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Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
Music Plus One
presents Music plus One Thursday, March 12, 1987 8:00p.m. in Hamman Hall the RICE UNIVERSITY ~~rd Of Music PROGRAM Sam Mbira D. Martin]enni for four marimbas (b. 1935) David Colson ]. Riely Francis Guillo Rodriguez Richard Skains Two Acts for Three Players Ross Lee Finney Act I (b. 1906) Scene 1. Sweet and Low Scene 2. The Plot Thickens Act II Scene 1. Romance Scene 2. The Chase Richard Nunemaker, clarinet ,. Scott Holshouser, piano Richard Brown, percussion Narrative in Retrospect Ross Lee Finney Brian Connelly, piano Fourteen Ways to Describe Rain Hanns Eisler (in snychronization with the film "Rain" ( 1898-1962) by Joris Ivens) Pierrot Plus ensemble David Colson, conductor INTERMISSION When Soft Voices Die Tobias Picker (b. 1953) Ursula Oppens, piano Hin und zuruck Paul Hindemith ( 1895-1963) Shepherd School of Music Opera Theatre Anthony Addison, director Pierrot Plus ensemble David Colson, conductor Photographing and sound recording are prohibited. We further request that audible paging devices not be used during the performance. Paging arrangements may be made with the ushers. BIOGRAPHIES D. MARTIN JENNI's three BMI Student Composers Awards led to his being nomi nated by Henry Cowell to membership in the American Composers Alliance at the age of seventeen. In 1960, he was a Ford Foundation compo5er-in-residence in Ann Arbor, and he has served on the Board ofthe International Society for Contemporary Music, as a delegate to the Congress at Ghent for New Musical Notation, as the sole U.S. representative to the International Composers Workshop at Burgas, Bulgaria, and music director ofthe Compagnie de DanseJ o Lechay ofMontreal. -
Roger Zare Has Been Praised for His “Enviable Grasp of Orchestration
Roger Zare has been praised for his “enviable grasp of orchestration” (New York Times) and for writing music with “formal clarity and an alluringly mercurial surface.” He was born in Sarasota, FL, and has written for a wide variety of ensembles, from solo instruments to choir to full orchestra. Often inspired by science, nature, astronomy, mathematics, and mythology, his colorfully descriptive works have been performed across the United States and on five continents by such ensembles as the American Composers Orchestra, the Minnesota Orchestra, the Sarasota Orchestra, the Omaha Chamber Symphony, the Aspen Music Festival Contemporary Ensemble, the New York Youth Symphony, the Donald Sinta Quartet, and F-PLUS. An award- winning composer, Zare has received the ASCAP Nissim Prize, three BMI Student Composer Awards, an ASCAP Morton Gould award, a New York Youth Symphony First Music Commission, the 2008 American Composers Orchestra Underwood Commission, a Charles Ives Scholarship from the American Academy of Arts and Letters, a Copland House Residency Award, and many other local and regional honors. He has been composer in residence at the Salt Bay Chamber Music Festival, the Chamber Music Festival of Lexington, the Chesapeake Chamber Music Festival, and the SONAR New Music Ensemble. Festivals and workshops that he has attended include the Aspen Music Festival and School, Cabrillo Festival, the Intimacy of Creativity (Hong Kong), Copland House’s CULTIVATE, the Florida State University Festival of New Music, the New Music Gathering, the Bowling Green State University New Music Festival, the Indiana State University Contemporary Music Festival, the Gabriela Lena Frank Creative Academy of Music, and the Bowdoin International Music Festival. -
Kennesaw State University Wind Ensemble Presents
