P.E..ͲPaubon,P. SonateenLaMlneur(unaccp)(playanytwomvts) BillͲ(TP) Flute 2 Bach.C.P.E.ͲWalther,K. HamburgerSonateCͲDur SchͲEA) Flute 2 Bach.K.P.E.ͲMoyse,L.. SonatainAMinor(unaccp) CSͲ(HL) Flute 2 BachͲMoyse,L. IreSonate(play1stor3rd&4thmvts) Led Flute 2 BachͲMoyse,L. SmeSonate(playmvts1&2.or3&4) Led Flute 2 BachͲMoyse.,L. Sonata(suite)(unaccp)(anytwomvts) GS—(HL) Flute 2 Baker,M. Sonata(anytwomvts) So Flute 2 Barkin/Frank/Gerber/Kreiger/Tausch/ZacheSixCompositionsforFluteSolo(unaccp)(anyone) Mob(Jer) Flute 2 Beaser,R. VariationsforFlute&Piano(anymvt) EA Flute 2 Beaucamp.A. Fantaisie Led Flute 2 BeethovenͲBoehmͲCavally,R(22) AndanteOp46 So Flute 2 BeethovenͲBohn,T. Adagio(FluteJournalNo.12) UEͲ(EA) Flute 2 BeethovenͲPaubon,P. RomanceinFA BillͲ(TP) Flute 2 Benneit.D. FluteRoyale(bandaccpavail) Bar Flute 2 Bennett,RichardRodney Memento(anymvt.)(stringorch.accp.avail) NovͲ(Shaw) Flute 2 Bergh.H. Caprice#4 WIM Flute 2 Berlioz.H.ͲReidel,H. ReverieciCapraiceOp8 UEͲ(EA) Flute 2 Besozzi,A.ͲRuf,H. Sonate1)ͲDur(I)Major)(1stor2nd&3rdmvts) Sch–(EA) Flute 2 Biggs,J. InventionforFluteandTape(mockingbirdsounds) ConP Flute 2 Bloch SuiteModale Vivace Flute 2 Blodek,W.—Cavally,R. Concerto(anytwomvts) So Flute 2 Boda,John Sonatina(eithermvt) AIry Flute 2 Boehm,T.ͲBraun FantasyonThemefromSchubertOp21(playtoRondoorf EA Flute 2 Boehm,T.ͲDelius,N. ElegieAbMajorOp47 SchͲ(LA) Flute 2 Boehm,T.ͲEphross,A. NelcorPiuOp4 So Flute 2 Boehm,T.ͲMoyse,M.(24) GrandPolonaise(playto177orfrom191) ZaloͲ(AIf) Flute 2 Boehm,T.ͲThomas,M. ElegieOp47 So Flute 2 Boehm,T.ͲWilson.R. AirAllemandOp22 Int Flute 2 Boehm.T.ͲMoyse.M.(23) FantaisiesurunairdeSchubert ZaloͲ(Alf) Flute 2 Boehm.T.ͲMoyse.M.(24) AirVariedeLaMolinara(omitanythreevar) ZaloͲ(AIf) Flute 2 Boisdeffre,R.ͲSpell,E. TroisPieces(anytwo) Alry Flute 2 Boismortier,J.B.ͲBraun,G. SixSonatasOp91(any4consecpgs,anySonata) UEͲ(EA) Flute 2 Bond.V. Shenblu(unaccp) So Flute 2 Borne.F.ͲEphross,A. CarmenFantaisie So Flute 2 Bortoli,Stephane Filigrane(unaccp.)(toorfromD) BillͲ(TP) Flute 2 Bottie,W. EpisodesforFluteandHarpsichord MMC Flute 2 Boutry,R. Concertino(playtoorfrom18) Led Flute 2 Bozza,E. Agrestide(playtoorfrom9) Led Flute 2 Bozza,E. FantaisieItalienne Led Flute 2 Bozza.E. Image(unaccp) Led Flute 2 Bozza.E. Phorbeia(unaccp) Led Flute 2 Bresgen,Cesar SonataforFlute(mvtsI&2,or3) SchͲ(EA) Flute 2 Briccetti,Thomas SonataforFlute(anymvt.) M&M Flute 2 Briccialdi,G.ͲDeLorenzo CarnivalofVenice CF Flute 2 Briccialdi,G.