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Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
“Voices of the People”
The UCLA Herb Alpert School of Music Department of Music Presents UCLA Symphonic Band Travis J. Cross Conductor Ian Richard Graduate Assistant Conductor UCLA Wind Ensemble Travis J. Cross Conductor “Voices of the People” Wednesday, May 27, 2015 8:00 p.m. Schoenberg Hall — PROGRAM — The Foundation ........................................................... Richard Franko Goldman Symphony No. 4 for Winds and Percussion ......................... Andrew Boysen, Jr. Fast Smooth and Flowing Scherzo and Trio Fast Salvation Is Created ................................................................. Pavel Chesnokov arranged by Bruce Houseknecht Fortress ........................................................................................... Frank Ticheli Undertow ........................................................................................ John Mackey — INTERMISSION — Momentum .................................................................................... Stephen Spies world premiere performance Vox Populi ........................................................................... Richard Danielpour transcribed by Jack Stamp Carmina Burana .................................................................................... Carl Orff transcribed by John Krance O Fortuna, velut Luna Fortune plango vulnera Ecce gratum Tanz—Uf dem anger Floret silva Were diu werlt alle min Amor volat undique Ego sum abbas In taberna quando sumus In trutina Dulcissime Ave formosissima Fortuna Imperatrix Mundi * * * Please join the members of the -
Henry Brant on the Birth of Angels and Devils by Nancy Toff
The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience. -
Here Center and Performed There for 20 Seasons
Merkin Hall at Kaufman Music Center Mindy Kaufman joined the New York Phil- music from Mozart concerti to Brazilian samba Sunday, November 17, 2019 at 8 pm harmonic in 1979 at age 22, after playing for worldwide. Paula Robison was a founding artist three years with the Rochester Philharmonic. She member of the Chamber Music Society of Lincoln graduated from the Eastman School of Music, where Center and performed there for 20 seasons. The New York Flute Club she studied with Walfrid Kujala, James Galway, She holds the Donna Hieken Flute Chair at New founded 1920 by Georges Barrère and Bonita Boyd. Ms. Kaufman has performed as England Conservatory. a soloist with the New York Philharmonic and for one season substituted as principal flute with the Nancy Toff is the author of The Development of Centennial Gala Concert Milwaukee Symphony. Ms. Kaufman has recorded the Modern Flute, The Flute Book, and Monarch more than 40 films. of the Flute: The Life of Georges Barrère, and was curator of the exhibition “Georges Barrère and the GEORGES BARRÈRE Nocturne (1913) Robert Langevin joined the New York Phil- Flute in America” at the New York Public Library (1876-1944) ROBERT LANGEVIN, flute harmonic as principal flute in 2001. He was for the Performing Arts, for which she wrote the BRYAN WAGORN, piano previously principal flute of the Pittsburgh Symphony catalog. She received the Dena Epstein Award Orchestra and taught at Duquesne University. for Archival and Library Research in American ELDIN BURTON Sonatina (1948) He served as associate principal of the Montreal Music from the Music Library Association and the (1913-1981) Allegretto grazioso Symphony Orchestra for 13 years and as a member National Flute Association’s 2012 Distinguished Andantino Sognando of Musica Camerata Montreal and l’Ensemble de Service Award. -
Composing Freedom: Elliott Carter's 'Self-Reinvention' and the Early
Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War Daniel Guberman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2012 Approved By, Brigid Cohen, chair Allen Anderson Annegret Fauser Mark Katz Severine Neff © 2012 Daniel Guberman ALL RIGHTS RESERVED ii ABSTRACT DANIEL GUBERMAN: Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War (Under the direction of Brigid Cohen) In this dissertation I examine Elliott Carter’s development from the end of the Second World War through the 1960s arguing that he carefully constructed his postwar compositional identity for Cold War audiences on both sides of the Atlantic. The majority of studies of Carter’s music have focused on technical aspects of his methods, or roots of his thoughts in earlier philosophies. Making use of published writings, correspondence, recordings of lectures, compositional sketches, and a drafts of writings, this is one of the first studies to examine Carter’s music from the perspective of the contemporary cultural and political environment. In this Cold War environment Carter emerged as one of the most prominent composers in the United States and Europe. I argue that Carter’s success lay in part due to his extraordinary acumen for developing a public persona. And his presentation of his works resonated with the times, appealing simultaneously to concert audiences, government and private foundation agents, and music professionals including impresarios, performers and other composers. -
Sir James Galway : Living Legend
VOLUME XXXIV , NO . 3 S PRING 2009 THE LUTI ST QUARTERLY SIR JAMES GALWAY : LIVING LEGEND Rediscovering Edwin York Bowen Performance Anxiety: A Resource Guide Bright Flutes, Big City: The 37th NFA Convention in New York City THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIV, N O. 3 S PRING 2009 DEPARTMENTS 5 From the Chair 59 New York, New York 7 From the Editor 63 Notes from Around the World 11 Letters to the Editor 60 Contributions to the NFA 13 High Notes 61 NFA News 16 Flute Shots 66 New Products 47 Across the Miles 70 Reviews 53 From the 2009 Convention 78 NFA Office, Coordinators, Program Chair Committee Chairs 58 From Your Convention Director 85 Index of Advertisers 18 FEATURES 18 Sir James Galway: Living Legend by Patti Adams As he enters his 70th year, the sole recipient of the NFA’s 2009 Lifetime Achievement Award continues to perform for, teach, and play with all kinds of people in all forms of mediums throughout the world. 24 The English Rachmaninoff: Edwin York Bowen by Glen Ballard Attention is only now beginning to be paid to long neglected composer York Bowen (1884–1961). 28 York Bowen’s Sonata for Two Flutes, op.103: The Discovery of the Original “Rough and Sketchy Score” by Andrew Robson A box from eBay reveals romance, mystery, and an original score. 24 32 Performance Anxiety: A Resource Guide compiled by Amy Likar, with introduction by Susan Raeburn Read on for an introduction to everything you ever wanted to know (but were afraid to ask) about performance anxiety and related issues. -
