DOCSLIB.ORG

Members of the Juilliard Orchestra David Chan, Conductor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Members of the Juilliard Orchestra David Chan, Conductor The Juilliard School presents Members of the Juilliard Orchestra David Chan, Conductor Recorded on December 14, 2020 Judith Harris and Tony Woolfson Orchestral Studio Program A GEORGE WALKER Lyric for Strings (1947) (1922-2018) BENJAMIN BRITTEN Prelude and Fugue, Op. 29 (1943) (1913-76) Prelude: Grave Fugue: Allegro energico–Coda: Grave come prima Program B J.S. BACH Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1710) (1685-1750) Allegro Adagio ma non tanto Allegro Brandenburg Concerto No. 3 in G Major, BWV 1048 (1713) [Allegro] Adagio* Allegro * Adagio from Bach’s Trio Sonata in G Major, BWV 1038 (published 1860) Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 Members of the Juilliard Orchestra Program A WALKER Lyric for Strings First Violin Viola Kevin Zhu, Concertmaster Natalie Loughran, Principal Muyun Tang Joshua Kail Jaewon Wee Graham Cohen Adrian Steele Devin Moore Mai Matsumoto Cello Second Violin David Bender, Principal Mitsuru Yonezaki, Principal Sterling Elliott Oliver Neubauer Joshua McClendon Gabrielle Després Coco Mi Double Bass Nina Bernat, Principal Bennett Norris BRITTEN Prelude and Fugue, Op. 29 First Violin Viola Kevin Zhu, Concertmaster Devin Moore, Principal Phoenix Avalon Graham Cohen Jaewon Wee Natalie Loughran Adrian Steele Mai Matsumoto Cello Muyun Tang David Bender, Principal Michael Cantú Second Violin Eliana Razzino Yang Mitsuru Yonezaki, Principal Oliver Neubauer Double Bass Gabrielle Després Bennett Norris, Principal Coco Mi Nina Bernat 2 Program B J.S. BACH Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Viola Double Bass Natalie Loughran Nina Bernat Devin Moore Harpsichord Cello Nicola Canzano David Bender Sterling Elliott Joshua McClendon J.S. BACH Brandenburg Concerto No. 3 in G Major, BWV 1048 Violin Cello Kevin Zhu David Bender Phoenix Avalon Michael Cantú Mitsuru Yonezaki Eliana Razzino Yang Viola Double Bass Devin Moore Bennett Norris Graham Cohen Joshua Kail Harpsichord Nicola Canzano 3 Meet David Chan David Chan (MM ’97, violin) is one of today’s most sought-after artists, both as a violinist and a conductor. The 2019-20 season marked not only his 20th as concertmaster of the Metropolitan Opera (MET) Orchestra, but also his third as the inaugural music director of New Jersey’s Montclair Orchestra, with which he is already developing a reputation for innovative and adventurous programming, and his second as music director of Camerata Notturna, one of New York City’s foremost chamber orchestras. His guest conducting engagements in recent seasons include Belgium’s l’Orchestre Philharmonique Royal de Liège, Malta Philharmonic, l’Orchestre Dijon Bourgogne in France, and Grant Park and Classical Tahoe summer festivals. As a soloist, he has appeared under the baton of such conductors as James Levine and Fabio Luisi, with orchestras including the MET Orchestra, Los Angeles Philharmonic, San Diego Symphony, Indianapolis Symphony, National Symphony Orchestra of Taiwan, and Moscow State Symphony. He is also a dedicated chamber musician who performs regularly in the New York area and at all the leading summer festivals. A native of San Diego, Chan began his musical education at age 4. After winning prizes at the Tchaikovsky and Indianapolis international violin competitions, he made his New York debut in 1995 at Avery Fisher Hall; he made his Carnegie Hall debut in 2003, performing the Brahms Double Concerto with the MET Orchestra. A student of Dorothy DeLay, Hyo Kang, and Michael Tseitlin, he received his bachelor’s from Harvard and his master’s from Juilliard. He is on the faculty of both Juilliard and the Mannes School of Music, and lives in the New York area with his wife, violinist Catherine Ro, and their children, Annalise, Micah, and Arianna. 4 Juilliard Orchestra Juilliard’s largest and most visible student performing ensemble, the Juilliard Orchestra is known for delivering polished and passionate performances of works spanning the repertoire. Comprising more than 350 students in the bachelor’s and master’s degree programs, the orchestra appears throughout the season in concerts on the stages of Alice Tully Hall, Carnegie Hall, David Geffen Hall, and Juilliard’s Peter Jay Sharp Theater. The orchestra is a strong partner to Juilliard’s other divisions, appearing in opera and dance productions as well as presenting an annual concert of world premieres by Juilliard student composers. The Juilliard Orchestra welcomes an impressive roster of