DOCSLIB.ORG

Journal of the American Viola Society Volume 28 No. 2, Fall 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

JournalVolume 28 Number of 2 the American Viola Society Journal of the American Viola Society A publication of the American Viola Society Fall 2012 Volume 28 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ AVS Minutes Feature Articles p. 17 Eastman’s Encore: IVC 2012 in Review: After thirty-five years, the IVC returned to the Eastman School of Music; read highlights from the blockbuster event p. 25 The Viola Music of Louise Lincoln Kerr: Carolyn Waters Broe introduces Kerr’s Southwestern- infused viola compositions p. 33 Paul Hindemith’s Der Schwanendreher: A Biographical Landmark: Louise Lansdown analyzes key documents and sources for Hindemith’s most famous viola concerto Departments p. 53 The Eclectic Violist: Get introduced to the world of looping p. 59 Student Life: Learn essential networking and entrepreneurship skills from Jessica Meyer p. 65 With Viola in Hand: Meet the violists of “The President’s Own” United States Marine Chamber Orchestra p. 69 New Music Reviews p. 71 Recording Reviews p. 77 At the Grassroots On the Cover: Beverly Claridge Viola Pizzicato Artist pencil on MiTientes. 35 x 45 cm (approx. 14 x 18 inches) Beverly Claridge, an American now living in New Zealand, writes about her work: “As one engaged in a life-long attempt to do justice to the viola and an admirer of those who very much do, my aim was to feature the per- spective from that of the player. Months of drawing and studying violists, principally my daughter and my stand mate playing, helped me consider the unique perspective. The companion piece, Viola Forte, which shows a bowed viola, was awarded a Merit at the Queenstown Spring Art Show the year I created this pair.” For more of Claridge’s art, or to purchase a giclée print of Viola Pizzicato, please visit www.beverlyclaridge.co.nz. Editor: David M. Bynog The Journal of the American Viola Departmental Editors: Society is published in spring and fall At the Grassroots: Christine Rutledge and as an online-only issue in summer. The Eclectic Violist: David Wallace The American Viola Society was founded Fresh Faces: Lembi Veskimets for the promotion of viola performance In the Studio: Karen Ritscher New Music: Daniel Sweaney and research. Orchestral Training Forum: Lembi Veskimets ©2012, American Viola Society Recording Reviews: Carlos María Solare ISSN: 0898-5987 Student Life: Adam Paul Cordle With Viola in Hand: Ann Roggen Consultant: Dwight Pounds JAVS welcomes AVS National Board of Directors articles from its Officers readers. Submission Nokuthula Ngwenyama, president (2014) deadlines are Kathryn Steely, president-elect (2014) Karin Brown, secretary (2014) December 15 for Michelle Sayles, treasurer (2014) the Spring issue, April 15 Board Members for the Summer online David M. Bynog (2014) Sally Chisholm (2015) issue, and August 15 Adam Paul Cordle (2015) for the Fall issue. Matt Dane (2013) Allyson Dawkins (2015) Send submissions to the Hillary Herndon (2015) Michael Kimber (2014) AVS Editorial Office, Edward Klorman (2013) David M. Bynog Kathryn Plummer (2014) Ann Roggen (2014) [email protected] Christine Rutledge (2013) or to George Taylor (2013) Marcus Thompson (2014) Madeleine Crouch, Shelly Tramposh (2015) 14070 Proton Rd., AVS General Manager Suite 100 Madeleine Crouch Dallas, TX 75244 AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204 The JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact the AVS National office at [email protected] JOURNAL OF THE AMERICAN VIOLA SOCIETy 2 FROM THE EDITOR April 27. While he did perform the is no prominent organization devoted public rehearsal the day before, he to the promotion of the viola. was unable to perform at the concert owing to illness. Fast forward another fifty years to 2012, and the landscape has again Max Bruch’s Double Concerto for changed dramatically. New audio and Clarinet and Viola was first per- video recordings of viola music formed in Germany with Willy Hess appear weekly (if not daily) as do playing the viola part. Paul Klengel’s new compositions, lessons are taught Drei Romanzen für Viola und Klavier, via Skype, several music publishers op. 46, and Vier Phantasiestücke für are primarily devoted to publishing Viola und Klavier, op. 48, were pub- viola music, digitized sheet music is lished in Germany. readily available for free on the Internet (including the AVS’s web- Théophile Laforge had substantially site), several viola competitions exist, My mind has been wandering to built up his viola class at the histories of the viola have been writ- 1912. Rice University was founded Conservatoire de Paris, and René ten, and viola societies exist through- that year, and our campus has been Jullien’s Concertstück—dedicated to out the world. involved in multi-year celebrations, Laforge—was