12.05 Wind Ensemble.Indd
UPCOMING EVENTS THEATRE: Little Women by Louisa May Alcott Directed by Laura Jones 11/29, 30 & 12/5, 6, 7, 12, 13, 14 • University Theatre • 7:30 p.m. 12/1, 8, 15 • University Theatre • 7:30 p.m. DANCE: Dance Major Capstone Concert CSU WIND ENSEMBLE 12/6 & 7 • University Dance Theatre • 7:30 p.m. Dr. Steven Davis, Guest Conductor 12/7 • University Dance Theatre • 2:00 p.m. Concert Orchestra Concert: “La Dolce Musica” 12/8 • Organ Recital Hall • 7:30 p.m. Virtuoso Series Concert: New CSU Faculty Christopher Van Hof, Trombone 12/9 • Organ Recital Hall • 7:30 p.m. Symphonic Band Concert 12/12 • Griffin Concert Hall • 7:30 p.m. Annual Holiday Gala Concert 12/14 • Trinity United Methodist Church, Denver • 7:30 p.m. event calendar • e-newsletter registration www.uca.colostate.edu 5th Anniversary General information: (970) 491-5529 Tickets: (970) 491-ARTS (2787) Meet Me at the UCA www.CSUArtsTickets.com Season “Green” Sponsor Thank you for your continued support Thursday, December 5, 2013 Meet Me at the UCA at Me Meet Griffin Concert Hall, University Center for the Arts Friends of the UCA at Colorado State University connects you to students and faculty who inspire, teach, and heal at Colorado State. Thank you to our PROGRAM alumni and patrons for you generosity. Please note that names featured are those of our supporters from July 1, 2012 through September 1, 2013. Whoopee in D major (1938) Henry Brant (1913-2008) 5th Anniversary Season Supporters Benefactor: $5,000 and Above Dr. -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). -
Ofmus1c PROGRAM
GUEST ARTIST RECITAL STEVE PARKER, Trombone The Language and Sound Project Sunday, January 24, 2010 8:00 p.m. Lillian H Duncan Recital Hall the RICE UNIVERSITY ~ ofMus1c PROGRAM Spoletude (2006) John Kennedy Part 1. Acoustic Trombone Two-Eyed Elk (2009) Naftali Schindler Sometimes Words (2008) Richard Lavenda Here is a sequence ofsigns, Timothy McCormack each having a sound and a meaning (2008) Charades (2008) Arthur Gottschalk Part 2. Electro-Acoustic Trombone Bach Speaks (2008) Gene Pritsker Gavagai (2008) Kamala Sankaram What Jesus Looks Like (2009) Michael Vincent Chimpanzees (2008) Corey Dargel Part 3. Trombone with Video I was like WOW Jacob ter Veldhuis Video by Jan Willem Looze The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use ofrecording equipment are prohibited. 1 PROJECT CONCEPT I have always been fascinated by the intersection of language and sound. From the melody of human conversation to the Sequenzas ofBerio, I have continued to find interesting parallels in these two areas. To this end, I have commissioned ten composers to write me pieces that explore the concept of language and sound. My only requirement for each commission was that the duration last less than five minutes and somehow explore the theme oflanguage and sound. The results have been extremely surprising and varied. Each piece approaches this theme from a unique angle: one composer created a piece that explores the language of chimpanzees. Another com posed a work written in the Tuvan-style of throat singing. -
An Annotated Bibliography and Performance Commentary of The
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-1-2016 An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble Stephen Andrew Hunter University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Fine Arts Commons, Music Education Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hunter, Stephen Andrew, "An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble" (2016). Dissertations. 333. https://aquila.usm.edu/dissertations/333 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. AN ANNOTATED BIBLIOGRAPHY AND PERFORMANCE COMMENTARY OF THE WORKS FOR CONCERT BAND AND WIND ORCHESTRA BY COMPOSERS AWARDED THE PULITZER PRIZE IN MUSIC 1993-2015, AND A LIST OF THEIR WORKS FOR CHAMBER WIND ENSEMBLE by Stephen Andrew Hunter A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Catherine A. Rand, Committee Chair Associate Professor, School of Music ________________________________________________ Dr. -
Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
^ UNIVERSITUI^IYLIXOII Y! OF Southampton University of Southampton Research Repository ePrints Soton Copyright Notice Copyright and Moral Rights for this chapter are retained by the copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This chapter cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. the content must not be changed in any way or sold commercially in any format or medium without the formal permission of the rights holder. When referring to this work state full bibliographic details including the author of the chapter, title of the chapter, editor of the book , title of the book, publisher, place of publication, year of publication, page numbers of the chapter Author of the chapter David Nicholls Title of the chapter Avant-garde and experimental music Editor/s David Nicholls Title of the book The Cambridge History of American Music ISBN 0521454298 Publisher Cambridge University Press Place of publication Cambridge, UK Year of publication 1998 Chapter/Page numbers 517-534 ig. Avant-garde and experimental music DAVID NICHOLLS Although the terms "avant-garde" and "experimental" are often used to categorize radical composers and their works, it has been noted that "'avant garde' remains more a slogan than a definition" (Griffiths 1980, p. 743) and that "'experimental music' is ill-defined and the concept it is used to describe is vague" (Rockwell 1986, p. 91). (In fairness to Rockwell, he does also stress the "bolder, more individualistic [and] eccentric" aspects of experimentalism, which suggest an "untrammeled willingness to probe the very limits of music" [p.