ͲVoxmanͲBlock AdagioAndAllegroVivace So Flute 2 Briccialdi.G.ͲWilkinsͲCoppola CarnivalofVenice Lud Flute 2 Brun,F PastoraleD’Arcadie Led Flute 2 Burton Sonatina CF Flute 2 Busser,H. Andalucia Led Flute 2 Busser,H. PreludeetScherzo Led Flute 2 Busser,H. SicilienneforFlute&Piano(playtoorfrom Led Flute 2 Busser,H. ThemeVarieOp68 Led Flute 2 Camilleri,C. Cama’i(unacep)(playanytwomvts) TP Flute 2 Camus(5) ChansonBadinette CBͲ(CF) Flute 2 Casella,A. SicilienneetBurlesque(playeitherone) Led Flute 2 Chaminade Concertino Vivace Flute 2 Chaminade ConcertinoOp107 CF Flute 2 Chasalow,Eric OverTheEdge(w/tape) M&M Flute 2 Chaynes,C. VariationsSurUnTanka(omitPiuLento) Led Flute 2 Chopin,F. VariationsonaThemebyRossini SchͲ(EA) Flute 2 Chopin,F.ͲKolman,P. 4Valses(play3&4) SchͲ(EA) Flute 2 Corelli,A.ͲKrainis,B. LaFolliaOp5No2 M&M Flute 2 Corrette,M.ͲRuf,H. SonatainEminor(3rdmvt) SchͲ(EA) Flute 2 Czemy,Carl DuoConcertantOp129(pgs1Ͳ5orRondo) UEͲ(EA) Flute 2 Dahi,Ingolf VariationsonaFrenchFolkTune(omitvar4&.6) JBͲ(Jer) Flute 2 Damare,E.ͲBeaumadier,J. CapriceOp174 BillͲ(TP) Flute 2 Damare,E.ͲBeaumadier.J. LeTourbillonOp212Valse BillͲ(TP) Flute 2 Dannatt,R. SonataOp6 So Flute 2 DeGuide,R. TroisNomesPourFluteSeule(unaccp) HE Flute 2 Debussy,C, Syrinx(unaccp) EVͲ(TP) Flute 2 Debussy,C,ͲLenski,K. Bilitis(playanyfour) UEͲ(EA) Flute 2 Debussy,C. Preludeal’apresͲmidid’unfaune UE.Ͳ(EA) Flute 2 Debussy,C.ͲSummers,A. SixEpigraphesAntiques(org.pianoduet) EmersͲ(TP) Flute 2 Delaney,C. “ͲͲandheStrange,UnknownFlowersͲͲ(unaccp) So Flute 2 DelloJoio,N. DevelopingFlutist(omit#3) MarͲ(HL) Flute 2 Delusse,C.ͲLasocki,D. 12Caprices(playanytwo)(unaccp) NovaͲ(ECS) Flute 2 Demerssemann,J.ͲBraun,G. CarnivalinVeniceOp7 UEͲ(EA) Flute 2 Demessemann,J. Introduction&VaronCarnivalinVeniceOp7 EA Flute 2 Demessemann,J. SixthSolodeConcertinFa(Italian) So Flute 2 Denisov,E. PreludeetAir Led Flute 2 Desenclos,A. Pslle TP Flute 2 Devienne,F.ͲSzcbenyi.J. IVConcerto(1stor3rdmvt) SchͲ(EA) Flute 2 Donizetti,G.ͲWye,Trevor Concertino(1816)from19thCenturyFluteMusic(omitpia TP Flute 2 Doppler,A.F. FantaisiePastoraleHongroise SchͲ(EA) Flute 2 Doppler,A.F.ͲMoyse,L. FantaisiePastoraleHongroise GSͲ(HL) Flute 2 Doppler,A.F.ͲRampal,J. Chansond’amourOp20(playtoorfrompiuanimato) BillͲ(TP) Flute 2 Doran,M. FourShortPieces(anythree)(unaccp) WIM Flute 2 Doran,M. Poem WIM Flute 2 Dubois,P. IncantationetDanse(unaccp) Led Flute 2 Dubois,P. Sonata(playanymvt) Led Flute 2 Dufau,A.