world-renowned guest conductors as well as faculty members Jeffrey Milarsky and David Robertson. The Juilliard Orchestra has toured across the U.S. and throughout Europe, South America, and Asia, where it was the first Western conservatory ensemble to visit and perform following the opening of the People’s Republic of China in 1987, returning two decades later, in 2008. Other ensembles under the Juilliard Orchestra umbrella include the conductor-less Juilliard Chamber Orchestra, Juilliard Wind Orchestra, and new-music groups AXIOM and New Juilliard Ensemble. Orchestra Administration (as of December 14, 2020) Ara Guzelimian, Interim Dean and Director of the Music Division Joseph Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager and AXIOM Manager Daniel Pate, Percussion Coordinator Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Adarsh Kumar, Orchestra Personnel Manager Curtis Stewart, Chamber Music Manager and New Juilliard Ensemble Manager Michael Dwinell, Orchestral Studies Coordinator Alexandra Kapilian, Orchestra Management Apprentice 5 Juilliard Board of Trustees and Administration BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Joshua Black Greg Margolies Emily Wells, Director of Administration Julie Anne Choi Stephanie Palmer McClelland Andrew Gaines, Director of Opera Activities Kent A. Clark Christina McInerney Barbara G. Fleischman Lester S. Morse Jr. Lila Acheson Wallace Library and Doctoral Fellows Program Mary Graham Rebecca Morse Jane Gottlieb, Vice President for Library and Information Resources; Joan W. Harris Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program Matt Jacobson Susan W. Rose Jeni Dahmus Farah, Director, Archives Edward E. Johnson Jr. Jeffrey Seller Alan Klein, Director of Library Technical Services Philippe Khuong-Huu Deborah Simon Nancy Walton Laurie Sarah Billinghurst Solomon Preparatory Division Karen M. Levy William E. "Wes" Stricker, MD Weston Sprott, Dean Teresa E. Lindsay Yael Taqqu Anthony McGill, Artistic Director, Music Advancement Program Laura Linney Reginald Van Lee Rebecca Reuter, Administrative Director, Music Advancement Program Michael Loeb Damian Woetzel Ekaterina Lawson, Director of Admissions and Academic Affairs, Vincent A. Mai Camille Zamora Pre-College Ellen Marcus Anna Royzman, Director of Performance Activities, Pre-College TRUSTEES EMERITI Enrollment Management and Student Development Joan D. Warren, Vice President June Noble Larkin, Chair Emerita Keith R. Gollust Barrett Hipes, Dean of Student Development (in memoriam) Sidney R. Knafel Kathleen Tesar, Associate Dean for Enrollment Management Mary Ellin Barrett Nancy A. Marks Alice Jones, Assistant Dean of Community Engagement and Kenneth S. Davidson Elizabeth McCormack Career Services Joseph W. Polisi, President Emeritus Sabrina Tanbara, Assistant Dean of Student Affairs Vanessa Valenzuela, Assistant Dean, International Advisement and Student Diversity Initiatives JUILLIARD COUNCIL William Buse, Director of Counseling Services Rachel Christensen, Mitchell Nelson, Chair Administrative Director, Alan D. Marks Center for Career Services and Entrepreneurship Michelle Demus Auerbach Terry Morgenthaler Katherine Gertson, Registrar Barbara Brandt John G. Popp Tina Gonzalez, Director of Financial Aid Eric J. Friedman Grace E. Richardson Camille Pajor, Director of Bias Response and Title IX Coordinator Brian J. Heidtke Mary K. Riew Todd Porter, Assistant Dean, Residence Life Peter L. Kend Jeremy T. Smith Howard Rosenberg MD, Medical Director Younghee Kim-Wait Alexander I. Tachmes Dan Stokes, Director of Academic Support and Disability Services Sophie Laffont Anita Volpe Beth Techow, Administrative Director of Health and Counseling Services Jean-Hughes Monier Development Alexandra Wheeler, Vice President and Chief Advancement Officer EXECUTIVE OFFICERS Katie Murtha, Director of Major Gifts AND SENIOR ADMINISTRATION Lori Padua, Director of Planned Giving Damian Woetzel, President Rebecca Vaccarelli, Director of Alumni Relations Kim Furano, Director of Foundation and Corporate Relations Office of the President Robyn Calmann, Director of Special Events Ciaran Escoffery, Chief of Staff Toniya Katsarov, Director of Development Operations Ara Guzelimian, Special Advisor Kathryn Kozlark,
Recommended publications
  • UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA

    UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA

    UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
  • Choose Yourfavorite Three Concerts

    Choose Yourfavorite Three Concerts

    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
  • What Is Conductorcise® ?