program Wednesday, November 18, 2015 at 8:00 p.m. Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Forty-fourth Concert of the 2015-16 Concert Season Kennesaw State University Wind Ensemble presents "PREMIERES!" David T. Kehler, conductor Debra Traficante, guest conductor Roger Zare, featured guest composer RON NELSON (b. 1929) Rocky Point Holiday (1969) Debra Traficante, guest conductor ROGER ZARE (b. 1985) Tangents (2015) (*World Premiere) ROBERT SPITALL (b. 1963) Consort for Ten Winds (2005) I. Jeux II. Aubade III. Sautereau Intermission ANDREW BOSS (b. 1988) Tetelestai - A Symphony for Wind Ensemble (2014) (*Georgia Premiere) I. Homage II. Toccata III. Interlude and Finale program notes Rocky Point Holiday | Ron Nelson Ron Nelson received his Bachelor of Music degree in 1952, the Master’s degree in 1953, and the Doctor of Musical Arts degree in 1956, all from the Eastman School of Music at the University of Rochester. He also studied in France at the Ecole Normale de Musique and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson joined the Brown University faculty the following year, and taught there until his retirement in 1993. In 1991, Dr. Nelson was awarded the Acuff Chair of Excellence in the Creative Arts, the first musician to hold the chair. In 1993, hisPassacaglia (Homage on B-A-C-H) made history by winning all three major wind band compositions – the National Association Prize, the American Bandmasters Association Ostwald Prize and the Sudler International Prize. He was awarded the Medal of Honor of the John Philip Sousa Foundation in Washington, DC, in 1994. -
University Band Symphonic Band
Illinois State University ISU ReD: Research and eData School of Music Programs Music Fall 11-16-2018 University Band Symphonic Band Marykatheryne E. Kuhne, Conductor Illinois State University Zachary A. Taylor, Conductor Illinois State University Doug Morin, Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Kuhne,, Marykatheryne E. Conductor; Taylor,, Zachary A. Conductor; and Morin,, Doug Conductor, "University Band Symphonic Band" (2018). School of Music Programs. 4138. https://ir.library.illinoisstate.edu/somp/4138 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University College of Fine Arts School of Music • );. f N LAM MUSIC DIREC T OR Upcoming Events Friday, November 16 Vniversity {J3and Junior Rwtal :Matt D?vi!I bantnnc 8:30pm Kemp Marykatheryne E. Kuhne, conductor Tuesday, November 27 Zachary A. Taylor, cond11ctor Senmr Rearnt Dcrsls Zlmmenmm /11hq 8:00pm Kemp Wednesday, November 28 Afnc;m Prumrrung and Daner Rce1rnl • • 7 30pm Sympfionic {J3and Kemp Thursday, November 29 Music Factors Doug Morin, conductor 8:00 pm Kemp Friday, November 30 s~ruor Rr:cmal· KcYm Rnhtien ebot 6·00 pm Kemp Senior Rcc,tal. T)1lcr \Vall~ wphon111m 7:00 pm Kemp Saturday, December 1 Music for thr Hobclays 3:00 pm and 7,00 pm I CPA Sunday, December 2 Mu~ic for the HolJdnys 300pm Center for the Performing Arts CPA November16,2018 Friday Evening • • 8:00p.m. -
CULTIVATE Five Emerging Composers Selected for Intensive, All-Scholarship Workshop and Mentoring Program; Derek Bermel Named Program Director
NEWS...For Immediate Release June 15, 2012 Contact: Elizabeth Dworkin, Dworkin & Company 914.244.3803, [email protected] Copland House Launches CULTIVATE Five Emerging Composers Selected for Intensive, All-Scholarship Workshop and Mentoring Program; Derek Bermel Named Program Director Cortlandt Manor, NY - Copland House today announces the launch of CULTIVATE, an intensive, annual, all-scholarship creative workshop and mentoring program dedicated to developing the talents of exceptionally gifted American composers in the initial stages of their professional careers. Serving as CULTIVATE Director is Derek Bermel, the acclaimed composer and Founding Clarinetist of the Music from Copland House ensemble. For the inaugural session this summer, five composers from around the U.S. have been invited to participate: Nathan Heidelberger, 25 (Westchester Community Foundation Valentine and Clark Fellow); Roger Zare, 27 (ASCAP Foundation Fellow); Michael Djupstrom, 31; Reena Esmail, 29; and Michael Ippolito, 27. "We hope that CULTIVATE will help these gifted young composers to be better prepared as creators, artists, and leaders in a profoundly-changing musical landscape," said Copland House's Artistic and Executive Director Michael Boriskin. "We intend for this program to contribute substantively to the essential discourse about the role of composers in today's shifting social, civic, and cultural environments. And having worked with Derek -as composer, performer, resident, educator, and general artistic partner, colleague, and friend- since Copland House first opened its doors in 1998, we know that he is singularly-equipped to oversee one of our most important new initiatives to support young composers." "I am excited about steering Copland House's CULTIVATE program," Bermel explained. -
