Klif Hodgkin to Present Bassoon Recital Feb. 6 at UM

Total Page：16

File Type：pdf, Size：1020Kb

Klif Hodgkin to Present Bassoon Recital Feb. 6 at UM

University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 2-5-1973 Klif Hodgkin to present bassoon recital Feb. 6 at UM University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Klif Hodgkin to present bassoon recital Feb. 6 at UM" (1973). University of Montana News Releases, 1928, 1956-present. 26202. https://scholarworks.umt.edu/newsreleases/26202 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. -- ~ news Information Services niver 1ty o on ana missoula, montana 59801 • (406) 243-2522 IMMEDIATELY sale/bb 2-5-73 local KLIF HODGKIN TO PRESENT BASSOON RECITAL FEB. 6 AT ~1 MISSOULA-- A student recital featuring Klif Hodgkin on the bassoon will be presented at 8:15 p.m. Tuesday (Feb. 6) in the University of r.1ontana Music Recital Hall. UM music faculty assisting will be Constance Speake, assistant professor, piano, and Dr. Edwin Rosenkranz, associate professor, bassoon. Eugene Andrie, professor, will conduct the Little Symphony. Others assisting will include Janet Boone Eckberg, flute, and Forest Cornwell, Janice Lee Clark, Karen Eleanor Cochran and David W. Stangland, bassoons. The program is open to the public without charge under the sponsorship of the UM School of Fine Arts and Department of Music. \Vorks to be presented are "Senate for Bassoon and Piano" by Paul Hindemith, "Bachianas Brasilieras No. 6" by Heitor Villa-Lobos, "Concerto in Bb" by J. C. Bach, "Le Phenix" by M. Corrette and "Humorous Scherzo, Op. 12, No. 9" by Prokofieff. ### .