published in Berlin. culminating in spectacular events this And at the end of the year, Joaquin Even with such a brief bird’s-eye view fall. This past April, the centennial of Turína completed his Escena andaluza of the viola over the past century, I the Titanic’s sinking captured my for solo viola and piano quintet. can’t help but marvel at the tremen- attention, and in September I discov- dous development our instrument ered that the Goo Goo Cluster was In all, it was not a bad year for the has enjoyed. At Rice’s opening cere- also turning one hundred (I have viola. But the viola was still a little- monies in 1912, founding President been doing my part to help them cel- known instrument, specialized educa- Edgar Odell Lovett stated: “It is pro- ebrate as well). With so much atten- tion was barely in its infancy, pub- posed to assign no upper limit to tion on the year 1912, I could not lished music was scarce and recorded [our] … endeavor.” Such a statement help but wonder what was happening music even scarcer. yet you could would seem applicable to those early with the viola a century ago. Here are sense that things were beginning to protagonists for our instrument in a few highlights: percolate for the viola. 1912, and we have seen no “upper limit” since. Here’s to all who have Lionel Tertis performed Frank If you fast forward just fifty years to promoted the viola over the past Bridge’s Caprice and Lament for two 1962, the landscape has changed dra- hundred years; may we look forward violas at a March 18 concert (most matically. The “three big concertos” to another century of phenomenal likely with the composer). Frederick have all been written, teaching of the progress! Riddle was born on April 20, and viola has blossomed, published and Rebecca Clarke joined the Queen’s recorded music is widely available, Cordially, Hall Orchestra. Benjamin Dale’s and viola soloists are plentiful Phantasy (1911) and Ernest Walker’s (William Primrose, Lillian Fuchs, David M. Bynog Sonata (1897) were published. Paul Doktor, Walter Trampler, and JAVS Editor Emanuel Vardi are all popular Émile Férir was scheduled to perform American viola soloists, just to name Cecil Forsyth’s Chanson Celtique and a few). Still, research on the instru- Gustav Strube’s Fantastic Dance with ment is rare, there are no competi- the Boston Symphony Orchestra on tions exclusively for violists, and there VOLUME 28 NUMBER 2 3 JOURNAL OF THE AMERICAN VIOLA SOCIETy 4 FROM THE PRESIDENT The Executive Board continues to work In addition to these many benefits, we tirelessly on many projects. One is our have developed a new AVS studio blog annual fall membership drive. featuring members of Heidi Membership is the lifeblood of any organ- Castleman’s class at the Juilliard ization, and yours is vital to the health of School. If you have not yet seen it, the AVS. your membership dues fund a please check it out at americanviolaso- range of important projects that are essen- ciety.org/studio. The AVS also plans to tial to the ongoing development of the launch an orchestral excerpt competi- viola and the viola community. tion next year. It has been exciting working with the committee, and this Thank you for: will provide a novel platform for young players to gain experience in an • Presenting a forum for publication of increasingly competitive field. ongoing research into the history, lit- erature, and pedagogy of the viola The AVS board is busy reviewing and through the Journal of the American implementing items from our recently Viola Society and the David Dalton completed strategic planning report, Viola Research Competition. which include immediate and long- term goals. We are developing ways to • Providing opportunities for the viola fund our many projects and increase “stars” of tomorrow to shine through endowments for the indispensable Dear Beloved Members, one of the leading competitions in projects we provide. These projects the world dedicated solely to viola take time, commitment, and, yes, Happy autumn! It is hard to believe performance at the highest level of money as we continue to promote the that a year has passed since assuming excellence: The Primrose viola in a multi-faceted way. Fifty years the presidency of our organization. I International Viola Competition. ago, our organization was only a dream have had the opportunity to visit and held by a few hard working and dedi- perform in many places this season. • Supporting the continued generation cated violists, a dream that quickly Everywhere I go—from Des Moines to of new music for our instrument gained the support of violists around Washington, DC; Los Angeles to New through the Maurice Gardner the world. Today, the AVS needs you york; Montgomery to Cincinnati; and Composition Competition.
Recommended publications
  • Digibooklet Beethoven Complete Works for Piano Trio Vol. IV Swiss

