DOCSLIB.ORG

UW-Superior Chorus and Orchestra Michael Fuchs & Erin Aldridge, Conductors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UW-Superior Chorus and Orchestra Michael Fuchs & Erin Aldridge, Conductors Season of Song: Hope and Home UW-Superior Chorus and Orchestra Michael Fuchs & Erin Aldridge, conductors Tuesday, December 15, 2020 | 7:30 p.m. Veni Veni, Emmanuel Michael John Trotta (b. 1978) Chorale B Charlie Beckham, Matt Niemi, Ben Pettit; percussion Veni, Veni Emmanuel! O come, O come, Emmanuel! Captivum sovle Israel! Break the bond of the captive people! Qui gemit in exsilio, Who mourn in exile, Privatus Dei Filio Derived of the incarnation of the father. Gaude, Gaude, Emmanuel Rejoice! Rejoice! Emmanuel Nascetur pro te, Israel Will be born for you. Veni, Veni rex gentium Veni, O come, gatherer of all nations, Come to Redemptor omnium, Ut salvas make all whole, tuos Famulos Peccati sibi To save your servants from their conscios separateness Veni, Veni O Oriens, Solare nos O come thou light of life adveniens, Noctis depelle To shine on us by your coming Dispel nebulas, Dirasque mortis the clouds of night tenebras Drive away the shadows of death. O Come All Ye Faithful Arr. David Wilcox Chorale and Chamber Strings Tom Hamilton, organ O come, all ye faithful, joyful and triumphant! Yea, Lord, we greet thee, born this happy morning; O come ye, O come ye to Bethlehem; Jesus, to thee be glory given! Come and behold him Word of the Father, now in flesh appearing! Born the King of Angels: O come, let us adore Him, O come, let us adore Him, Christ the Lord. Christ the Lord. Sing, choirs of angels, sing in exultation, Sing, all ye citizens of Heaven above! Glory to God, glory in the highest: O come, let us adore Him, Christ the Lord. Greensleeves Traditional Arr. Matthew Naughtin Chamber Strings O Magnum Mysterium Francis Poulenc (1899-1963) UWS Singers O magnum mysterium et admirabile sacramentum, ut O great mystery and wonderful sacrament, that animals animalia viderent Dominum natum jacentem in praesepio should see the new-born Lord lying in a manger. Blessed Beata virgo, cujus viscera meruerunt portare Dominum Christum. virgin, whose body was worthy to bear the Lord Christ Hanerot Halalu Traditional Hanukkah Song Orchestral Arrangement: Bradley Bombardier Vocal Arrangement: Michael Fuchs String Arrangement: Erin Aldridge Chorale and Chamber Strings Taryn Pederson, Alto; Taylor Jones, soprano; Eliza Wilson, violin Hanerot halalu Hanukkah, by these lights remember Anu madlikim When we lived in peace Requiem Eliza Gilkyson (b. 1950) Arr. Craig Hella Johnson Chorale B Zach Grohn, piano mother mary, full of grace, awaken in the dark night of the soul all our homes are gone, our loved ones taken your shattered dreamers, make them whole, taken by the sea o mother mary find us where we’ve fallen out of grace mother mary, calm our fears, have mercy lead us to a higher place drowning in a sea of tears, have mercy hear our mournful plea in the dark night of the soul our world has been shaken our broken hearts you can make whole we wander our homelands forsaken o mother mary come and carry us in your embrace let us see your gentle face, mary in the dark night of the soul bring some comfort to us all o mother mary come and carry us in your embrace that our sorrows may be faced Mary, fill the glass to overflowing illuminate the path where we are going have mercy on us all in funeral fires burning each flame to your mystery returning The Road Home Stephen Paulus (1949-2014) words by Michael Dennis Browne Chorale A Victoria Thompson, soprano Tell me where is the road There’s a calling I can call my own From far away That I left, that I lost There’s a voice So long ago I can hear All these Years That will lead me home I have wandered Rise up Oh, when will I know Follow me There’s a way Come away is the call There’s a road With the love in your heart That will lead me home As the only song After wind, after rain There is no such beauty When the dark is done As where you belong As I wake from a dream Rise up In the gold of day Follow me Through the air I will lead you home Carol of the Bells Mykola Leontovych (1877-1921) Arr. Matthew Naughtin Chamber