Kooriliteratuur II: 3. Kuulamistesti Kava DGX 412 / Kooriliteratuur II / Prof Toomas Kapten

Total Page:16

File Type:pdf, Size:1020Kb

Kooriliteratuur II: 3. Kuulamistesti Kava DGX 412 / Kooriliteratuur II / Prof Toomas Kapten Kooriliteratuur II: 3. kuulamistesti kava DGX 412 / Kooriliteratuur II / prof Toomas Kapten Paul Hindemith Lieder nach alten Texten op 33 [001] (1895–1963) Vom Hausregiment.................................................................................................1.06 [002] ....................................................... Frauenklage.............................................................................................................2.27 [003] ....................................................... Art lässt nicht von Art.............................................................................................1.01 [004] ....................................................... Der Liebe Schrein ...................................................................................................0.42 [005] ....................................................... Heimliches Glück ...................................................................................................1.38 [006] ....................................................... Landsknechtstrinklied.............................................................................................1.01 6 chansons (R. M. Rilke) [007] ....................................................... La biche ..................................................................................................................1.09 [008] ....................................................... Un cygne.................................................................................................................2.01 [009] ....................................................... Puisque tout passe...................................................................................................0.33 [010] ....................................................... Printemps................................................................................................................1.43 [011] ....................................................... En hiver...................................................................................................................1.12 [012] ....................................................... Verger .....................................................................................................................1.17 Missa [013] ....................................................... Kyrie.......................................................................................................................3.30 [014] ....................................................... Gloria......................................................................................................................5.11 [015] ....................................................... Credo ......................................................................................................................7.00 [016] ....................................................... Sanctus....................................................................................................................2.48 [017] ....................................................... Benedictus...............................................................................................................4.39 [018] ....................................................... Agnus Dei...............................................................................................................3.30 Zoltán Kodály Missa brevis [019] (1882–1967) Introitus...................................................................................................................2.29 [020] ....................................................... Kyrie.......................................................................................................................2.45 [021] ....................................................... Gloria......................................................................................................................3.57 [022] ....................................................... Credo ......................................................................................................................6.18 [023] ....................................................... Sanctus....................................................................................................................2.24 [024] ....................................................... Benedictus...............................................................................................................3.34 [025] ....................................................... Agnus Dei...............................................................................................................6.09 [026] ....................................................... Ite, missa est............................................................................................................3.05 [027] .......................................................Psalmus hungaricus op 13..................................................................................22.06 Leoš Janáček Mša glagolskaja = Glagolitic Mass [028] (1854–1928) Intrada.....................................................................................................................1.45 [029] ....................................................... Uvod .......................................................................................................................2.13 [030] ....................................................... Gospodi pomiluj .....................................................................................................3.22 [031] ....................................................... Slava .......................................................................................................................6.13 [032] ....................................................... Veruju ...................................................................................................................11.43 [033] ....................................................... Svet.........................................................................................................................6.12 [034] ....................................................... Agnece Božij ..........................................................................................................4.25 [035] ....................................................... Varhany solo...........................................................................................................2.40 [036] ....................................................... Intrada.....................................................................................................................1.51 [037] Krzysztof Penderecki 7 Gates of Jerusalem (1933) III De profundis ......................................................................................................6.11 [038] .......................................................Pieśń Cherubinów = Song of Cherubim ......................................................6.16 [039] Thomas Jennefelt O Domine ..................................................................................................................7.47 (1954) [040] .......................................................Warning to the Rich...............................................................................................9.09 [041] Sven-David Sandström Hear My Prayer, O Lord.......................................................................................6.30 (1942) Ingvar Lidholm Laudi [042] (1921) I Homo natus de muliere... (Text: Job 14:1–2) .......................................................3.53 [043] ....................................................... II Hæc dicit Dominus... (Text: Joel 2:12–13)..........................................................3.19 [044] ....................................................... III Laudate Dominum... (Text: Psalm 116).............................................................2.36 [045] Anders Hillborg Mouyayoum............................................................................................................12.14 (1954) Einojuhani Rautavaara Vigilia [046] (1928) Vespers ...................................................................................................................0.48 [047] ....................................................... Psalm 103.........................................................................................................2.21 [048] ....................................................... 1st Katisma........................................................................................................3.02 [049] ....................................................... Psalm of Invocation..........................................................................................1.52 [050] ....................................................... Sticheron of Invocation.....................................................................................3.54 [051] ....................................................... Sticheron to the Mother of God ........................................................................2.00 [052] ....................................................... Evening Hymn..................................................................................................2.06 [053] ......................................................