    Digibooklet Beethoven Complete Works for Piano Trio Vol. IV Swiss

    Complete Works for Piano Trio Vol. IV SWISS PIANO TRIO BEETHOVEN Piano Trio No. 4 in B-flat major, Op. 11 ‘Gassenhauer’* I. Allegro con brio 9:02 II. Adagio 4:53 III. Tema. Pria ch’io l’impegno. Allegretto – Var. I–IX – Allegro 7:01 Allegretto in E-flat major for Piano Trio, Hess 48 2:51 Piano Trio in E-flat major, Op. 38 (adapted from the Septet, Op. 20) I. Adagio – Allegro con brio 10:05 II. Adagio cantabile 7:44 III. Tempo di Menuetto 3:14 IV. Tema. Andante con Variazioni 7:26 V. Scherzo. Allegro molto e vivace 3:17 VI. Andante con moto alla Marcia – Presto 7:33 SCHWEIZER KLAVIERTRIO SWISS PIANO TRIO Angela Golubeva, violin • Sébastien Singer, cello* • Sasha Neustroev, cello • Martin Lucas Staub, piano The Complete Works for Piano Trio by Beethoven Following great critical acclaim – as well as numerous awards for their complete recordings of the Piano Trios by Men dels sohn, Tchaikovsky and Robert and Clara Schumann for the audite label – the Swiss Piano Trio have, since January 2015, been working on their most significant recording project to date: that of the complete Beethoven Piano Trios. After the successful release of the first three volumes, they now present the fourth instalment of their five-part series, revealing fascinat ing insights across the entire development of Beethoven’s musical language, from the astonishing three Trios Op. 1 from his early, Classical period, through his middle period, to which the Trios Op. 70 can be attributed, to the Archduke Trio Op. 97, marking the beginning of his late œuvre.

  • Visions of Peace and Heaven University Symphony

    -fierbergerCollege of Fine Arts °111%b VISIONS OF PEACE AND HEAVEN UNIVERSITY SYMPHONY ORCHESTRA CHORAL UNION Timothy Russell, conductor Robert Porco, guest conductor Lucy Shelton, soprano Robert Barefield, baritone School of Music Herberger College of Fine Arts Arizona State University Wednesday, October 22, 2003 7:30 p.m. Gammage Auditorium ARIZONA STATE mat UNIVERSITY PROGRAM TEXTS Symphony No. 4 Gustav Mahler GUSTAV MAHLER SYMPHONY No.4 I. Bedachtig, nicht eilen We enjoy heavenly pleasures Whole dishfuls are set for us! II. In gemachlicher Bewegung, ohne Hast and therefore avoid earthly ones. Good apples, good pears and good grapes, III. Ruhevoll and gardeners who allow everything! IV. Sehr behaglich ("Wir geniessen die himmlischen Freuden") No worldly tumult is to be heard in heaven. If you want roebuck or hare, All live in gentlest peace. on the public streets Lucy Shelton, soprano We lead angelic lives, they come running right up. Should a fast-day come along, Timothy Russell, conductor yet have a merry time of it besides. We dance and we spring, all the fishes at once come swimming We skip and we sing. with joy. INTERMISSION Saint Peter in heaven looks on. There goes Saint Peter running with his net and his bait John lets the lambkin out, to the heavenly pond. Ralph Dona Nobis Pacem Vaughan Williams and Herod the Butcher lies in wait for it. Do you want carp, do you want pike, or Cantata for Soprano and Baritone Soloists, Chorus, and Orchestra We lead a patient, trout? innocent, patient, Good dried cod or fresh anchovies? dear little lamb to its death.
  • University of Oklahoma