Strings Ogo Ni Fun Oluwa! Rosephanye Powell (b. 1962) Chorale A Aidan Jones, Matt Niemi, Ben Pettit; percussion Eyo Ogo ni fun Oluwa Rejoice, Glory to God in the Highest Ejo Ogo ni fun Oluwa Dance, Glory to God in the Highest Abi jesu kristi Jesus Christ is born Alafia Irepo Peace, unity Epàtewö Peace Festival First Nowell arr. Dan Forrest (b.1978) Chorale Tom Hamilton, organ The First Noel the angel did say They looked up and saw a star Was to certain poor shepherds in fields as they lay; Shining in the east beyond them far, In fields as they lay, keeping their sheep, And to the earth it gave great light, On a cold winter’s night that was so deep. And so it continued both day and night. Noel, Noel, Noel, Noel, Then let us all with one accord Born is the King of Israel. Sing praises to our heavenly Lord; That hath made heaven and earth of naught, And with his blood mankind hath bought. You Do Not Walk Alone Elaine Hagenberg UWS Singers Zach Grohn, piano May you see God’s light on the path ahead When times are hard may hardness never turn your heart to stone When the road you walk is dark May you always remember when the shadows fall May you always hear, even in your hour of sorrow You do not walk alone The gentle singing of the lark Thank you! UW-Superior Administration • Dr. Renée Wachter, Chancellor • Dr. Maria Cuzzo, Interim Provost • Dr. Nick Danz, Dean of Academic Affairs Cathedral of Christ the King • Staff and Father Ricci UW-Superior Music Department Staff and Faculty • Dr. Brett Jones, Department Chair • Ian Deterling, video and audio UW-Superior Choirs The Chorale is the largest choral ensemble at UWS and is open to all students. The Chorale performs a variety of choral music throughout the year in performances both on and off-campus. It is featured yearly in the celebrated Season of Song performances, one of the Twin Ports most beloved musical traditions. Members of the Chorale have the opportunity to travel both domestically and internationally. Recent tour include Poland (2015), Italy (2012), China (2008), and Brazil (2006). The UWS Singers is an advanced chamber choir open to all students by audition. Featuring UW-Superior’s most advanced vocal artists and comprised mostly of music majors, the UWS Singers perform technically difficult music and strive to develop pre-professional musical skills. The UWS Singers are featured in concerts throughout the region, participate in the annual Chorfest High School Honors Choir, and your regularly. Members of the UWS Singers are required to also participate in the Chorale. UW-Superior Chorale Dr. Michael Fuchs, director Chorale A Chorale B Sam Barnett Taryn Pederson Cole Arnold Elianna Lammi Charlie Beckham Laeken Ramsey Shea Harvey Abby Perket Cole Bergman Hannah Thompson Kale Jensen Brock Phernetton Savannah Brinson Victoria Thompson Tyler Johnson Amanda Sager Katlyn Doescher Phong Tran Aidan Jones Bryanna Todryk Zach Grohn Grace VanderMeiden Taylor Jones Taylor Zambory Riley Hinnenkamp Jon Weber Sami Keller Thor Lundeen Lucas King UW-Superior Singers Dr. Michael Fuchs, director Riley Hinnenkamp Brock Phernetton Tyler Johnson Kyle Sullivan Taylor Jones Victoria Thompson Lucas King Bryanna Todryk Thor Lundeen Jon Weber Taryn Pederson UW-Superior Orchestra The UW-Superior Orchestra Program consists of the Chamber Strings and the Symphony Orchestra. Under the direction of Dr. Erin Aldridge, the Symphony Orchestra focuses on larger orchestral works and presents the popular Music Department Concerto Competition. The Chamber Strings specializes in performance of both traditional and new compositions for string orchestra and has developed a reputation for innovative programming. The orchestra maintains an active annual performance schedule, which includes collaborations with the University Choirs and Opera/Music Theatre program. The UW-Superior Chamber Strings has been featured multiple times in concert at the Wisconsin State Music Educators State Conference, and presented concert tours in Brazil and China. UWS Chamber Strings Dr. Erin Aldridge, director Violin Cello Eliza Wilson Chloe Higgins Lakota Villamayor Kyle Sullivan Bass Maggie Johnson Jim Wachter Erin Aldridge Viola Josiah Grant.