ͲCavally.R.(22) AndanteetMazurka So Flute 2 Duijck,G. Contest5 HE Flute 2 Dukas LaPlainte,AuLoin,duFaune DurͲ(TP) Flute 2 DutilleuxͲSonatine Sonatine Vivace Flute 2 Dutilleux,H. Sonatine(playtoorfrom9) Led Flute 2 Duvernoy,A.ͲCavally,R. Concertino So Flute 2 Dvorak,A.ͲStallman.R. RomanceinFMinorOp11 Int Flute 2 Elfein,L. Attraction(unaccp) ABrͲ(TrC) Flute 2 Enesco CantabileandPresto Int Flute 2 Enesco CantabileetPresto BHͲ(So) Flute 2 Erdmann,HelmutW. Nocturne PeerͲ(TP) Flute 2 Feld,J. Contrasts(unaccp) GSͲ(HL) Flute 2 Fennelly,B. ForSoloFlute(anymvt)(unaccp) MarͲ(HL) Flute 2 Fink,M. SonataDaCamera(unacep)(anythreemvts) WIM Flute 2 Foote,AͲZverov,E. ANightPiece So Flute 2 Fortner,W. Sonate(play2nd&4thmvtsor3rdmvt) SchͲ(EA) Flute 2 Foster,I. TwoPiecesforFluteandPiano Ox Flute 2 Francaix,Jean Concerto(pgs1Ͳ19,20Ͳ33,34Ͳ38or51toend) SchͲ(EA) Flute 2 Frank Sonata Vivace Flute 2 Ganne AndanteetScherzo Belwin Flute 2 Ganne AndanteetScherzo So Flute 2 Ganne(5) AndanteetScherzo CBͲ(CF) Flute 2 Gaubert,P. Ballade EVͲ(TP) Flute 2 Gaubert,P. NocturneandAllegroScherzando Int Flute 2 Gaubert,P. Romance Led Flute 2 GeninͲBennett,W. AirNapolitain Alry Flute 2 GeninͲTakahashi,T. Carnivalo(Venice(SuzukiFluteSchoolVolV) SB Flute 2 Genzmer,Harald 2Sonate(inE)(anymvt) SchͲ(EA) Flute 2 Genzmer,Harald Concerto(anymvt) SchͲ(EA) Flute 2 Godard,B. SuitedeTroisMorceaux(3rdmvt) ChesͲ(MMB) Flute 2 Godard,B. ValseOp116No.3CFͲDurͲ(TP) Flute 2 Griffes Poem Vivace Flute 2 GriffesͲBarrere Poem GSͲ(HL) Flute 2 Grimm,C.ͲCavally.R. ConcertoMinature So Flute 2 Guarnieri Sonatina(3rdmvt) MMͲ(TP) Flute 2 Ha,J. SanjoforSoloFlute(unaccp) RR Flute 2 Hailstork,A. Sonatina Fema(WinJ) Flute 2 Haletzki,Paul Suite(2nd&3rdmvts) SchͲ(EA) Flute 2 Handel SevenSonatas Vivace Flute 2 HandelͲBraun,G. MusicfortheRoyalFireworks(pgs4&5) UEͲ(EA) Flute 2 Hanson SerenadeOp35 CF Flute 2 Hartley,W. FourSketches TriͲ(TP) Flute 2 Hayden,Paul ATre(unaccp.) TP Flute 2 Haydn ConcertoinD Vivace Flute 2 Haydn,M.ͲRobbinLandos,H.C. FluteConcerto(1stor3rdmvt) UEͲ(EA) Flute 2 Haydn,Moyse ConcertoinDMajor So Flute 2 Helm,E. Sonata(anytwomvts) SchͲ(EA) Flute 2 Hennagin,M. SonataforFluteandPiano(playto8orfrom4) Wal Flute 2 Hibbard,W. Portraits(anymvt) ECS Flute 2 Hindemith,P. SonataforFluteandPiano SchͲ(EA) Flute 2 Hoffmeister.F.A.Ͳ FluteConcertoinDMajor(anymvt) SchͲ(EA) Flute 2 Hofmann,H.ͲCavally,R. Concertstuck(eithermvt) So Flute 2 Hue,G.ͲEphross,A. Gigue So Flute 2 Hummel,J.N.ͲGuthrninn,A. GrandRondeauBrillantOp126(IntroorRondo) UEͲ(EA) Flute 2 Ibert,J. AllegroScherzandoduConcerto(playtoorfrom55 Led Flute 2 Ibert,J. Concerto Vivace Flute 2 Ibert,J. Concerto Led Flute 2 Ibert,J. Jeux Led Flute 2 Ibert,J. PiecePourFluteSeule(unaccp) Led Flute 2 JacqueͲDupont Aulos(playeithermvt)