Copy Link

Recommended publications

PAUL HINDEMITH (1895-1963) in the Later Years of His Life Paul Hindemith Had Become a Somewhat Neglected Figure
TEMPO A QUARTERLY REVIEW OF MODERN MUSIC Edited by Colin Mason © 1964 by Boosey & Hawkes Music Publishers Ltd. PAUL HINDEMITH (1895-1963) In the later years of his life Paul Hindemith had become a somewhat neglected figure. Once ranked with Stravinsky and Bartok among the most stimulating experimenters of the 1920s, he later began to lose his hold on the public, and his influence on younger composers declined, especially after 1945, when serialism started to spread widely, leaving him very much isolated in his hostility to it. Now that that issue no longer greatly agitates the musical world, it is becom- ing possible to assess more clearly the importance and individuality of his con- tribution to 20th-century music. An obvious comparison is with his compatriot of a generation earlier, Max Reger, who was similarly prolific, and in his early days was reckoned daring, but whose work later revealed an academic streak. In Hindemith one might call it rather an intellectual, rational and philosophical streak, not fatal but injurious to the spontaneous play of his musical imagination. As early as 193 1 he wrote an oratorio Das Unaufhorliche, to a text by Gottfried Benn which mocks at human illusions of what is enduring, including (besides learning, science, religion and love) art. Hindemith's choice of such a subject seems to have been symptomatic of some scepticism on his own part about art, and although his innate creative musical genius could not be repressed, it was made to struggle for survival against the theoretical restraints that he insisted on imposing upon it.
[Show full text]
University of Oklahoma
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities.
[Show full text]
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant
PROGRAM ONE HUNDRED TWENTY-SIXTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Friday, October 14, 2016, at 8:00 Tuesday, October 18, 2016, at 7:30 Riccardo Muti Conductor John Sharp Cello Dvořák Husitská Overture, Op. 67 Schumann Cello Concerto in A Minor, Op. 129 Not too fast— Slow— Very lively JOHN SHARP INTERMISSION Hindemith Concert Music for String Orchestra and Brass, Op. 50 Part 1: Moderately fast and with power—Very broad, but always flowing Part 2: Lively—Slow—Lively Mussorgsky, orch. Ravel Pictures from an Exhibition Promenade 1. Gnomus Promenade— 2. The Old Castle Promenade— 3. Tuileries 4. Bydlo Promenade— 5. Ballet of the Chicks in their Shells 6. Samuel Goldenberg and Schmuyle 7. The Market Place at Limoges 8. Catacombs: Sepulcrum romanum— Promenade: Con mortuis in lingua mortua 9. The Hut on Hen’s Legs (Baba-Yaga)— 10. The Great Gate of Kiev This evening’s performance is generously sponsored by Margot and Josef Lakonishok. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM for their generous support as media sponsors of the Tuesday series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Antonín Dvořák Born September 8, 1841; Mühlhausen, Bohemia (now Nelahozeves, Czech Republic) Died May 1, 1904; Prague, Bohemia Husitská Overture, Op. 67 This triumphant music located in the heart of what is today Pilsen, was closed the first concert later established in honor of his visit.) During ever given by the Chicago the exposition, Thomas arranged to send a string Orchestra, on October 16, quartet to the composer’s hotel to read through a 1891.
[Show full text]
Hindemith Viola Project
HINDEMITH VIOLA PROJECT CONCERT II DOCTORAL RECITAL KATHERINE LEWIS, Viola ,,, Wednesday, March 8, 2006 8:00 p.m. Lillian H. Duncan Recital Hall Z975 -2005 Ce l e b ratin g ~1/J Years THE SHEPHERD SCHOOL ~ SIC RICE UNIVERSITY The Hindemith Viola Project brings together fifteen viola students from the combined studios of Karen Ritscher and James Dunham to perform this unique series of concerts featuring music for the viola by the eminent German composer and violist Paul Hindemith. These stud ents have devoted much of the school year to learning and rehearsing this music in preparation for these concerts, and they participated in a series of all-Hindemith studio classes. Hindemith was a prolific com poser in all genres, and his numerous works for the viola occupy a sig nificant portion of the repertoire for the instrument. Hindemith's four Solo Sonatas and three Sonatas for Viola and Piano are presented on Tuesday and Thursday in a complete cycle that will demonstrate the virtuosic and sonorous qualities of the viola. These sonatas, composed between 1919 and 1939, are written in a variety of styles that reflect Hindemith's different influences and compositional phases. In addition, two chamber concertos are performed on Wednesday with orchestra: Kammermusik No. 5 and Trauermusik. All of these works were writ ten for Hindemith's own performance, and due to his intimate know ledge of the viola, they challenge the technique and skill of the violist in new and innovative ways. It is our hope that throughout the week, this project will not only showcase the talents and achievements of the violists at the Shepherd School, but also promote Paul Hindemith, who many consider to be the greatest and most creative violist-composer of all time.
[Show full text]
Early Music Influences in Paul Hindemith's Compositions for the Viola Domenico L