Recommended publications
  • Kimmo Hakola's Diamond Street and Loco: a Performance Guide
    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Kimmo Hakola's Diamond Street and Loco: A Performance Guide Erin Elizabeth Vander Wyst University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fine Arts Commons, Music Commons, and the Theatre and Performance Studies Commons Repository Citation Vander Wyst, Erin Elizabeth, "Kimmo Hakola's Diamond Street and Loco: A Performance Guide" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2754. http://dx.doi.org/10.34917/9112202 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV 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 need to 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 UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. KIMMO HAKOLA’S DIAMOND STREET AND LOCO: A PERFORMANCE GUIDE By Erin Elizabeth Vander Wyst Bachelor of Fine Arts University of Wisconsin-Milwaukee 2007 Master of Music in Performance University of Wisconsin-Milwaukee 2009
    [Show full text]
  • Erik Bergman Choral Works 1936 –2000 Helsinki Chamber
    ERIK BERGMAN CHORAL WORKS 1936 – 2000 HELSINKI CHAMBER CHOIR NILS SCHWECKENDIEK BIS-2252 Erik Bergman (1911–2006) Choral Works 1936–2000 Helsinki Chamber Choir Nils Schweckendiek conductor TT: 112'03 All works except Mitt träd är pinjen, Akvarell and Tyttöset are recorded on CD for the first time. 2 Disc 1 · Playing time: 56'08 Petrarca-Suite, Op.118 (1991) 15'09 for baritone and mixed choir (Fennica Gehrman) Texts: Francesco Petrarca (1304–74), from Il Canzoniere 1 I. S’amor non è (No.132) 3'09 2 II. Benedetto sia’l giorno (No.61) 3'17 3 III. Stiamo, Amor! (No.192) 3'27 4 IV. I’vo piangendo (No.365) 5'11 Herman Wallén baritone [I, II, IV] Gudarnas spår, Op.88 (1978) 10'17 Suite for alto, baritone and mixed choir (Fennica Gehrman) Texts: Edith Södergran (1892–1923) 5 I. Vi äro alla hemlösa vandrare… 3'22 6 II. Ack, att fönster se och väggar minnas… 3'07 7 III. Gudarna gå genom livet… 3'44 Sirkku Rintamäki alto [II] · Herman Wallén baritone [III] 8 Vestenvinden, Op.73a (1973) 2'36 for mixed choir and speaker (Nordiska Musikförlaget) Text: Rolf Jacobsen (1907–94) Riko Eklundh narrator 3 Disc 1 Lamento – Burletta (1957) (Fennica Gehrman) 4'46 9 I. Lamento 2'43 10 II. Burletta 2'00 from Four Songs for mixed chorus, Op.38a (1952) 11 Barnet travar (Finlands svenska sång- och musikförbund) 1'16 Text: Nils Ferlin (1890–1961) 12 Filmmanuskript (Fennica Gehrman) 1'03 Text: Nils Ferlin 13 En vårvisa (Fennica Gehrman) 0'59 Text: Olof Thunman (1879–1944) 14 Mitt träd är pinjen, Op.12 No.5 (1944) (Fennica Gehrman) 1'46 Text: Pär Lagerkvist (1891–1974) Four Songs for mixed chorus, Op.44b (1956) 4'53 15 1.
    [Show full text]
  • Opera & Ballet 2017
    12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X.
