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Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn
The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence....... -
557242Bk Delius EC Sono 26/2/04 8:39 PM Page 12
557242bk Delius EC Sono 26/2/04 8:39 PM Page 12 DDD Tintner Memorial Edition Vol.10 8.557242 DELIUS Violin Concerto and other orchestral music Philippe Djokic, Violin Symphony Nova Scotia • Georg Tintner 557242bk Delius EC Sono 26/2/04 8:39 PM Page 2 TINTNER MEMORIAL EDITION • VOLUME 10 TINTNER MEMORIAL EDITION • 12 VOLUMES Frederick Delius (1862-1934) Vol.1 MOZART Symphonies Nos. 31 ‘Paris’, 35 ‘Haffner’ & 40 8.557233 Violin Concerto • Irmelin Prelude • La Calinda • The Walk to the Paradise Garden Vol. 2 SCHUBERT Symphonies Nos. 8 ‘Unfinished’ & 9 ‘The Great’ 8.557234 Intermezzo from ‘Fennimore and Gerda’ • On Hearing the First Cuckoo in Spring With spoken introduction by Georg Tintner Summer Night on the River • Sleigh Ride Performances recorded 5-6th December 1991 Vol. 3 BEETHOVEN Symphony No. 4 / SCHUMANN Symphony No.2 8.557235 Though Delius was born (as Fritz Theodore Albert, on amanuensis Eric Fenby in 1931. With spoken introductions by Georg Tintner 29th January 1862) in Bradford, England, of German In 1897 Delius completed his third opera, Koanga, Vol. 4 HAYDN Symphonies Nos.103 ‘Drumroll’ & 104 ‘London’ 8.557236 parents, he was the true cosmopolitan. He lived most of about Creole society in Louisiana and thus the first With spoken introduction by Georg Tintner his life in France, Scandinavia and America, and his African-American opera. The dance La Calinda, which music shows traces of them all. After a rather stern appeared in an earlier version in the Florida Suite, is Vol. 5 BRAHMS Symphony No. 3 & Serenade No. 2 8.557237 upbringing Delius was compelled to join the family one of Delius’ best-known and loveliest pieces. -
Programnotes Brahms Double
Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio 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 Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R. -
Program Notes by Jonathan Leshnoff and Dr
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season June 6, 7, 8 and 9, 2019 MANFRED HONECK, CONDUCTOR MICHAEL RUSINEK, CLARINET NANCY GOERES, BASSOON CHRISTINA LANDSHAMER, SOPRANO JENNIFER JOHNSON CANO, MEZZO-SOPRANO WERNER GURA, TENOR SHENYANG, BASS MENDELSSOHN CHOIR OF PITTSBURGH MATTHEW MEHAFFEY, DIRECTOR JONATHAN LESHNOFF Double Concerto for Clarinet and Bassoon I. Slow II. Waltz III. Fast Mr. Rusinek Ms. Goeres WORLD PREMIERE COMMISSIONED BY THE PITTSBURGH SYMPHONY ORCHESTRA Intermission LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Opus 125, “Choral” I. Allegro ma non troppo, un poco maestoso II. Molto vivace — Presto — Molto vivace III. Adagio molto e cantabile IV. Finale, with soloists and chorus: Presto — Allegro assai — Allegro assai vivace Ms. Landshamer Ms. Cano Mr. Gura Shenyang Mendelssohn Choir of Pittsburgh June 6-9, 2019, page 1 PROGRAM NOTES BY JONATHAN LESHNOFF AND DR. RICHARD E. RODDA JONATHAN LESHNOFF Double Concerto for Clarinet and Bassoon (2018) Jonathan Leshnoff was born in New Brunswick, New Jersey on September 8, 1973, and resides in Baltimore, Maryland. His works have been performed by more than 65 orchestras worldwide in hundreds of orchestral concerts. He has received commissions from Carnegie Hall, the Philadelphia Orchestra, and the symphony orchestras of Atlanta, Baltimore, Dallas, Kansas City, Nashville, and Pittsburgh. His Double Concerto for Clarinet and Bassoon was commissioned by the Pittsburgh Symphony and co-commissioned by the Greenwich Village Orchestra and International Wolfegg Concerts of Wolfegg, Germany. These performances mark the world premiere. The score calls for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings. -
The Solo Voice