    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.
  • Senior Recital: Xu Xiao, Viola

    Senior Recital: Xu Xiao, Viola

    Senior Recital: Xu Xiao, Viola 20th April, Friday, 6pm, Conservatory Concert Hall _______________________________________________________ JOHANNES BRAHMS (1833-1897) Brahms' Sonata For cello and piano No. 1 in E minor, Op. 38 ( Viola Transcription) l. Allegro non troppo ll. Allegretto quasi Minuetto lll. Allegro INTERMISSION (10’) PAUL HINDEMITH (1895-1963) Der Schwanendreher l. "Zwischen Berg und tiefem Tal" ll. "Nun laube, Lindlein, laube!“ lll. “Seid ihr nicht der schwanendreher” Program Notes: Johannes Brahms (1833-1897) Brahms' Sonata No. 1 in E minor, Op. 38 is the first of two sonatas for piano and cello. It was begun in 1862 during Brahms' stay in the mountain village of Bad Munster am Stein-Ebernburg, where he wrote the first two movements and an Adagio movement, which was later dropped. After the existing finale was added in 1865, Brahms dedicated the completed sonata to his friend Josef Gansbacher, an amateur cellist and professor at the Singing Akademie in Vienna. The deep sonorities and the haunting melodies of the Allegro non troppo create a mood throughout the movement that is melancholic and sometimes wistful. The opening theme is a beautiful melody which rises from the depths of the cello's low E, soars for a few moments, then wanders its way back down the G and C strings to give way to the piano entrance. Brahms uses chromaticism to charm in the Allegretto quasi Minuetto. Chromatic melodies in F-sharp minor and A major sweep through the cello line, creating appropriately edgy dissonances on the strong beats of the measure. Sighing figures played three times in succession make up the only asymmetrical phrases in the entire piece.
  • 4802170-Ccf435-053479213624.Pdf

    4802170-Ccf435-053479213624.Pdf

    1 Suite for Viola and Piano, Op. 8 - Varvara Gaigerova (1903-1944) 1. I. Allegro agitato 2:36 2. II. Andantino 3:06 3. III. Scherzo: Prest 4:25 4. IV. Moderato 4:47 Two Pieces for Viola and Piano, Op.31 - Alexander Winkler (1865-1935) 5. I. Méditation élégiaque (Andante mesto poco mosso) 4:22 6. II. La toupie: scène d’enfant: Scherzino (Allegro vivace) 2:44 Sonata in D Major for Viola and Piano, Op. 15 - Paul Juon (1872-1940) 7. I. Moderato 7:09 8. II. Adagio assai e molto cantabile 6:13 9. III. Allegro moderato 6:50 Sonata in C minor for Viola and Piano, Op. 10 - Alexander Winkler (1865-1935) 10. Moderato 9:59 11. Allegro agitato 6:28 12. L’istesso tempo ma poco rubato 4:24 Variations sur un air breton 13. Thème: Andante 1:06 14. Variation 1: L’istesso tempo poco rubato 1:39 15. Variation 2: Allegretto 1:06 16. Variation 3: Allegro patetico 1:10 17. Variation 4: Andante molto espressivo 1:23 18. Variation 5: Allegro con fuoco 1:18 19. Variation 6: Andante sostenuto 1:47 1 20. Variation 7: Fuga (Allegro moderato) 1:50 21. Coda: Poco più animato - Maestoso pesante 1:05 Total Time 71:02 In the early 20th century, composers Varvara Gaigerova, Alexander Winkler, and Paul Juon, reflect different aspects of Russian music at this historic time of intense social and political revolution. The Russian Revolution of 1905, the February and October Revolutions of 1917, in concert with the complex dynamics involved in the two great World Wars, created instability and hardship for most.
  • School Ofmusic