Load more

Recommended publications
  • Resilient Ukraine Resilient
    Resilient Ukraine: Safeguarding Society from Russian Aggression Russian from Society Ukraine: Safeguarding Resilient Research Paper Mathieu Boulègue and Orysia Lutsevych Ukraine Forum | June 2020 Resilient Ukraine Safeguarding Society from Russian Aggression Mathieu Boulègue and OrysiaLutsevych Chatham House Contents Summary 2 1 Introduction 3 2 The Impact of the Armed Conflict 13 3 Creating Resilience Dividends: Case Studies 27 4 Recommendations 33 5 Conclusion 37 About the Authors 38 Acknowledgments 39 1 | Chatham House Resilient Ukraine: Safeguarding Society from Russian Aggression Summary • Despite military conflict and an increasingly adversarial relationship with Russia, Ukraine has largely maintained its democratic reforms thanks to its resilience and determination to decide its own future. The country is gradually developing the capacity of its state institutions and civil society to address the political and social consequences of Russian aggression. • Russia’s three main levers of influence in Ukraine include the ongoing armed conflict, corruption, and the poor quality of the political sphere. The Kremlin seeks to exploit these vulnerabilities to promote polarization and encourage a clash between Ukraine’s citizens and its governing elite by taking military action, manipulating the corruption narrative, supporting pro-Russia parties, and fuelling religious tensions through the Russian Orthodox Church (ROC). • The ramifications of the military operation in Donbas reverberate strongly across the country and domestic politics. The most prominent spillover effects include the circulation of firearms and the weakened capacity of authorities to reintegrate internally displaced people (IDPs) and war veterans. • With no clear way to end the armed conflict, there is a growing risk of societal polarization. This could have negative consequences for any prospective peace agreement.
    [Show full text]
  • University of California UNIVERSITY of CALIFORNIA
    UCLA UCLA Electronic Theses and Dissertations Title Ukrainian Identity in Modern Chamber Music: A Performer's Perspective on Valentyn Silvestrov's Violin Sonata "Post Scriptum" and its Interpretation in the Context of Ukrainian Chamber Works. Permalink https://escholarship.org/uc/item/8874s0pn Author Khomik, Myroslava Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works A dissertation submitted in partial satisfaction Of the requirements for the degree Doctor of Musical Arts By Myroslava Khomik 2015 © Copyright by Myroslava Khomik 2015 ABSTRACT OF THE DISSERTATION Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works. by Myroslava Khomik Doctor of Musical Arts University of California, Los Angeles, 2015 Professor Movses Pogossian, Chair Ukrainian cultural expression has gone through many years of inertia due to decades of Soviet repression and censorship. In the post-Soviet period, since the late 80s and early 90s, a number of composers have explored new directions in creative styles thanks to new political and cultural freedoms. This study focuses on Valentyn Silvestrov’s unique Sonata for Violin and Piano “Post Scriptum” (1990), investigating its musical details and their meaning in its post- Soviet compositional context. The purpose is to contribute to a broader overview of Ukraine’s classical music tradition, especially as it relates to national identity and the ii current cultural and political state of the country.
    [Show full text]
  • The Ukrainian Weekly 1995
    INSIDE: • Saskatchewan premier leads trade delegation to Ukraine — page 2. • RFE/RL and VOA honored by The Washington Group'— page 4. • Photos from Ukraine part of international women's rights exhibit — page 10. THE UKRAINIAN WEEKLY Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXIII No. 43 THE UKRAINIAN WEEKLY SUNDAY, OCTOBER 22, 1995 $1.25/$2 in Ukraine Bomb in Donetske Ukrainian Canadians ponder challenges of the future by Andrij Wynnyckyj that the slogan was a "portent of doom." kills 6 in stadium He told The Weekly it was a call to "get WINNIPEG - For four days in up, get thinking and get doing." Marta Kolomayets October, an oversize Ukrainian flag hung In his opening address on October 6, Mr. Kyiv Press Bureau from the facade.of Winnipeg's Westin Romaniw signaled he was well aware of Hotel, a stone's throw from one of KYIV - Six people were killed and what had to be done to avoid the "organiza­ Canada's most famous intersections — tional holocaust" UCC Alberta Provincial two were badly injured when a bomb the windy Portage and Main. The occa­ Council President Dmytro Jacuta warned exploded in the stands of the Donetske sion was the 18th Triennial Convention was in the offing prior to the convention. soccer stadium on Sunday afternoon, of the Ukrainian Canadian Congress, "We need to give a signal to younger October 15, reported Interfax-Ukraine. whose delegates met on October 6-9 to Ukrainian Canadians, to newly arrived Among those killed was Oleksander determine whether the umbrella organi­ Ukrainian^, and those currently outside Brahin, the president of the Donetske soc­ zation's fate was, according to the slo­ the Ukrainian community that there is a cer club, Shakhtar (Coal Miner), who was a gan, "Evolution or Extinction." home for them within the UCC," Mr.