James Madison University JMU Scholarly Commons Dissertations The Graduate School Fall 2014 Early music influences in Paul Hindemith's Compositions for the Viola Domenico L. Trombetta James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Trombetta, Domenico L., "Early music influences in Paul Hindemith's Compositions for the Viola" (2014). Dissertations. 5. https://commons.lib.jmu.edu/diss201019/5 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Early Music Influences in Paul Hindemith’s Compositions for the Viola Domenico Luca Trombetta A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2014 To my wife Adelaide ii CONTENTS DEDICATION…………………………………………………………………………….ii LIST OF MUSICAL EXAMPLES……………………………………………………….iv LIST OF FIGURES………………………………………………………………………vi ABSTRACT……………………………………………………………………………..vii INTRODUCTION………………………………………………………………………...1 I. The Origins of Hindemith’s Interest in Early Music………………………………….5 II. The Influence of Bach’s D-Minor Chaconne for Solo Violin on Hindemith’s Viola Sonatas op. 11, no.5 and op. 31, no.4………………………………………………..14 III. Viola Concerto Der Schwanendreher………………………………………………..23 IV. Trauermusik for Viola and Strings…………………………………………………..35 CONCLUSION…………………………………………………………………………..42 BIBLIOGRAPHY………………………………………………………………………..45 APPENDICES…………………………………………………………………………...48 A. Musical Examples B. Figures iii Musical Examples 1a Hindemith, Solo Viola Sonata Op. 11, No. 5, movt. IV (In Form und Zeitmass einer Passacaglia), Theme…………………............................................49 1b Bach, Chaconne, Theme………………………………………………………....49 1c Hindemith, Solo Viola Sonata Op.
[Show full text]
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Ragtime (Well-Tempered), for Large Orchestra Symphony, Mathis der Maler Paul Hindemith aul Hindemith sowed plenty of wild oats his teaching position at the Hochschule für Pduring his apprentice years as a com- Musik in Berlin. poser. In 1921, the year of Ragtime (Well- By 1938 Hindemith’s situation had grown Tempered), he included a fire siren and a so dire that he left for Switzerland, and in canister of sand in the instrumentation for 1940 he proceeded to the United States. That his Kammermusik No. 1, and provoked scan- autumn he joined the faculty of Yale Univer- dal by parodying both the words and music sity, where he remained until 1953 as profes- of Wagner’s Tristan und Isolde in his lurid sor of music theory and director of the Yale comic opera Das Nusch-Nuschi. By 1929 he Collegium Musicum (the early-music ensem- had managed to spotlight an apparently ble). He became an American citizen in 1946, nude soprano at center-stage in his opera Neues vom Tage. During that decade he was also immersed in many other musical activ- In Short ities: playing viola in the Amar String Quar- Born: November 16, 1895, in Hanau, near tet, which championed new music along Frankfurt, Germany with the classics; serving on the program committee of the Donaueschingen Festival, Died: December 28, 1963, in Frankfurt a hotbed of the latest sounds; embarking on Works composed and premiered: Ragtime a lifelong fascination with early music (mas- (Well-Tempered), composed 1921, incorporating tering the Baroque-era viola d’amore); even a theme from Johann Sebastian Bach’s Fugue creating some of the first repertoire in the in C minor from the Well-Tempered Clavier, incipient field of electronic music.
[Show full text]
Schumann-Masters-Report
Copyright by Scott Charles Schumann 2011 The Report Committee for Scott Charles Schumann Certifies that this is the approved version of the following report: Interpreting the Mourning Process Through Hindemith’s Trauermusik APPROVED BY SUPERVISING COMMITTEE: Supervisor: David Neumeyer James Buhler Interpreting the Mourning Process Through Hindemith’s Trauermusik by Scott Charles Schumann, B.Music Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin May 2011 Abstract Interpreting the Mourning Process Through Hindemith’s Trauermusik Scott Charles Schumann, M.Music The University of Texas at Austin, 2011 Supervisor: David Neumeyer Paul Hindemith traveled to London in 1936 intending to give the British premiere of his concerto for viola and chamber orchestra titled Der Schwanendreher on 22 January. The premiere – and much else – was put into question a few minutes before midnight on 20 January 1936, however, when King George V passed away. The next day, Hindemith worked from 11:00 A.M. – 5:00 P.M. composing Trauermusik [Music of Mourning] for solo viola and string orchestra as a tribute to the recently deceased King of England. Thus, the circumstances surrounding the compositional origin of this piece invite a discussion of mourning in both a historical and musical context. In this paper, I will touch on issues such as how mourning defines us as humans and how emotions associated with mourning can be represented in music and experienced by the listener. I will illustrate how mourning helps us to understand the meaning of Trauermusik when it was written and first performed in 1936, following the death of iv King George V.
[Show full text]
Rep Decks™ Created by Kenneth Amis Copyright © 2018 by Amis Musical Circle ~ 1 ~