108-Oppens-Plays-Carter-Booklet.Pdf
Ellliott Carter (b. 1908) 1 90+ (1994) (4:55) 2 Retrouvailles (2000) (1:38) 3 Night Fantasies (1980) (19:48) Producer & Engineer: Judith Sherman Engineering & Editing Assistant: Jeanne Velonis Two Diversions (1999) (7:28) Graphic Design: Melanie Germond 4 I. (4:03) 5 Cover Photo: Christian Steiner II. (3:21) Photo of Elliott Carter and Ursula Oppens (p. 3 & traycard): Malcolm Addey 6 Matribute* (2007) (2:05) Recorded February 4–8, 2008, at the American Academy of Arts and Letters, NYC OPPENS Piano Sonata (1945–46) (23:31) Steinway Piano 7 I. Maestoso; Legato scorrevole (10:22) PLAYS Publishers: 8 II. Andante (13:03) 90+, Retrouvailles, Two Diversions for Piano, Two Thoughts about Piano (Caténaires and CARTER Intermittences): Hendon Music, Inc Two Thoughts About the Piano (2005–06) (10:55) Night Fantasies: Associated Music Publishers 9 Intermittences (7:04) Matribute: Boosey & Hawkes, Inc. bk ELLIOTT Piano Sonata: Theodore Pressser Company Caténaires* (3:48) Total: (70:53) CARTER Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. AT 100 The Chicago Classical Recording Foundation’s activities are supported in part by contributions Ursula Oppens piano and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, *World Premiere Recording THE Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. COMPLETE Contributions to The Chicago Classical Recording Foundation may be made at PIANO www.cedillerecords.org or 773-989-2515. -
Report Fall 2019 Scott S
CBDNA REPORT FALL 2019 SCOTT S. HANNA Editor REPORT FALL 2019 IN THIS ISSUE From the Podium – 1 Commissions and Premieres – 2 News – 3 Publications – 4 Book Review – 4 Programs – 6 FROM THE PODIUM Greetings Colleagues! I trust your fall semester has been That name was changed to our current one at the 1947 rewarding, productive, and musically satisfying. Our convention. social networks have allowed us to see each other’s Over the years as the profession changed with the times, programs and performances more than ever before, and the focus of CBDNA has shifted as well. What occupies the number of premieres has been plentiful as usual. us currently? So many things…one look at our When one is elected president of CBDNA, there is a committees will tell you that we are broadly focused on presence of the past looming over everything, even while many fronts, attempting to serve the entire profession of we chart a path forward. In my research through the college band directors. past minutes, I discovered the very first meeting of Thank you all for your patience as we continue to tweak CBDNA, held in Chicago December 22-23, 1941. This and update the new CBDNA web site. was organized by the University of Michigan legendary director William Revelli. Other attendees and presenters Finally, if you are in Chicago for the Midwest Clinic, included Mark Hindsley, Harold Bachman, Graham please join us for the CBDNA Forum on Friday, Overgard, Joseph Gremelspacher, Glenn Bainum, and December 20 at 3:00pm in room Prairie B located on A.A. -
Chamber Orchestra Ithaca College Chamber Orchestra
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-10-2011 Concert: Chamber Orchestra Ithaca College Chamber Orchestra Jeffery Meyer Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Chamber Orchestra and Meyer, Jeffery, "Concert: Chamber Orchestra" (2011). All Concert & Recital Programs. 