    [Show full text]
  • Vinnytsia Region
    2 VINNYTSIA REGION KEY FACTS Vinnytsia 2 km Kyiv 212 km VINNYTSIA Warsaw 616 km Beijing Istanbul 6 663 km 883 km Chisinau Frankfurt am Main Paris Amsterdam 332 km 1430 km 1 887 km 1 702 km Przemysl Berlin 638 km Vienn Prague 1 330 km 1 055 km 1 142 km Lviv 363 km Odesa Rotterdam 430 km 1 950 km Warsaw Hamburg 806 km Varna Gdansk 1 580 km 952 km 1 083 km 26.513 thousand km2 1.546 million 4.39% of the territory of Ukraine people 52.1 thousand students of higher educational institutions 6 rayons 63 territorial communities 11.4 thousand vocational students ineВ (high) investment efficiency rating in 2019 706.0 thousand working age people 3 Transport and Logistics Ranked #1 Criss-crossing trade in Ukraine by routes – well-developed the Transitivity Ratio transportation network Kyiv Zhytomyr E95 Lviv E40 Ternopil E50 Khmelnytsky Vinnytsia Dnipro E583 E50 Mariupol Uzhhorod Mykolaiv E40 Odesa Railway connection Existing motorways E40 Dunkirk – Brussels – Dresden – Krakow – Kyiv – Volgograd E95 St. Petersburg – Gomel – Kyiv – Samsun European road routes: The biggest freight E50 Brest – Prague – Kosice – Vinnytsia – Makhachkala railway stations: Vinnytsia, Zhmerynka, E583 Roman – Balti – Vinnytsia – Zhytomyr Koziatyn, Vapniarka 4 Road density – 339 km per 1,000 km2 – is one of the highest in Ukraine The railway network of the region includes an operating route length of 1,124 km, connecting all the main industrial centers of the region with cities in Ukraine, Asia, and Europe Vinnytsia International Airport is located just 2 km from the city with a passenger turnover of 400 people per hour and existing regular international flights Vinnytsia Region has a favorable transport location, In the mid-term, it is planned to construct Gdansk- which provides additional opportunities for Odessa highway connecting two countries strengthening international connections.
    [Show full text]
  • Visual Text and Musical Subtext: the Cossacks (George Hill, 1928): a 21St-Century Composer’S Journey in Silent Film Scoring
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel Electronic version URL: http://journals.openedition.org/miranda/38488 DOI: 10.4000/miranda.38488 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Robert Israel, “Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring”, Miranda [Online], 22 | 2021, Online since 23 March 2021, connection on 26 April 2021. URL: http://journals.openedition.org/miranda/38488 ; DOI: https:// doi.org/10.4000/miranda.38488 This text was automatically generated on 26 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Cen... 1 Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel 1 This piece aims to contextualize my contribution as ethnomusicologist, composer, orchestrator, arranger, conductor, choral director, producer, music contractor, and music editor for Turner Classic Movie’s presentation of MGM’s 1928 production of The Cossacks, directed by George Hill, with additional sequences directed by Clarence Brown. Working within a limited budget; doing research into the film’s historical era and the musical practices of the culture in which it takes place; finding source material, ethnic instruments, and musicians specializing in specific ethnic styles of music performance; and, other formidable challenges which I will outline here.