    What Is Conductorcise® ?

    WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones.
  • From the Violin Studio of Sergiu Schwartz

    From the Violin Studio of Sergiu Schwartz

    CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor
  • 'Dream Job: Next Exit?'

    'Dream Job: Next Exit?'

    Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices.
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Handel's Oratorios and the Culture of Sentiment By

    Handel's Oratorios and the Culture of Sentiment By

    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
  • Allentown Symhpony Orchestra Audition

    Allentown Symhpony Orchestra Audition

    ALLENTOWN SYMHPONY ORCHESTRA AUDITION REQUIREMENTS VIOLIN SECTION ASSOCIATE CONCERTMASTER & ASSISTANT PRINCIPAL SECTION: Orchestral Excerpts: Brahms Symphony No. 4, Movement I 1. m. 392 to the downbeat of m. 426 Mozart Symphony no. 39, Movement II 2. m. 1 to the end of m. 56 Mozart Symphony no. 39, Movement IV 3. m. 1 to m. 53 Mendelssohn Midsummer’s Night Dream - Scherzo 4. m. 17 to the downbeat of 7 ms. after reh. D Schumann Symphony no. 2 – Movement II - Scherzo 5. Coda (pick-ups to m. 362 to end of m. 397) Prokofiev Symphony no. 1 “Classical” – Movement I 6. beginning to 4 ms. after reh. E R. Strauss Don Juan 7. beginning to the downbeat of 13 ms. after reh. C Beethoven Symphony no. 9 – Movement III 8. Lo’stesso tempo (m. 99 to the end of m. 114) Brahms Symphony no. 1 – Movement IV 9. Reh. A to 2 ms. before reh. B (m. 22 to the end of m. 28) 10. Pick-up to 1 m. before reh. D to the downbeat of 5ms. after reh. F Smetana Bartered Bride Overture (violin 2 part) 11. beginning to the end of m. 33. CONCERTMASTER ASSOCIATE CONCERTMASTER ASSISTANT PRINCIPAL (In addition to Section Repertoire) Rimsky-Korsakov Scheherazade, op. 35 (solos) Movement I 12. m. 14 to the downbeat of m. 18 13. Reh. C to the downbeat of reh. D 14. Reh G to the downbeat of reh. H Movement II 15. m. 1 to the downbeat of m. 5 Movement III 16. 8 ms. after reh. K to the end of b.
  • Tianjin Juilliard Faculty Concert

    Tianjin Juilliard Faculty Concert

    The Tianjin Juilliard School presents Tianjin Juilliard Faculty Concert Monday, February 25, 2019, 7:00pm Cosmos Hall SAINT-SAËNS Fantaisie for Violin and Harp, Op. 124 GLINKA Romance for Violin, Cello, and Harp MOZART Oboe Quartet in F Major, K. 370/368b Intermission BRAHMS Piano Quintet, Op. 34 I. Allegro non troppo II. Andante, un poco Adagio III. Scherzo. Allegro IV. Finale. Poco sostenuto-Allegro non troppo Program order and selections are subject to change. Changes will be announced from the stage. Learn more about The Tianjin Juilliard School by visiting our website: tianjin.juilliard.edu About the Artists Scott Bell Oboist Scott Bell has performed recitals as part of the Music in a Great Space series in Pittsburgh and Reykjavik, Iceland. He has also appeared with the Santa Fe Opera, Glimmerglass Opera, Atlanta Symphony, National Symphony, Minnesota Orchestra, and Milwaukee Symphony. He is a member of the critically acclaimed Pittsburgh Reed Trio. As well as having been a member of the two-time Grammy Award winning Pittsburgh Symphony since 1993, Bell also holds the Mr. and Mrs. William Rinehart endowed oboe chair. Bell has been on the faculties of Northern Illinois University, Tulane University, Trinity College, Wesleyan University, Carnegie Mellon University, and Duquesne University. He attended the Cleveland Institute of Music as a student of legendary oboist and pedagogue John Mack. In 1982, Bell became the first oboist to win First Prize at the prestigious Fernand Gillet Competition. Sheila Browne Recently named William Primrose Memorial Recitalist Sheila Browne has performed across six continents. She premiered a concerto written for her by Kenneth Jacobs at the international viola congresses in Australia and South Africa and recorded it with the Kiev Philharmonic.
  • The Ethics of Orchestral Conducting

    The Ethics of Orchestral Conducting

    Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver.
  • Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance

    Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance

    CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K.