concert program viii: The Solo Voice JOHANN SEBASTIAN BACH (1685–1750) August 9 and 10 Concerto for Violin and Oboe in c minor, BWV 1060 (ca. 1736) Allegro Friday, August 9, 8:00 p.m., Stent Family Hall, Menlo School Adagio Allegro Saturday, August 10, 6:00 p.m., The Center for Performing Arts Kristin Lee, solo violin; James Austin Smith, oboe; Hyeyeon Park, harpsichord; Arnaud Sussmann, at Menlo-Atherton Benjamin Beilman, violins; Richard O’Neill, viola; Dmitri Atapine, cello; Scott Pingel, bass PROGRAM OVERVIEW FRANZ SCHUBERT (1797–1828) The season comes to a riveting close as we celebrate the exuber- Rondo in A Major for Violin and String Quartet, D. 438 (1816) ance of Bach’s music for solo instruments and the virtuosity of the Sean Lee, solo violin; Jorja Fleezanis, Benjamin Beilman, violins; Richard O’Neill, viola; David Finckel, cello soloist. With its origins as an orchestral concerto, Bach’s Concerto WOLFGANG AMADEUS MOZART (1756–1791) for Violin and Oboe revels in the novelty of a double concerto, a Piano Concerto no. 12 in A Major, K. 414 (1782) masterly example of a virtuosic pairing of strings and wind instru- Allegro Andante (after J. C. Bach) ments. Schubert’s Rondo in A Major equally captures the essence Rondeau: Allegretto of the virtuosic violin with its rambunctious finale. Mozart wrote his Gilbert Kalish, piano; Arnaud Sussmann, Jorja Fleezanis, violins; Richard O’Neill, viola; David Finckel, cello; Twelfth Piano Concerto shortly after the death of Bach’s son Carl Scott Pingel, bass Philipp Emanuel, a close friend and mentor. The program con- INTERMISSION PROGRAMSCONCERT cludes with the Double Concerto for Violin, Piano, and Strings by Felix Mendelssohn, one of the most devoted heirs of Bach’s legacy, FELIX MENDELSSOHN (1809–1847) responsible for launching the modern Bach revival. -
Download Booklet
Vivaldi x2 Double Concertos for Horns, Oboes, Violin & Cello, Oboe & Bassoon ANTONIO VIVALDI 1678–1741 Concerto in F RV 539 for 2 horns, strings & continuo Concerto in B flat RV 547 for violin, cello, strings & continuo 1 I. Allegro 3.09 17 I. Allegro 3.58 2 II. Larghetto 2.29 18 II. Andante 2.01 3 III. Allegro 2.42 19 III. Allegro molto 3.07 sponsored by Michael & Licia Crystal dedicated by Camilla Scarlett to the memory of her father Michael Scarlett Concerto in D minor RV 535 for 2 oboes, strings & continuo Concerto in A minor RV 536 for 2 oboes, strings & continuo 4 I. Largo 1.14 20 I. Allegro 2.35 5 II. Allegro 2.38 21 II. Largo 2.08 6 III. Largo 2.35 22 III. Allegro 1.55 7 IV. Allegro molto 3.02 sponsored by Glenys Phillips dedicated by Mary Kane to the memory of her brother Michael Kane Concerto per S.A.S.I.S.P.G.M.D.G.S.M.B. in F RV 574 Concerto in A RV 546 for violin, cello, strings & continuo for 2 horns, 2 oboes, bassoon, violin, cello, strings & continuo 8 I. Allegro 3.26 23 I. Allegro 4.39 9 II. Andante 3.09 24 II. Adagio 3.17 10 III. Allegro 3.15 25 III. Allegro 3.57 sponsored by Alison Wilkinson sponsored by Ben Mazower Concerto in G RV 545 for oboe*, bassoon, strings & continuo 75.32 11 I. Allegro 4.08 12 II. Largo 2.47 13 III. Allegro non molto 3.47 La Serenissima sponsored by Tony & Criona Mackintosh Adrian Chandler director & solo violin Anneke Scott, Jocelyn Lightfoot solo horns Concerto in F RV 538 for 2 horns, strings & continuo Rachel Chaplin*, Mark Baigent solo oboes 14 I. -
Oboe Concertos
OBOE CONCERTOS LINER NOTES CD1-3 desire to provide the first recording of Vivaldi’s complete oboe Vivaldi: Oboe Concertos works. All things considered, even the concertos whose It is more than likely that Vivaldi’s earliest concertos for wind authenticity cannot be entirely ascertained reveal Vivaldi’s instruments were those he composed for the oboe. The Pietà remarkable popularity throughout Europe during the early years documents reveal a specific interest on his part for the of the 1700s, from Venice to Sweden, including Germany, instrument, mentioning the names of a succession of master Holland and England. If a contemporary publisher or composer oboists: Ignazio Rion, Ludwig Erdmann and Ignazio Sieber, as used the composer’s name in vain, perhaps attempting to well as Onofrio Penati, who had previously been a member of emulate his style, clearly he did so in the hope of improving his the San Marco orchestra. However, it was probably not one of chances of success, since