    School Ofmusic

    SHEPHERD SCHOOL CHAMBER ORCHESTRA r LARRY RACHLEFF, music director JAMES DUNHAM, viola Saturday, September 27, 2003 8:00 p.m. Stude Concert Hall RICE UNNERSITY School~ ofMusic f PROGRAM .. • • Suite No. 2 for Small Orchestra Igor Stravinsky y , Marche (1882-1971) Valse Polka Galop Der Schwanendreher Paul Hindemith Zwischen Berg und tiefem Tal. (1895-1963) Langsam - Maf]ig bewegt, mit Kraft Nun laube, Lindlein, laube. Sehr ruhig - Fugato Variationen: Seid ihr nicht der Schwanendreher? Maf]ig schnell James Dunham, soloist ... INTERMISSION Symphony No.] in C Major, Op. 21 Ludwig van Beethoven Adagio molto - Allegro con brio (1770-1827) ,. Andante cantabile con moto Menuetto. Allegro molto e vivace Finale. Allegro molto e vivace The reverberative acoustics of Stude Concert Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Double Bass (cont.) Trumpet r Maureen Nelson, Andrew Stalker Ryan Gardner concertmaster Carl Lindquist i Brittany Boulding Flute James McClarty Jacqueline Metz Michael Gordon Christopher Scanlon Eden MacAdam-Somer Andrea Kaplan Zebediah Upton Tereza Stanis/av Elizabeth Landon Virginie Gagne Trombone Piccolo Michael Clayville Violin lI Michael Gordon Steven Parker , Martin Shultz, Andrea Kaplan l principal Tuba Maria Evola Oboe Aubrey Ferguson • Angela Millner Erik Behr Jeremy Blanden Nicholas Masterson Harp Turi Hoiseth Sheila McNally Megan Levin Nilvfei Sonja
  • Hindemith Viola Project

    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.
  • Early Music Influences in Paul Hindemith's Compositions for the Viola Domenico L

    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.
  • Download Program Notes

    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.
  • Boston Symphony Orchestra Concert Programs, Season 86, 1966

    Boston Symphony Orchestra Concert Programs, Season 86, 1966

    (M 1^ / i (^ L, r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY <f HENRY LEE HIGGINSON th ki 12 *£?£* 1V -7 ^r^^s. /> £^*5S^ *\ W,\ S EIGHTY-SIXTH SEASON 1 966- 1 967 EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the early primitive and the later sophisticated hunting horn, its value in the use of Fanfares was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One of the first orchestral uses came in 1717 when Handel included the French horn in his score of the "Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modern symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. Wc respectfully invite your inquiry CHARLES H. WATKINS 8c CO. Richard P. Nyquist — Charles G. Carleton 0BRI0N, RUSSELL 8c CO. 147 MILK STREET BOSTON. MASSACHUSETTS Insurance of Every Description Telephone 542-1250 - (i EIGHTY-SIXTH SEASON, 1 9 6 6 1 9 7 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
  • Schumann-Masters-Report

    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.
  • Fall 2020 Commencement Program

    Fall 2020 Commencement Program

    TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Fall 2020 December 14, 2020 THE NATIONAL ANTHEM THE STAR-SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements.