Edgy Art Program Notes.FINAL
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Temple University Wind Symphony Patricia Cornett, Conductor
Temple University Wind Symphony Patricia Cornett, conductor November 13, 2020 Friday Presented Virtually 7:30 pm Program Mood Swings Interludes composed by members of Dr. Cynthia Folio’s Post-Tonal Theory Class. Performed by Allyson Starr, flute and Joshua Schairer, bassoon. Aria della battaglia (1590) Andrea Gabrieli (1532–1585) ed. Mark Davis Scatterday Love Letter in Miniature Marcos Acevedo-Arús Fratres (1977) Arvo Pärt (b. 1935) arr. Beat Briner Schyler Adkins, graduate student conductor Echoes Allyson Starr Motown Metal (1994) Michael Daugherty (b. 1954) Unmoved Joshua Schairer Petite Symphonie (1885) Charles Gounod (1818–1893) I. Adagio, Allegro II. Andante cantabile III. Scherzo: Allegro moderato IV. Finale: Allegretto Ninety-fourth performance of the 2020-2021 season. Bulls-Eye (2019) Viet Cuong (b. 1990) Musings Spicer W. Carr Drei Lustige Märsche, Op. 44 (1926) Ernst Krenek (1900–1991) Temple University Wind Symphony Patricia Cornett, conductor FLUTE TRUMPET Ruby Ecker-Wylie Maria Carvell Hyerin Kim Anthony Casella Jill Krikorian Daniel Hein Allyson Starr Jacob Springer Malinda Voell Justin Vargas OBOE TROMBONE Geoffrey Deemer Rachel Core Lexi Kroll Jeffrey Dever Brandon Lauffer Samuel Johnson Amanda Rearden Omeed Nyman Sarah Walsh Andrew Sedlacsick CLARINET EUPHONIUM Abbegail Atwater Jason Costello Wendy Bickford Veronica Laguna Samuel Brooks Cameron Harper TUBA Alyssa Kenney Mary Connor Will Klotsas Chris Liounis Alexander Phipps PERCUSSION BASSOON Emilyrose Ristine Rick Barrantes Joel Cammarota Noah Hall Jake Strovel Tracy Nguyen Milo Paperman Collin Odom Andrew Stern Joshua Schairer PIANO SAXOPHONE Madalina Danila Jocelyn Abrahamzon Ian McDaniel GRADUATE ASSISTANTS Sam Scarlett Schyler Adkins Kevin Vu Amanda Dumm HORN Isaac Duquette Kasey Friend MacAdams Danielle O’Hare Jordan Spivack Lucy Smith Program Notes Aria della battaglia Andrea Gabrieli A prominent figure in Renaissance Italy, Andrea Gabrieli acted as principal organist and composer at the St. -
Birdsong in the Music of Olivier Messiaen a Thesis Submitted To
P Birdsongin the Music of Olivier Messiaen A thesissubmitted to MiddlesexUniversity in partial fulfilment of the requirementsfor the degreeof Doctor of Philosophy David Kraft School of Art, Design and Performing Arts Nfiddlesex University December2000 Abstract 7be intentionof this investigationis to formulatea chronologicalsurvey of Messiaen'streatment of birdsong,taking into accountthe speciesinvolved and the composer'sevolving methods of motivic manipulation,instrumentation, incorporation of intrinsic characteristicsand structure.The approachtaken in this studyis to surveyselected works in turn, developingappropriate tabular formswith regardto Messiaen'suse of 'style oiseau',identified bird vocalisationsand eventhe frequentappearances of musicthat includesfamiliar characteristicsof bird style, althoughnot so labelledin the score.Due to the repetitivenature of so manymotivic fragmentsin birdsong,it has becomenecessary to developnew terminology and incorporatederivations from other research findings.7be 'motivic classification'tables, for instance,present the essentialmotivic featuresin somevery complexbirdsong. The studybegins by establishingthe importanceof the uniquemusical procedures developed by Messiaen:these involve, for example,questions of form, melodyand rhythm.7he problemof is 'authenticity' - that is, the degreeof accuracywith which Messiaenchooses to treat birdsong- then examined.A chronologicalsurvey of Messiaen'suse of birdsongin selectedmajor works follows, demonstratingan evolutionfrom the ge-eralterm 'oiseau' to the preciseattribution -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 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]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document 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 August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Bmus 1 Analysis Week 9 Project 2
BMus 1 Analysis: Week 9 1 BMus 1 Analysis Week 9 Project 2 Just to remind you: the second project for this module is an essay (c. 1500 words) on one short post-tonal work from the list below. All of the works can be found in the library; if they’re not available for any reason, ask me for a copy. (Most can be found online as well.) Béla Bartók, 44 Duos for Violin, no. 33: ‘Erntelied’ (‘Harvest Song’) Harrison Birtwistle, Duets for Storab, any two movements Ruth Crawford-Seeger, String Quartet, movt. 2: ‘Leggiero’ or movt. 3: ‘Andante’ György Kurtag, Játékok Book 6, ‘In memoriam András Mihály’ Elisabeth Lutyens, Présages op. 53, theme and variations 1-2. Olivier Messiaen, Préludes, no. 1: ’La Colombe’ Kaija Saariaho, Sept Papillons, movements 