    [Show full text]
  • The Ukrainian Weekly 1977, No.31
    www.ukrweekly.com СВОБОДАІЦSVOBODA П П УКРАЇНСЬКИЙ щоденник чШвКУ UKBAINIANOAIIV rainiaENGLISH LANGUAGnE WEEKL YWeelc EDITION f Ї VOL. LXXXIVШ No. 181 THE UKRAINIAN WEEKLY SUNDAY, AUGUST 21,1977 25CEKS^ ^n American Lawyer Wishes to Defend Terelya Arrested After Marynovych, Matusevych Denouncing Soviet Asylums SoWef Dissidents Appeal to West for Assistance NEW YORK, N.Y.—Yosyp Terelya, nek as being a member of the Moscow a 34-year-old Ukrainian poet and one- Group to Promote the implementation time political prisoner, was re-arrested of the Helsinki Accords, and Kaplun as by the KGB last April after making a being a Soviet dissident. The other two strong indictment of Soviet psychiatric persons are unknown in the West. abuses, reported the press service of the Terelya'e case also attracted the Ukrainian Supreme Liberation Council attention of western journalists, in his (abroad). Wednesday, August 17th column, no- Terelya, who already spent 14 years ted American investigative columnist, in prison, was "driven to despair" by the Jack Anderson, described the tortures repressions he faced during his brief experienced by Terelya during his period of freedom late last year, said prison and psychiatric asylum confine– members of the Soviet affiliate of the ments. Committee Against Psychiatric Abuse Terelya was born in 1943 in the Myroslav Marynovych Mykola Matusevych for Political Purposes, and he wrote in a Transcarpathian region of Ukraine. .letter to Y. Andropov, the KGB chief, The four Soviet dissidents noted in their NEW YORK, N.Y.—An American jobs for supporting the plight of politi– that Soviet mental asylums "would have appeal that Terelya quickly began to bW;bjfca^ lojewe asadefense cal prisoners.
    [Show full text]
  • THE DEVELOPMENT of BANDURA MUSIC ART BETWEEN the 1920S and 1940S
    Journal of Ethnology and Folkloristics 14 (2): 44–66 DOI: 10.2478/jef-2020-0015 THE DEVELOPMENT OF BANDURA MUSIC ART BETWEEN THE 1920s A N D 1940s MARYNA BEREZUTSKA Associate professor Department of Folk Instruments M. Glinka Dnipropetrovsk Academy of Music Lyvarna street 10, 49044 Dnipro, Ukraine e-mail: [email protected] ABSTRACT Bandura art is a unique phenomenon of Ukrainian culture, inextricably linked with the history of the Ukrainian people. The study is dedicated to one of the most tragic periods in the history of bandura art, that of the 1920s–1940s, during which the Bolsheviks were creating, expanding and strengthening the Soviet Union. Art in a multinational state at this time was supposed to be national by form and socialist by content in accordance with the concept of Bolshevik cultural policy; it also had to serve Soviet propaganda. Bandura art has always been national by its content, and professional by its form, so conflict was inevitable. The Bolsheviks embodied their cultural policy through administrative and power methods: they created numerous bandurist ensembles and imposed a repertoire that glorified the Communist Party and the Soviet system. As a result, the development of bandura art stagnated significantly, although it did not die completely. At the same time, in the post-war years this policy provoked the emigration of many professional bandurists to the USA and Canada, thus promoting the active spread of bandura art in the Ukrainian Diaspora. KEYWORDS: bandura art • bandurists • kobzars INTRODUCTION The bandura is a unique Ukrainian folk instrument whose history is closely connected with the Ukrainian nation’s history.
