Claude Debussy Aaron Jay Kernis
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Doctor Atomic
What to Expect from doctor atomic Opera has alwayS dealt with larger-than-life Emotions and scenarios. But in recent decades, composers have used the power of THE WORK DOCTOR ATOMIC opera to investigate society and ethical responsibility on a grander scale. Music by John Adams With one of the first American operas of the 21st century, composer John Adams took up just such an investigation. His Doctor Atomic explores a Libretto by Peter Sellars, adapted from original sources momentous episode in modern history: the invention and detonation of First performed on October 1, 2005, the first atomic bomb. The opera centers on Dr. J. Robert Oppenheimer, in San Francisco the brilliant physicist who oversaw the Manhattan Project, the govern- ment project to develop atomic weaponry. Scientists and soldiers were New PRODUCTION secretly stationed in Los Alamos, New Mexico, for the duration of World Alan Gilbert, Conductor War II; Doctor Atomic focuses on the days and hours leading up to the first Penny Woolcock, Production test of the bomb on July 16, 1945. In his memoir Hallelujah Junction, the American composer writes, “The Julian Crouch, Set Designer manipulation of the atom, the unleashing of that formerly inaccessible Catherine Zuber, Costume Designer source of densely concentrated energy, was the great mythological tale Brian MacDevitt, Lighting Designer of our time.” As with all mythological tales, this one has a complex and Andrew Dawson, Choreographer fascinating hero at its center. Not just a scientist, Oppenheimer was a Leo Warner and Mark Grimmer for Fifty supremely cultured man of literature, music, and art. He was conflicted Nine Productions, Video Designers about his creation and exquisitely aware of the potential for devastation Mark Grey, Sound Designer he had a hand in designing. -
Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Download Booklet
Acknowledgments This recording was made at the I would also like to thank the Teresa This disc is dedicated to all the Academy of Arts and Letters in Sterne Foundation, Gilbert Kalish, members of my family — especially Manhattan, New York on May and Norma Hurlburt for their gener- my mom, dad, Eve, Henry, and 26-28, 2007. Thank you to osity, which helped to make this my nephews — who have been a Ardith Holmgrain for her help disc a reality. And, a thank you to constant source of love and support in arranging our use of this Lehman College and its Shuster in my life; to my primary teachers magnificent recording space. Grant through the Research Jesslyn Kitts, Michael Zenge, Foundation of the City of New Leonard Hokanson, and Gilbert I would like to thank Max Wilcox, York for their help in the Kalish; to a cherished circle of who very graciously helped to completion of this disc. friends, which grows wider all the prepare and record this disc. time; and, to God who orchestrated Without his help it never could I would also like to thank Jeremy all of these parts. have happened. I also thank Mary Geffen, Ara Guzelemian, Kathy Schwendeman for the use of her Schumann, John Adams, Peter glorious Steinway. Thank you to Sellars, David Robertson, Dawn David Merrill who continuously Upshaw and the Carnegie Hall Publishers: t h r e a d s offered a bright smile and encour- family for giving me so many Andriessen: Boosey & Hawkes aging words during the engineering wonderfully rich treasures in my Music Publishers Limited and recording of this disc and musical experiences thus far. -
Daniel Saidenberg Faculty Recital Series
Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. -
Unifying Elements of John Corigliano's
UNIFYING ELEMENTS OF JOHN CORIGLIANO'S ETUDE FANTASY By JANINA KUZMAS Undergraduate Diploma with honors, Sumgait College of Music, USSR, 1985 B. Mus., with the highest honors, Vilnius Conservatory, Lithuania, 1991 Performance Certificate, Lithuanian Academy of Music, 1993 M. Mus., Bowling Green State University, USA, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 2002 © Janina Kuzmas 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ~':<c It CC L Department of III -! ' The University of British Columbia Vancouver, Canada Date J/difc-L DE-6 (2/88) ABSTRACT John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 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]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper 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 Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