™ ANSWER KEY Symphony No.3 Symphony No.7 in La Mer Piccolo, Erste Abtheilung E minor 3 2. Jeux de Vagues Flute 2, No.1 5. Rondo—Finale { Claude Debussy, Clarinet 1 2 9 1862–1918, France Gustav Mahler, 1860– --- Gustav Mahler, 1860– --- } 1911, Bohemia } 1911, Bohemia Firebird (1910) (Austrian (Austrian The Firebird’s 4 Empire/Czech Empire/Czech Supplications Flute 3 { Republic) Republic) Igor Stravinsky, 1882– Lieutenant Kijé Images No.2 Ibéria 1971, Russia Symphonic Suite, 1. Par les rues et les Capriccio espagnol, = Op.60 chemins --- Op.34 3 } 1. Birth of Kijé --- Claude Debussy, 5 3. Alborada } --- Sergei Prokofiev, 1862–1918, France { Nikolai Rimsky- 1891–1953, Ukraine Piano Concerto No.1, Korsakov, 1844–1908, (Russian Empire) S.124 Russia English Four Sea Interludes, J 3. Allegro vivace Háry János-Suite Horn, Op.33a } 6. Entrance of the 4 Franz Liszt, 1811– Horn 3 Piccolo 1/2, 4. Storm --- 1886, Hungary 6 Emperor and His } E Clarinet, Benjamin Britten, (Austrian Empire) { Court Ó 1913–1976, England Piccolo, Zoltán Kodály, 1882– Cornet 1/2/3 New England Flute 1/2, 1967, Hungary Triptych Bolero Oboe 1/2, Carmen Suite No.2 5 1. Be Glad Then --- Clarinet 1/2, 7 Danse Bohême } America Bassoons, --- Q { Georges Bizet, 1838– William Schuman, Horn } 1875, France 1910–1992, U.S.A 1/2/3/4, Burleske, TrV 145 Maurice Ravel, 1875– Trumpet 8 Scheherazade, Op.35 Richard Strauss, --- 1937, France 1/2/3, Violin { 3. The Young Prince 1864–1949, Germany and The Young 2, Violas, 6 Cellos The Abduction from Princess --- the Seraglio } Symphony No.9, 9 Nikolai Rimsky- Overture --- Op.125 { Korsakov, 1844–1908, Wolfgang Mozart, Russia 1.
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960
SEVENTY-NINTH SEASON, 1959-1960 Boston Symphony Orchestra CHARLES MUNCH, Music Director > Richard Burgin, Associate Conductor C ON CERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1960, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [769] CAN YOU DESCRIBE A LIFE INSURANCE TRUST? ® If you are unaware of the many advantages of a Life Insurance Trust, it may be that a talk with a Shawmut Trust Officer would show you precisely how this type of protection would best suit your insurance needs. For example, your life insurance can very easily be arranged to provide life -long support for your widow plus a substantial inheritance for your children. In Shawmut's Personal Trust Department we would be glad to discuss your complete insurance program . with you, your life insurance counsellor and your attorney, or simply write for a copy of our brochure "A Modern Life Insurance Program." Naturally, there would be no obligation. Write or call The Personal Trust Department The V^ational Shawmut Bank Tel.
[Show full text]
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
[Show full text]
The University of Chicago an Experience-Oriented
THE UNIVERSITY OF CHICAGO AN EXPERIENCE-ORIENTED APPROACH TO ANALYZING STRAVINSKY’S NEOCLASSICISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY SARAH MARIE IKER CHICAGO, ILLINOIS AUGUST 2017 CONTENTS List of Figures ...................................................................................................................................... iv List of Tables ..................................................................................................................................... viii Acknowledgments ............................................................................................................................... ix Abstract .................................................................................................................................................. x Introduction: Analysis, Experience, and Experience-Oriented Analysis ..................................... 1 1 Neoclassicism, Analysis, and Experience ................................................................................ 10 1.1 Neoclassicism After the Great War ................................................................................. 10 1.2 Analyzing Neoclassicism: Problems and Solutions ....................................................... 18 1.3 Whence Listener Experience? ........................................................................................... 37 1.4 The Problem of Historicism ............................................................................................
[Show full text]
ROBERTO DIAZ, Viola
GUEST ARTIST RECITAL L l .. )"' ~ ROBERTO DIAZ, viola ..... tv JEANNE KIERMAN, piano Monday, January 23, 1995 6:30p.m. Lillian H. Duncan Recital Hall r) RICE UNNERSITY PROGRAM Divertimento in D Major Joseph Haydn "( Adagio (1732-1809) j j 4( .. I l l -. j I Suite Populaire Espagnole Manuel de Falla r- 1 ' El Paiio Moruno (1876-1946) Nana .,..._,1! Polo Sonata for Solo Viola, Op. 25 No.1 Paul Hindemith Breit (1895-1963) Sehr frisch und straff Rasendes Veitmass. Wild. Tonschonheit ist Nebensache. Sonata for Viola and Piano, Op.14 7 a Dmitri Shostakovich Moderato (1906-1975) Everyone is invited to attend the master class to be given ·by Mr. Diaz following this recital at 7:15p.m. in Hirsch Orchestra Rehearsal Hall. BIOGRAPHY Quickly becoming one of today's most sought-after violists, ROBERTO DIAZ enjoys a successful career in solo, chamber music, teaching, and orchestral performance. He has been the recipient of numerous awards, and prize winner in several competitions including the Naumburg, Munich, and Washington International Competition. He has performed in the United States, Europe, and Central and South America in recital and as soloist with such orchestras as the Bayerischer Rundfunk (Germany), the National Symphony, the Boston l Pops, and the Savannah Symphony, to name a few. Recital engage t ments have taken him to several important venues in Boston, Los Angeles, Washington, D. C., Chicago, Baltimore, Atlanta, and Moscow, where he was re-engaged immediately to perform in the city's Great Hall. He has also toured extensively in his native Chile as soloist and recitalist.
[Show full text]