    [Show full text]
  • Becoming Soviet: Lost Cultural Alternatives In
    BECOMING SOVIET: LOST CULTURAL ALTERNATIVES IN UKRAINE, 1917-1933 Olena Palko, MA, BA (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of East Anglia School of History December 2016© ‘This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition any quotation or extract must include full attribution.’ Abstract This doctoral thesis investigates the complex and multi-faceted process of the cultural sovietisation of Ukraine. The study argues that different political and cultural projects of a Soviet Ukraine were put to the test during the 1920s. These projects were developed and executed by representatives of two ideological factions within the Communist Party of Bolsheviks of Ukraine: one originating in the pre-war Ukrainian socialist and communist movements, and another with a clear centripetal orientation towards Moscow. The representatives of these two ideological horizons endorsed different approaches to defining Soviet culture. The unified Soviet canon in Ukraine was an amalgamation of at least two different Soviet cultural projects: Soviet Ukrainian culture and Soviet culture in the Ukrainian language. These two visions of Soviet culture are examined through a biographical study of two literary protagonists: the Ukrainian poet Pavlo Tychyna (1891-1967) and the writer Mykola Khvyl'ovyi (1893-1933). Overall, three equally important components, contributing to Ukraine’s sovietisation, are discussed: the power struggle among the Ukrainian communist elites; the manipulation of the tastes and expectations of the audience; and the ideological and aesthetic evolution of Ukraine’s writers in view of the first two components.
    [Show full text]
  • Concert Program
    Oksana Dyka, soprano Angelina Gadeliya, piano • Solomiya Ivakhiv, violin I. Bellini Vincenzo Bellini Casta Diva (1801-1835) from Norma (1831) Program Mozart Wolfgang Amadeus Mozart Porgi, amor, qualche ristoro (1756-1791) from The Marriage of Figaro (1786) Rossini Gioachino Rossini Selva opaca, Recitative and Aria (1792-1868) from Guglielmo Tell (William Tell, 1829) Ms. Dyka • Ms. Gadeliya II. Shchetynsky Alexander Shchetynsky An Episode in the Life of the Poet, (b. 1960) an afterword to the opera Interrupted Letter (2014) World Premiere Ms. Ivakhiv • Ms. Gadeliya III. From Poetry to Art Songs 1: Settings of poems by Taras Shevchenko Shtoharenko Andriy Shtoharenko Yakby meni cherevyky (1902-1992) (If I had a pair of shoes, 1939) Silvestrov Valentin Silvestrov Proshchai svite (b. 1937) (Farewell world, from Quiet Songs, 1976) Shamo Ihor Shamo Zakuvala zozulen’ka (1925-1982) (A cuckoo in a verdant grove, 1958) Skoryk Myroslav Skoryk Zatsvila v dolyni (b. 1938) (A guelder-rose burst into bloom, 1962) Mussorgsky Modest Mussorgsky Hopak (1839-1881) from the opera Sorochynsky Fair (1880) Ms. Dyka • Ms. Gadeliya 2 Program — INTERMISSION — I V. Beethoven Ludwig van Beethoven Allegro vivace (1770-1827) from Sonata in G Major, Op. 30 (1801-1802) Vieuxtemps Henri Vieuxtemps Désespoir (1820-1881) from Romances sans paroles, Op. 7, No. 2 (c.1845) Ms. Ivakhiv • Ms. Gadeliya V. From Poetry to Art Songs 2: Settings of poems by Taras Shevchenko Lysenko Mykola Lysenko Oy, odna ya odna (1842-1912) (I’m alone, so alone, 1882) Rachmaninov Sergei Rachmaninov Poliubila ya na pechal’ svoyu, (1873-1943) Op. 8, No. 4 (I have given my love, 1893) Stetsenko Kyrylo Stetsenko Plavai, plavai, lebedon’ko (1882-1922) (Swim on, swim on, dear swan, 1903) Dankevych Konstantyn Dankevych Halia’s Aria (1905-1984) from the opera Nazar Stodolia (1960) VI.
    [Show full text]
  • Cornerstones of the Ukrainian Violin Repertoire 1870 – Present Day
    Cornerstones of the Ukrainian violin repertoire 1870 – present day Carissa Klopoushak Schulich School of Music McGill University Montreal, Quebec January 2013 A doctoral paper submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Music in Performance Studies © Carissa Klopoushak 2013 i Abstract: The unique violin repertoire by Ukrainian composers is largely unknown to the rest of the world. Despite cultural and political oppression, Ukraine experienced periods of artistic flurry, notably in the 1920s and the post-Khrushchev “Thaw” of the 1960s. During these exciting and experimental times, a greater number of substantial works for violin began to appear. The purpose of the paper is one of recovery, showcasing the cornerstone works of the Ukrainian violin repertoire. An exhaustive history of this repertoire does not yet exist in any language; this is the first resource in English on the topic. This paper aims to fill a void in current scholarship by recovering this substantial but neglected body of works for the violin, through detailed discussion and analysis of selected foundational works of the Ukrainian violin repertoire. Focusing on Maxym Berezovs´kyj, Mykola Lysenko, Borys Lyatoshyns´kyj, Valentyn Sil´vestrov, and Myroslav Skoryk, I will discuss each composer's life, oeuvre at large, and influences, followed by an in-depth discussion of his specific cornerstone work or works. I will also include cultural, musicological, and political context when applicable. Each chapter will conclude with a discussion of the reception history of the work or works in question and the influence of the composer on the development of violin writing in Ukraine.