1 and 2 Arnold Schoenberg, 6 Little Piano Pieces, Op.19: No. 2 (Langsam) Igor Stravinsky, 3 pieces for String Quartet, no. 1 Anton Webern, Variations op 27: no. 2 What to cover You may format your essay as you wish, according to what best suits the piece you’ve selected. However, you should aim to comment on the following (interrelated) features of your chosen work: • Formal Design o How is this articulated? This may involve pitch / tempo / changes of texture / dynamics / phrasing and other musical features. • Pitch Structure o Use of interval / mode(s) / pitch sets / 12-note chords and other techniques • Nature and Handling of Melodic and Harmonic Materials o How is the material constructed, treated, developed and/or elaboration in the work? Do not forget the importance of rhythm as well as pitch. -
PROGRAM C'd I .:R:F 1=Jj 5D3
PROGRAM C'D I .:r:F 1=Jj 5D3 Piece pour piano et quatuor acordes (1991) ...........':!:!..?:..?::........... Olivier Messiaen (1908·1992) Luke Fitzpatrick, violin Hye Jung Yang, cello Allion Salvador, violin Zack Myers, piano Vijay Chalasani, viola z.. Feuilles atravers les cloches (1998) .................?.~......:c............................ Tristan Murall (b. 1947) Natalie Ham, flute Isabella Kodama, cello Luke Fitzpatrick, violin Steven Damouni, piano 3 Rain Spell (1983) ................................9..;.H.:t..................................... Toru Takemitsu (1930·1996) Natalie Ham, flute Lauren Wessels, harp Ivan Arteaga, clarinet Ania Stachurska, piano Isaac Anderson, vibraphone 4 Les Sept crimes de I'amour (1979) ................. J.?::.: ..f:?..r?.. ................... Georges Aperghis (b. 1945) Sequence I Sequence II Sequence III Sequence IV Sequence V Sequence VI Sequence VII Emerald Lessley, soprano Ivan Arteaga, clarinet Isaac Anderson, percussion INTERMISSION CD2-#l7-1 S'D'1 Quasi Hoquetus (1985) ................./.7:..=..1.........................................Sofia Gubaidulina (b. 1931) Luke fitzpatrick, viola Jamael Smith, bassoon Steven Damouni, piano String Quartet (1964) ........................~.?:.~ ..?:.? ........................Witold Lutoslawski (1913-1994) Introductory Movement Main Movement Luke Fitzpatrick, violin Vijay Chalasani, viola Allion Salvador, violin Hye Jung Yang, cello Program Notes by Luke Fitzpatrick Except Where Noted Piece pour pianoet quatuor acordes(1991) by Olivier Messiaen is one' -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Preview Notes
PREVIEW NOTES Bella Hristova, violin and Amy Yang, piano Friday, January 31 – 8:00 PM American Philosophical Society, 427 Chestnut Street Program Violin Sonata No. 5 in F Major, “Spring” Louange à L’immortalité de Jésus Ludwig van Beethoven Olivier Messiaen Born: December 16, 1770 in Bonn, Germany Born: December 10, 1908 in Avignon, France Died: March 26, 1827 in Vienna, Austria Died: April 27, 1992 in Clichy, France Composed: 1800‐01 Composed: 1940‐41 Last PCMS performance: Elizabeth Pitcairn, 2010 Last PCMS performance: Musicians from Marlboro I, Duration: 24 minutes 2009 Duration: 11 minutes Beethoven’s fifth violin sonata was the first of his to break away from the Classical three‐movement sonata From one of the most significant and famous chamber format. It is a tentative breach, as the new scherzo compositions of the twentieth century, Louange à movement is just over a minute in length. The work’s I’lmmortalité de Jésus is the fifth movement of the final movement begins in a pleasant, rather courtly Quatour pour la fin du temps (Quartet for the End of Mozartean style. This refrain returns in various guises, Time). Messiaen, a devout Catholic, drew his title and though never significantly altered; in between are minor musical imagery from Revelations 10:1‐7, concerning mode passages of some agitation and modest drama, the Angel that announces the end of time. Written while although the sunny disposition of the main theme wins Messiaen was being held as a prisoner of war, Eulogy to out in the end. the Immortality of Jesus represents Christ’s ascension into Heaven. -
Aspects of Structure in Olivier Messiaen's Vtngt Regards Sur L'enfant-Jesus
ASPECTS OF STRUCTURE IN OLIVIER MESSIAEN'S VTNGT REGARDS SUR L'ENFANT-JESUS by DAVID ROGOSIN B.Mus., l'Universite de Montreal, 1978 M.Mus., l'Universite de Montreal, 1981 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 March 1996 © David Rogosin, 1996 AUTHORIZATION In presenting this thesis in partial fulfillment 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. Department of The University of British Columbia, Vancouver, Canada Date DE-6 (2/88) ASPECTS OF STRUCTURE IN OLIVIER MESSIAEN'S "VINGT REGARDS SUR L'ENFANT-JESUS" ABSTRACT The paper explores various structural aspects of the 1944 masterwork for piano, Vingt Regards sur I'Enfant-Jesus, by Olivier Messiaen (1908-1992). Part One examines elements of the composer's style in isolation, focusing prin• cipally on the use of the modes of limited transposition to generate diverse tonal styles, as well as the use of form and "cyclical" or recurring themes and motifs to both unify and diversify the work. -
Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944
Graduate Theses, Dissertations, and Problem Reports 2012 Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944 Marie Arlou C. Borillo West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Borillo, Marie Arlou C., "Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944" (2012). Graduate Theses, Dissertations, and Problem Reports. 4835. https://researchrepository.wvu.edu/etd/4835 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]. Olivier Messiaen’s Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944 Marie Arlou C. Borillo Dissertation 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 Piano Performance Keith Jackson, D.M.A. -
Neeme Järvi Detroit Symphony Orchestra Ida Kavafian
NEEME JÄRVI MOTORCITY TRIPTYCH DETROIT SYMPHONY ORCHESTRA RAISE THE ROOF IDA KAVAFIAN, VIOLIN 559372 bk Daugherty US 5/27/09 2:05 PM Page 2 Michael Daugherty (b. 1954) Detroit Symphony Orchestra Fire and Blood • MotorCity Triptych • Raise the Roof The internationally acclaimed Detroit Symphony Orchestra traces its history back to 1887. Today the orchestra Fire and Blood (2003), for violin and orchestra, was II. River Rouge performs for more than 400,000 people annually in classical, Pops, jazz, World music, special, holiday, young commissioned by the Detroit Symphony Orchestra. The At the Ford River Rouge Automobile Complex, located people’s, community and summer concerts. Its 8 Days in June festival presents works from the symphonic world première was given by the Detroit Symphony next to the Detroit River, Rivera spent many months repertoireMichael in a modernDaugherty context, as well as contemporary pieces that take orchestral and chamber music in new Orchestra under the direction of Neeme Järvi, with Ida creating sketches of workers and machinery in action. directions. The Detroit Symphony Orchestra performs in historic Orchestra Hall at the Max M. Fisher Music Center, Kavafian, solo violin, at Orchestra Hall, Detroit, He was accompanied by his young wife, the remarkable as well as inFire other and Michigan Blood venues such as Meadow Brook Music Festival in the summertime. In the 2008-09 Michigan on 3rd May, 2003. In 1932, Edsel Ford Mexican painter Frida Kahlo (1906-1954). She lived in season, world-renowned8.559372 conductor Leonard Slatkin became Music Director of the orchestra. The Detroit Symphony commissioned the Mexican modernist artist Diego constant pain as a result of polio in childhood and a Orchestra’s distinguished history includes many award-winning recordings, tours and residencies in the United Rivera (1886-1957) to paint a mural representing the serious bus accident at the age of eighteen in Mexico States, Europe and Japan, and national and international radio broadcasts. -
3516.Pdf (293.1Kb)
~ The University ofWashington 'E~l{f Wind Ensemble r1.<i~ 2..'""'1 ,'. ",' nmothySlllzman., conductor lindll Moorhouse:, Ilssistant conductor Cllrmen Pelton., sop1'llno in concert for the MENC Northwest Division Conference Oregon Convention Center r Portland, Oregon February 14, 1999 - 11 :30 am l! > :~" ~.. Program []Music (Or Winds Er Percussion.•..Rodney Rogers .. (b. 1953) II. The Evidence of Things Unseen rf)Morning Star.................................David Maslanka L::;:.l (b. 1943) Timothy Salzmall, cOllduct« Four Marylana SOngs..........................Jack Stamp (b. 1954) I. At the Edge of the Choptank River II. A Maryland Road Carmell "eltoll, .oprano L1l1da Moorhou.e, cOllductor ~:,a Niagara Falls...........................Michael Daugherty P';~'. (b. 1951) /'", "1; Timothy Salzmall, cOllductor [ J ProgTtlm Note, Carmen Pelton.. soprano Music (or Wlnas ana Percussion Since coming to international attention at the Aldeburgb Festival in England where she was cast as Flordiligi in Mo?""'s Rodney Roger's Music for Willds and Percussion (Air Mosaic) showcases the v irtuosity of both wind and percus Cad /at. lull. by Sir Peter Pe..... sOJlfl'Ilo Carmen Pehon has appeared in a wide range of wort.. with the San Francisco sion instruments. Designed specifically for a large wind ellSemble. it is in three self-conlained movemenlS which are Symphony, SI. I'lwl Clwnber Orchestra, Scotti.h opel'll, Goodman Thealer in Chicago, Smithsonian's 20th Century COMO<!. interrelaled through molivic and textural similarily. The second movement, The Evidence ofThings Unseen. is a colorful New Yorio: Fcs~val of Song, and • performance for the President of the Uniled Slales at the Kenn.dy Center HODor'. Progr.un. portrail of a reflective, yet joyful mood.