Vivaldi was one of the most famous these musicians who inspired Vivaldi to write for the oboe, but and widely admired composers of his time. Indeed, in this sense instead the German soloist Johann Christian Richter, who was in imitation bears witness to the eminence of the original. Venice along with his colleagues Pisandel and Zelenka in 1716- Various problems regarding interpretation of text came to 1717, in the entourage of Prince Frederick Augustus of Saxony. the fore during the preparation of the manuscripts’ critical As C. Fertonani has suggested, Vivaldi probably dedicated the edition, with one possible source of ambiguity being Vivaldi’s Concerto RV455 ‘Saxony’ and the Sonata RV53 to Richter, who use of the expression da capo at the end of a movement (which may well have been the designated oboist for the Concerto was used so as to save him having to write out the previous RV447 as well, since this work also called for remarkable tutti’s parts in full). -
Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: a Performance Guide for the Hornist
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist. Janiece Marie Luedeke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Luedeke, Janiece Marie, "Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist." (1998). LSU Historical Dissertations and Theses. 6747. https://digitalcommons.lsu.edu/gradschool_disstheses/6747 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Cale Self, DMA
Cale Self, DMA [email protected] ___________________________________________________________________________ EDUCATION Aug 2005 – May 2010 University of Georgia Athens, GA Doctor of Musical Arts • Emphasis in Euphonium Performance (minor area – conducting) • DMA Document: “Filling the Void: Examining String Literature in the Euphonium Repertoire” Aug 1996 - May 2002 West Texas A&M University Canyon, TX • Master of Arts (Instrumental Conducting) • Bachelor of Music (Music Education) PROFESSIONAL EXPERIENCE Aug 2009 – present Associate Professor of Music Assistant Director of Bands and Instructor of Tuba/Euphonium University of West Georgia Carrollton, GA • Direct all UWG athletic bands, including “The Sound That Lights the South” UWG Marching Band and the “Wolfgang” Basketball Pep Band • Assist the Director of Bands with all aspects of the UWG band program, including budget, recruiting, travel, and scheduling • Recruit and teach all euphonium and tuba majors & minors • Conduct the UWG Symphonic Band, Brass Ensemble, and Tuba Ensemble • Five years teaching Brass Methods and Applied Trombone • Two years teaching Instrumental Methods • One year as Interim Director of Bands (2010-2011) • Faculty advisor to the Lambda Eta chapter of Kappa Kappa Psi • Over 250 performances as a soloist, ensemble musician, director, or conductor • More than 75 clinics with Georgia middle and high school band programs • Eight presentations or performances at state, regional, or international conferences • Consistent service on departmental, college, and university -
Doubling on Euphonium and Tuba: a Guide for Euphonium Players
Graduate Theses, Dissertations, and Problem Reports 2013 Doubling on Euphonium and Tuba: A Guide for Euphonium Players Matthew Murchison West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Murchison, Matthew, "Doubling on Euphonium and Tuba: A Guide for Euphonium Players" (2013). Graduate Theses, Dissertations, and Problem Reports. 212. https://researchrepository.wvu.edu/etd/212 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Doubling on Euphonium and Tuba: A Guide for Euphonium Players Matthew Murchison Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Low Brass Performance Approved by Dr. Keith Jackson, Committee Chairperson David McCollum Dr. Mikylah McTeer Dr. David Taddie Dr. Ernest Goeres School of Music Morgantown, West Virginia 2013 Keywords: Euphonium, Tuba, Pedagogy, Doubling Copyright 2013 Matthew Murchison Abstract Doubling on Euphonium and Tuba: A Guide for Euphonium Players Matthew Murchison As a euphonium player there has basically been one viable career option: the military.