    [Show full text]
  • Jazz Ensemble 12.02.12.Pdf
    IN THE WINGS 7 p.m. Sunday, Jan. 27 Philharmonia Orchestra and Jazz Ensemble Mark Gibson and Scott Belck, conductors “Philharmonia Jazz Goes to the Movies” JAZZ SERIES with Special Guest Film Scoring Legend Randy Edelman PRESENTS Long considered one of Hollywood’s premier movie composers and popular song writers, CCM alumnus Randy Edelman brings his classic film scores from Gettysburg, Dragon Heart and many others to life for what promises to be an unforgettable night! Location: Corbett Auditorium Tickets: $12 general admission, $6 non-UC students, UC students FREE _____ 8 p.m. Tuesday, Feb. 5 Faculty Jazztet “Louis Armstrong’s Hot Fives and Hot Sevens: Then and Now” DUKE ELLINGTON’S A new take on some favorite Hot Jazz classics - the first half will feature original arrangements of Armstrong’s landmark recordings, the second half, our faculty’s updated arrangements of these same “NUTCRACKER” wonderful songs. Location: Robert J. Werner Recital Hall Admission: FREE _____ JAZZ ENSEMBLE 7 p.m. Sunday, Feb. 17 director Jazz Ensemble and Jazz Lab Band Dr. Scott Belck, Scott Belck and Dominic Marino, conductors Featuring guest artist Byron Stripling, trumpet “Way Down Yonder in New Orleans” JAZZ LAB BAND Celebrating the music of Louis Armstrong and his hometown of New Orleans. From the Basie Band to Broadway, Byron Stripling’s star Dominic Marino, director power and musical virtuosity have delighted generations. Location: Corbett Auditorium Chris Ott, assistant director Tickets: $12 general admission, $6 non-UC students, UC students FREE featuring CCM MUSICAL THEATER DANCE Diane Lala, choreographer For tickets and the latest performance information, please call the CCM Box Office at 513-556-4183, or visit us online at ccm.uc.edu.
    [Show full text]
  • Zoltan Kodály and Stanislav Lyudkevych
    Personal dimension of music history UDК 78.071(477):78.03 DOI: https://doi.org/10.31318/2522-4190.2019.124.165421 CHEKAN YURII https://orcid.org/0000-0002-1501-1592 Tchaikovsky National Music Academy of Ukraine (Kyiv, Ukraine) [email protected] ZOLTAN KODÁLY AND STANISLAV LYUDKEVYCH There is a fairly rich base for comparing Kodály (1882–1967) and Lyudkevych (1879– 1979). Both musicians were from one generation, shared their social background and received the same education. They had the same areas of their professional implementation. Both musicians represent ancient musical cultures that were freed from imperial influence in the early 20th century. If Hungarian culture got rid of the German influence, then Ukrainian culture fell under Soviet pressure, remaining colonial. This explains mainly the difference in the methods and results of the implementation of folk, composer, pedagogical work of Kodály and Lyudkevych. Key words: comparison, universal personality, Zoltan Kodály, Stanislav Lyudkevych, Hungarian and Ukrainian musical culture. The connections of the creative activity of the outstanding Hungarian musician Zoltan Kodály with the Ukrainian musical culture can be studied both in genetic and in typological aspects. In the first case, attention is focused on the impact that Kodály has had on Ukrainian composers and folklorists, on the impact of the Kodály musical and pedagogical system on the mass musical education in Ukraine. In the second – the attention of the researcher is concentrated on possible parallels in the development of national musical cultures, elucidation of their coinciding and differing features. Most clearly such parallels, coincidences and differences are revealed in the comparison.
    [Show full text]