204. http://digitalcommons.ithaca.edu/music_programs/204 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Chamber Orchestra Jeffery Meyer, conductor Ursula Oppens, piano Heidi Hoffman and Elizabeth Simkin, cellos Ford Hall Saturday, December 10, 2011 8:00 p.m. Program Concerto for 2 Cellos in G minor RV 531 Antonio Vivaldi I. Allegro (1678-1741) II. Largo III. Allegro Heidi Hoffman and Elizabeth Simkin, cellos Piano Concerto (2011) * Laura Kaminsky * North American Premiere (b. 1956) Ursula Oppens, piano Intermission Symphony No. 8 in F Major, Op. 93 Ludwig van Beethoven I. Allegro vivace e con brio (1770-1827) II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace This concert is being webcasted live at http://www.ithaca.edu/music/live/ Please visit us on the web where you can enjoy many of our performances on-demand. Biographies Heidi Hoffman, cello Heidi Hoffman, 'cellist, has toured the United States, South America, Europe, and Japan, with such groups as the American Symphony, Jupiter Symphony, and Tchaikovsky Chamber Orchestra. She has also performed with such diverse ensembles as the Tanglewood Music Center Fellowship Orchestra, Northwest Sinfonietta, Pacific Northwest Ballet, Jimmy Paige and Robert Plant, and Heart. -
American Music Review Formerly the Institute for Studies in American Music Newsletter
American Music Review Formerly the Institute for Studies in American Music Newsletter The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XXXVIII, No. 1 Fall 2008 “Her Whimsy and Originality Really editorial flurry has facilitated many performances and first record- ings. The most noteworthy recent research on Beyer has been Amount to Genius”: New Biographical undertaken by Melissa de Graaf, whose work on the New York Research on Johanna Beyer Composers’ Forum events during the 1930s portrays Beyer’s public persona during the highpoint of her compositional career (see, for by Amy C. Beal example, de Graaf’s spring 2004 article in the I.S.A.M. Newsletter). Most musicologists I know have never heard of the German-born Beyond de Graaf’s work, we have learned little more about Beyer composer and pianist Johanna Magdalena Beyer (1888-1944), who since 1996. Yet it is clear that her compelling biography, as much as emigrated to the U.S. in 1923 and spent the rest of her life in New her intriguing compositional output, merits further attention. York City. During that period she composed over Beyer’s correspondence with Henry fifty works, including piano miniatures, instru- Cowell (held primarily at the New York mental solos, songs, string quartets, and pieces Public Library for the Performing Arts) for band, chorus, and orchestra. This body of helps us construct a better picture of her life work allies Beyer with the group known as the between February 1935, when her letters to “ultramodernists,” and it offers a further perspec- Cowell apparently began, and mid-1941, tive on the compositional style known as “dis- when their relationship ended. -
Tobias Picker
NWCR589 Tobias Picker Violin Concerto (1981) .............................................. (23:39) 1. I – q= 108 ................................................ (7:14) 2. II – q= 66-72 ............................................. (7:23) 3. Interlude ................................................... (1:11) 4. III – q= 92 ................................................ (7:51) Rolf Schulte, violin, American Composers Orchestra, Paul Dunkel, conductor 5. When Soft Voices Die (1977) .......................... (14:00) Ursula Oppens, piano 6. Rhapsody (1978) ............................................ (12:09) Benjamin Hudson, violin Tobias Picker, piano Sextet No. 3 (1977) ................................................ (12:42) 7. Maestoso, con licenza ( θ = 88) .......... (3:07) 8. q = 40 ................................................. (5:15) 9. q = 108 ............................................... (4:20) Speculum Musicae 10. Romance (1979) ............................................. (9:32) Linda Quan, violin; Aleck Karis, piano Total Playing Time: 72:57 1980, 1982 & © 1991 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes Like so many others of his generation, Tobias Picker ( b An early chamber work like Sextet No. 3 (1976), written at 1954) found his compositional persona within an academic the end of his study with Wuorinen, reveals both his debt to environment that preached the virtues of twelve-tone his teacher and his own restless temperament. The technique. But although Picker embraced the method,