Recommended publications
  • Nasher Sculpture Center's Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Macke
    Nasher Sculpture Center’s Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Mackey to be Performed at City Performance Hall; Guaranteed Seating with Soundings Season Ticket Package Brentano String Quartet Performance of One Red Rose, co-commissioned by the Nasher with Carnegie Hall and Yellow Barn, moved to accommodate bigger audience. DALLAS, Texas (September 12, 2013) – The Nasher Sculpture Center is pleased to announce that the JFK commemorative Soundings concert will be performed at City Performance Hall. Season tickets to Soundings are now on sale with guaranteed seating to the special concert honoring President Kennedy on the 50th anniversary of his death with an important new work by internationally renowned composer Steven Mackey. One Red Rose is written for the Brentano String Quartet in commemoration of this anniversary, and is commissioned by the Nasher (Dallas, TX) with Carnegie Hall (New York, NY) and Yellow Barn (Putney, VT). The concert will be held on Saturday, November 23, 2013 at 7:30 pm at City Performance Hall with celebrated musicians; the Brentano String Quartet, clarinetist Charles Neidich and pianist Seth Knopp. Mr. Mackey’s One Red Rose will be performed along with seminal works by Olivier Messiaen and John Cage. An encore performance of One Red Rose, will take place Sunday, November 24, 2013 at 2 pm at the Sixth Floor Museum at Dealey Plaza. Both concerts will include a discussion with the audience. Season tickets are now available at NasherSculptureCenter.org and individual tickets for the November 23 concert will be available for purchase on October 8, 2013.
    [Show full text]
  • The Canadian Clarinet Works Written for James Campbell
    THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree, Doctor of Music Doctoral Committee __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements ....................................................................................................................................