The English Oboe: Rediscovered 4 AEGEUS (1996) 8’21 THOMAS ATTWOOD WALMISLEY (1814-1856) SONATINA NO
EDMUND RUBBRA (1901-1986) SONATA IN C FOR OBOE AND PIANO, OP. 100 1 Con moto 5’49 2 Elegy 4’15 3 Presto 3’30 EDWARD LONGSTAFF (1965- ) The English Oboe: Rediscovered 4 AEGEUS (1996) 8’21 THOMAS ATTWOOD WALMISLEY (1814-1856) SONATINA NO. 1 JAMES TURNBULL oboe 5 Andante mosso - Allegro moderato 8’49 JOHN CASKEN (1949- ) 6 AMETHYST DECEIVER FOR SOLO OBOE (2009) 7’16 (World premiere recording) GUSTAV HOLST (1874-1934) TERZETTO FOR FLUTE, OBOE AND VIOLA 7 Allegretto 6’59 8 Un poco vivace 4’36 MICHAEL BERKELEY (1948- ) THREE MOODS FOR UNACCOMPANIED OBOE 9 Very free. Moderato 5’24 10 Fairly free. Andante 2’33 11 Giocoso 2’13 RALPH VAUGHAN WILLIAMS (1872-1958) SIX STUDIES IN ENGLISH FOLKSONG FOR COR ANGLAIS AND PIANO 12 Adagio 1’37 13 Andante sostenuto 1’28 14 Larghetto 1’31 15 Lento 1’36 16 Andante tranquillo 1’33 17 Allegro vivace 0’54 Total playing time: 68’34 James Turnbull ~ oboe / cor anglais (all tracks) Libby Burgess ~ piano (tracks 1-5 and 12-17) Matthew Featherstone ~ flute (tracks 7-8) Dan Shilladay ~ viola (tracks 7-8) FOREWORD PROGRAMME NOTES For a long time, I have been drawn towards English oboe music. It was therefore a Edmund Rubbra wrote much chamber music, including pieces for almost every straightforward decision to choose this repertoire to record. My aim was to introduce the instrument. He composed his Sonata for Oboe and Piano, op. 100, in 1958 for most varied programme possible: as a result, this disc spans over a century. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
By Aaron Jay Kernis
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 “A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis Pagean Marie DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Pagean Marie, "“A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis" (2016). LSU Doctoral Dissertations. 3434. https://digitalcommons.lsu.edu/gradschool_dissertations/3434 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “A VOICE, A MESSENGER” BY AARON JAY KERNIS: A PERFORMER’S GUIDE AND HISTORICAL ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Pagean Marie DiSalvio B.M., Rowan University, 2011 M.M., Illinois State University, 2013 May 2016 For my husband, Nicholas DiSalvio ii ACKNOWLEDGEMENTS I would like to thank my committee, Dr. Joseph Skillen, Prof. Kristin Sosnowsky, and Dr. Brij Mohan, for their patience and guidance in completing this document. I would especially like to thank Dr. Brian Shaw for keeping me focused in the “present time” for the past three years. Thank you to those who gave me their time and allowed me to interview them for this project: Dr. -
Minimalism Post-Modernism Is a Term That Refers to Events After the So
Post-Modernism - Minimalism Post-Modernism is a term that refers to events after the so-called Modern period. The term suggests that we are now using what we learned in the “modern” period, but mixing it with ideas from the more distant past. A major movement within Post-Modernism is Minimalism Minimalism mixes some Eastern philosophical principles involving chant and meditation with simple tonal materials. Basic definition of Minimalism: sustained or repetitive use of simple (often tonal) materials. The movement began with LaMonte Young (b.1935); he used simple textures and consonant materials; often called trance music. Terry Riley (b.1935) is credited with first minimalist work In C (1964). The piece has repeated high C’s on piano maintaining simple pulse. Score has 53 short motives to be played by a group any size; players play all 53 figures, repeating as many times and as frequently as desired. Performance ends when all players are done with all 53 figures. Because figures change in content, there is subtle but constantly shifting texture all the time. Steve Reich (b. 1936) prefers to call his music “Structural” not minimal. His music is influenced by his study of African drumming. Some of his early works use phasing, where a tape loop is set up: the tape records first sounds made by performer; then plays them back while performer continues to play. More layers are added, and gradually live sounds get ahead of play-back. Effect can be hypnotic: trance-like. Violin Phase (1967) is example. In Mid-70’s Reich expanded his viewpoint and his ensemble: Music for 18 Musicians is a little like In C, but there is much more variation in patterns. -
Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello
Monday Evening, December 11, 2017, at 7:30 The Juilliard School presents Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello Bell and Drum: Percussion Music From China GUO WENJING (b. 1956) Parade (2003) SAE HASHIMOTO EVAN SADDLER DAVID YOON ZHOU LONG (b. 1953) Wu Ji (2006) CHRISTOPHER STAKNYS, Piano BENJAMIN CORNOVACA LEO SIMON LEI LIANG (b. 1972) Inkscape (2014) DANIEL PARKER, Piano TYLER CUNNINGHAM JAKE DARNELL OMAR EL-ABIDIN EUIJIN JUNG Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. CHOU WEN-CHUNG (b. 1923) Echoes From the Gorge (1989) Prelude: Exploring the modes Raindrops on Bamboo Leaves Echoes From the Gorge, Resonant and Free Autumn Pond Clear Moon Shadows in the Ravine Old Tree by the Cold Spring Sonorous Stones Droplets Down the Rocks Drifting Clouds Rolling Pearls Peaks and Cascades Falling Rocks and Flying Spray JOSEPH BRICKER TAYLOR HAMPTON HARRISON HONOR JOHN MARTIN THENELL TAN DUN (b. 1957) Elegy: Snow in June (1991) ZLATOMIR FUNG, Cello OMAR EL-ABIDIN BENJAMIN CORNOVACA TOBY GRACE LEO SIMON Performance time: Approximately 1 hour and 45 minutes, including one intermission Notes on the Program Scored for six Beijing opera gongs laid flat on a table, Parade is an exhilarating work by Jay Goodwin that amazes both with its sheer difficulty to perform and with the incredible array of dif - “In studying non-Western music, one ferent sounds that can be coaxed from must consider the character and tradition what would seem to be a monochromatic of its culture as well as all the inherent selection of instruments. -
New Music Festival 2014 1
ILLINOIS STATE UNIVERSITY SCHOOL OF MUSIC REDNEW MUSIC NOTEFESTIVAL 2014 SUNDAY, MARCH 30TH – THURSDAY, APRIL 3RD CO-DIRECTORS YAO CHEN & CARL SCHIMMEL GUEST COMPOSER LEE HYLA GUEST ENSEMBLES ENSEMBLE DAL NIENTE CONCORDANCE ENSEMBLE RED NOTE New Music Festival 2014 1 CALENDAR OF EVENTS SUNDAY, MARCH 30TH 3 PM, CENTER FOR THE PERFORMING ARTS Illinois State University Symphony Orchestra and Chamber Orchestra Dr. Glenn Block, conductor Justin Vickers, tenor Christine Hansen, horn Kim Pereira, narrator Music by David Biedenbender, Benjamin Britten, Michael-Thomas Foumai, and Carl Schimmel $10.00 General admission, $8.00 Faculty/Staff, $6.00 Students/Seniors MONDAY, MARCH 31ST 8 PM, KEMP RECITAL HALL Ensemble Dal Niente Music by Lee Hyla (Guest Composer), Raphaël Cendo, Gerard Grisey, and Kaija Saariaho TUESDAY, APRIL 1ST 1 PM, CENTER FOR THE PERFORMING ARTS READING SESSION - Ensemble Dal Niente Reading Session for ISU Student Composers 8 PM, KEMP RECITAL HALL Premieres of participants in the RED NOTE New Music Festival Composition Workshop Music by Luciano Leite Barbosa, Jiyoun Chung, Paul Frucht, Ian Gottlieb, Pierce Gradone, Emily Koh, Kaito Nakahori, and Lorenzo Restagno WEDNESDAY, APRIL 2ND 8 PM, KEMP RECITAL HALL Concordance Ensemble Patricia Morehead, guest composer and oboe Music by Midwestern composers Amy Dunker, David Gillingham, Patricia Morehead, James Stephenson, David Vayo, and others THURSDAY, APRIL 3RD 8 PM, KEMP RECITAL HALL ISU Faculty and Students Music by John Luther Adams, Mark Applebaum, Yao Chen, Paul Crabtree, John David Earnest, and Martha Horst as well as the winning piece in the RED NOTE New Music Festival Chamber Composition Competition, Specific Gravity 2.72, by Lansing McLoskey 2 RED NOTE Composition Competition 2014 RED NOTE NEW MUSIC FESTIVAL COMPOSITION COMPETITION CATEGORY A (Chamber Ensemble) There were 355 submissions in this year’s RED NOTE New Music Festival Composition Com- petition - Category A (Chamber Ensemble).