    [Show full text]
  • ACTIVE RETIREMENT LIVING at Wind Crest FREE BROCHURE Request Your FANTASTIC FREE BROCHURE, Written by the Retirement Experts
    T HE M A GAZI NE OF THE COLORADO SYMPHONY Get the facts about ACTIVE RETIREMENT LIVING at Wind Crest FREE BROCHURE Request your FANTASTIC FREE BROCHURE, written by the retirement experts. This comprehensive brochure is packed with information about the carefree lifestyle at Wind Crest, Highlands Ranch’s premier continuing care retirement community for seniors 62-plus. Request your FREE brochure today! Call 1-877-460-5331 or visit WindCrestRetirement.com. Highlands Ranch WindCrestRetirement.com Wind Crest, Inc., a nonprofi t organization, is solely responsible for fulfi lling fi nancial responsibilities to residents under the contract. Wind Crest is within 13964114-CPAP the network of communities developed and managed by Erickson Living.® Need some me time? (You find the time. Here’s the place.) Non metallic Pantone 4515 + Black (C-40%, M-50%, Y-50%, K-100%) Pantone Gray 5C + Black (C-40%, M-50%, Y-50%, K-100%) WhiteCOMPLIMENTARY + Black (C-40%, M-50%, Y-50%, K-100%) MOUNTAIN CONCIERGE DESIGN SERVICE Mountain Project? We can Help! Make an appointment with one of our Interior design services from talented and qualified designers. inception to realization. 303.296.9514 303.566.8635 [email protected] [email protected] DENVER’S ULTIMATE HOME SHOPPING EXPERIENCE. 5445 North Bannock Street (Near I-25 & 58th), Denver, CO • TheShowroom.com Non metallic Pantone 4515 + Black (C-40%, M-50%, Y-50%, K-100%) THE MAGAZINE OF THE COLORADO SYMPHONY CONTENTS 6 Virtual Music Hour 8 How You Can Help 10 Colorado Symphony Musicians 12 Colorado Symphony Board of Trustees 14 Colorado Symphony Staff 16 A 21st Century Symphony 22 Colorado Symphony Welcomes Lyle Wong 27 Mahler 6 31 Community Support 48 Ticketing Options COMING SOON coloradosymphony.org 4 COLORADOSYMPHONY.ORG THE COLD WAR WAS FOUGHT ON ICE.
    [Show full text]
  • The Harmony of Debussy in Contemporary Jazz Brigham
    THE HARMONY OF DEBUSSY IN CONTEMPORARY JAZZ BRIGHAM PHILLIPS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY, 2018 © BRIGHAM PHILLIPS, 2018 ABSTRACT Claude Debussy and other late 19th-century composers (especially Maurice Ravel) introduced several new harmonic innovations that have since become standard tools of the jazz composer/arranger/improviser, among them the rich harmonies of chromatically altered chords as well as the use of the whole tone, pentatonic and octatonic scales. This thesis presents an original composition The Stanley Bridge Suite that demonstrates ​ ​ how these harmonic concepts are used in modern orchestral jazz. A brief history of impressionism is included, followed by a chapter showing the increasing prevalence of impressionist harmony in jazz over the years. Because The Stanley Bridge Suite was arranged for ​ ​ an orchestral jazz ensemble the makeup of the modern jazz orchestra is also discussed. The final chapter analyzes the thesis composition in detail, showing where and how the various Debussy techniques were incorporated in the work. ii ACKNOWLEDGEMENTS I would like to thank Professors Al Henderson and Dr. Mark Chambers for their guidance and assistance. I would also like to acknowledge and thank my parents for giving me the gift of music and encouraging my choice to make a living as a professional musician. My father, recently deceased, always hoped I would pursue a Masters Degree in Music one day. Finally, I would like to thank my wife, daughter and son for encouraging me to go on this Masters journey and for putting up with my frequent absence from their lives while doing so.
    [Show full text]
  • Nsftmc@Soundings—Notes
    nSFTMC@Soundings—Notes The San Francisco Tape Music Center (SFTMC) is quite a notable and influential institution in the history of electronic and experimental music in the United States, and came into being through the efforts of a small group of composers working in the Bay Area who were looking to gather resources and create venues for their work. Today the names of those involved in its founding read as a list of luminaries of the American Experimental tradition: Ramon Sender, Morton Subotnick, Pauline Oliveros, Terry Riley, Anthony Martin. The SFTMC began its life in 1961 as an improvised, cooperative studio in the attic of the San Francisco Conservatory of Music—made up of a pool of tape-composition equipment, no more than six audio oscillators and some tape recorders. By 1962 the SFTMC had found its way out of the attic to more suitable locations, eventually residing at 321 Divisidero where Steve Reich created his landmark It’s Gonna Rain (1965). During this time there was also a relationship with Berkeley’s KPFA, founded by Korean War pacifists in 1949 and famously investigated by the House Un-American Activities Committee and the Senate Internal Security Subcommittee for “subversion”. (Sound-poet, composer Charles Amirkhanian was Music Director of KPFA from 1969 to 1992—but as we shall see, this was after SFTMC had ended as an institution.) 1966 saw a relationship with the SFTMC and Don Buchla develop, which eventually lead to creation of Buchla’s modular synthesizer. (Tonight we’ll hear the fruitful outcome of that collaboration in Subotnick’s music.) 1966 was also the end of the SFTMC through the acceptance of a grant for $15,000 to become the Mills Tape Music Center (MTMC) at Mills College across the bay in Oakland.
    [Show full text]
  • Los Angeles Philharmonic Celebrating
    CELEBRATING LOS ANGELES PHILHARMONIC CELEBRATING LOS ANGELES PHILHARMONIC 2 A Olympic Fanfare and Theme 4:00 J Theme from Jurassic Park 5:57 B Excerpts from Close Encounters of the Third Kind 8:28 Three Selections from Indiana Jones K Scherzo for Motorcycle and Orchestra 3:07 C Out to Sea and The Shark Cage Fugue from Jaws 4:24 L Marion’s Theme 4:11 M Three Selections from Harry Potter Raiders March 5:08 D Hedwig’s Theme 4:58 N Sayuri’s Theme from Memoirs of a Geisha 4:17 E Fawkes the Phoenix 3:42 Robert deMaine cello F Harry’s Wondrous World 4:41 Three Selections from Star Wars G Theme from Schindler’s List 3:41 O The Imperial March 3:03 Simone Porter violin P Yoda’s Theme 3:36 Q Throne Room and Finale 7:58 H Adventures on Earth from E.T. the Extra-Terrestrial 10:25 R Adagio from Star Wars: The Force Awakens 4:34 I The Flight to Neverland from Hook 4:49 S Superman March 4:26 3 CELEBRATING JOHN WILLIAMS The bonds between composer John Williams and the ably inevitable. More than any other composer, John Los Angeles Philharmonic reach farther back than any- Williams has been responsible for the growing accep- one might imagine. The veteran film composer first tance of film music in the concert hall. He has reminded conducted the orchestra in July 1978 at the Hollywood us all that the greatest music written for films can also, Bowl, in the aftermath of the Oscar-winning success of in the right context, stand alongside the finest concert his music for Star Wars and Close Encounters of the Third music being written today.
    [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]
  • Walt Disney Concert Hall Opening Season
    WALT DISNEY CONCERT HALL 2014/15 CHRONOLOGICAL LISTING OF EVENTS SEPTEMBER 2014 LOS ANGELES PHILHARMONIC Thursday, September 25, 2014, at 7 PM YOLA AT LACHSA CHOIR AND MUSICIANS Daniel Cohen, conductor Neighborhood Concert Martin Chalifour, violin Luckman Auditorium PUENTE Oye como va VIVALDI/PIAZZOLLA Selections from The Four Seasons MILHAUD Le boeuf sur le toit LOS ANGELES PHILHARMONIC Tuesday, September 30, 2014, at 7 PM -OPENING NIGHT GALA- Walt Disney Concert Hall Gustavo Dudamel (Non-subscription) Itzhak Perlman, violin Dan Higgins, alto saxophone Glenn Paulson, vibraphone Mike Valerio, string bass U.S. Army Herald Trumpets Los Angeles Children’s Chorus Anne Tomlinson, artistic director Netia Jones, projection design Robin Gray, lighting design A John Williams Celebration Olympic Fanfare and Theme Soundings Three Pieces from Schindler’s List Cadenza and Variations from Fiddler on the Roof* The Duel from The Adventures of Tintin Escapades from Catch Me if You Can Throne Room and Finale from Star Wars *Includes excerpts from the original Jerry Bock score from Fiddler on the Roof. OCTOBER 2014 LOS ANGELES PHILHARMONIC Thursday, October 2, 2014, at 8 PM Walt Disney Concert Hall Friday, October 3, 2014, at 11 AM Saturday, October 4, 2014, at 8 PM Sunday, October 5, 2014, at 2 PM Gustavo Dudamel, conductor Sō Percussion LANG Man Made (U.S. premiere, LA Phil co-commission) MAHLER Symphony No. 5 GREEN UMBRELLA Tuesday, October 7, 2014, at 8 PM Walt Disney Concert Hall Los Angeles Philharmonic New Music Group Sō Percussion Joseph Pereira,
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligmnent can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information C om pany 300 Nortfi Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9325440 Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos Munger-MacKay, Ailene Annette, D.M.A.
    [Show full text]
  • LA Phil on THIRTEEN’S Great Performances Friday, July 24 at 9 P.M
    WNET Contact: Harry Forbes 212-560-8027 or [email protected] Press materials: http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Natalie Portman Hosts Dudamel Conducts a John Williams Celebration with the LA Phil On THIRTEEN’s Great Performances Friday, July 24 at 9 p.m. on PBS Itzhak Perlman is the special guest in a gala concert paying tribute to the prolific film composer By any standard, John Williams is one of the greatest film composers of all time; his 49 Academy Award nominations are second only to Walt Disney himself. And Williams and Walt Disney Concert Hall have gone hand in hand since Williams opened the Hall’s inaugural gala in 2003 with the world premiere of his concert work “Soundings.” The Los Angeles Philharmonic’s gala celebration of Williams’ peerless achievements reunites Williams with master violinist Itzhak Perlman , who performed on the composer’s original score for “Schindler’s List,” which earned both Oscars and Grammys. This gala opening night performance, hosted by Natalie Portman and featuring Music and Artistic Director 2 Gustavo Dudamel, airs on THIRTEEN’s Great Performances , Friday, July 24 at 9 p.m. on PBS. (Check local listings.) The musical program is interspersed with a conversation between Williams and Dudamel, as well as archival interview footage, as the composer reminisces about his life and career. The son of a musician in New York’s CBS Orchestra in the 1930s and 40s, Williams remarks, “I thought when you grew up you became a musician, that’s the only kind of adult I knew… I grew up in the ambience of music.” The broadcast also features soloists Dan Higgins , Glenn Paulson and Michael Valerio , the U.S.
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Primary Stylistic Characteristics of Cindy Mctee's Music As
    PRIMARY STYLISTIC CHARACTERISTICS OF CINDY MCTEE’S MUSIC AS FOUND IN TIMEPIECE, BALLET FOR BAND, AND FINISH LINE Nicholas Enrico Williams, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2009 APPROVED: Eugene Migliaro Corporon, Major Professor Darhyl Ramsey, Related Field Professor Dennis W. Fisher, Committee Member Henry Gibbons, Chair of the Division of Conducting and Ensembles Graham Phipps, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Michael Monticino, Interim Dean of the Robert B. Toulouse School of Graduate Studies Williams, Nicholas Enrico, Primary Stylistic Characteristics of Cindy McTee’s Music as found in Timepiece, Ballet for Band and Finish Line. Doctor of Musical Arts (Performance), May 2009, 141 pp., 53 music examples, 17 works consulted. Cindy McTee, Regents Professor of Composition in the College of Music at the University of North Texas, is one of America’s leading composers. Her music is an eclectic blend of the “American” sound that is created by the use of a multiplicity of techniques. This document uses three of McTee’s most recent (to date) works for wind band: Timepiece, Ballet for Band and Finish Line, to identify the primary stylistic characteristic’s of the composer’s music, which include: jazz influence; use of ostinati, pseudo-ostinati and machine-like rhythmic patterns and figures; creation of extended and angular melodic lines; progressive “walking” bass lines; and the use of octatonic and chromatic collections. Through the identification of stylistic characteristics, concise stylistic analysis of the works, interview transcript, list of composer’s works to date, and selected discography, this document will add to the limited body of scholarly writing on the composer.
    [Show full text]