    [Show full text]
  • Erik Bergman, Cosmopolitanism and the Transformation of Musical Geography1
    Erik Bergman, Cosmopolitanism and the Transformation of Musical Geography1 Björn Heile Erik Bergman (1911-2006) was without a doubt a modernist composer. He engaged and at times battled with many of the defining musical techniques of the twentieth century, from the postromantic nationalism of his earliest works, through a brief dabbling with neoclassicism, the adoption of dodecaphony in the early 1950s, followed soon after by integral serialism and controlled aleatoricism to the experimental exploration of sound of his often austere late works. Despite this almost suspiciously neat match between individual stylistic development and the general trajectories of canonic music history, a detailed engagement with Bergman’s work troubles any whiggish textbook history of musical modernism as a linear story of innovation and progress. To be fair, such accounts no longer bear the authority once accorded to them, but what an investigation of Bergman’s work brings to light is not simply the asynchronicity and diversity of twentieth-century music history or the difficulty of establishing clear criteria for what could be considered ‘avant- gardist’, ‘progressive’, ‘mainstream’, ‘traditional’ or ‘conservative’, ‘dominant’ or ‘marginal’ at any given historical moment. Rather, what emerges most clearly is that modernism has to be thought of as a geographically as much as historically defined phenomenon. Bergman’s music engages with musical geography in at least two ways: by unambiguously embracing modernism from a position at the very periphery of modernism and European culture more widely, and by drawing on non-western traditions. In other words, Bergman’s music problematizes what the postcolonial critic Homi Bhabha has called ‘The Location of Culture’.2 In the following, after sketching relevant theoretical approaches to the cultural geography of musical modernism, I provide an account of Bergman’s career as the progressive development of a cosmopolitan vision.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 43106-1346 USA 313/761-4700 800/521-0600 Order Number 9210976 Modern Finnish choral music
    [Show full text]
  • Einojuhani Rautavaara in Memoriam Christian Lindberg & Allan Pettersson
    NORDIC HIGHLIGHTS 4/2016 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Einojuhani Rautavaara in memoriam Christian Lindberg & Allan Pettersson NEWS Rautavaara’s Gift of Magi Klami additions to the catalogue Martinsson and Schnelzer on stage Fennica Gehrman has awarded Einojuhani Rautavaara’s chamber opera Th e Gift agreed with the Uuno Rolf Martinsson has Klami Society to publish of the Magi (Tietäjien lahja) is staged at the Si- been awarded the Bäcker Mats Photo: belius Academy. Th e performances in November several works by Uuno Christ Johnson Prize and December are coupled with Humperdinck’s Klami (1900-61). Th ese for his song cycle Or- opera Hansel and Gretel. Markus Lehtinen and include orchestral works chestral Songs on Poems Andres Kaljuste will conduct the students of the – Opernredoute, Aurore by Emily Dickinson Academy. Rautavaara composed this Christmas boréale and the Piano (2009) . According fable in 1994 and it is based on the short story by Concerto “Une nuit à to the Royal Academy O. Henry. It has earlier been performed on TV Montmartre”, among oth- of Music, “with his masterly musical language he in Finland and on stage at the Canberra Music ers – and chamber music. creates a mutual expression of great sonorous lu- Festival, Australia in 2010. Klami is known as a brilliant orchestral compos- minosity”. Th e work was commissioned by the er who fused Finnish modernism with French Malmö Symphony Orchestra and has been per- infl uences. His Kalevala Suite and Sea Pictures Pettersson’s symphony formed numerous times, with great success, by are examples of classics that remain in the soprano Lisa Larsson.
    [Show full text]
  • A Comparative Study of Select Choral Conductors' Approaches To
    A Comparative Study of Select Choral Conductors’ Approaches to Unification of Choral Sound, Rehearsal, Conducting, and Leadership: Frieder Bernius, Tõnu Kaljuste, Stephen Cleobury, John Eliot Gardiner, Weston Noble, and Robert Shaw By Copyright 2016 Christopher Matthew Smith B.M., East Carolina University, 2006 M.M., East Carolina University, 2013 Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Co-Chairperson: Paul Laird ________________________________ Co-Chairperson: Paul Tucker ________________________________ Mariana Farah ________________________________ Forrest Pierce ________________________________ Martin Bergee Date Defended: 25 April 2016 The Dissertation Committee for Christopher Matthew Smith certifies that this is the approved version of the following dissertation: A Comparative Study of Select Choral Conductors’ Approaches to Unification of Choral Sound, Rehearsal, Conducting, and Leadership: Frieder Bernius, Tõnu Kaljuste, Stephen Cleobury, John Eliot Gardiner, Weston Noble, and Robert Shaw ________________________________ Co-Chairperson: Paul Laird ________________________________ Co-Chairperson: Paul Tucker Date approved: 25 April 2016 ii Abstract The methods of six highly-successful conductors from around the world—Frieder Bernius (Germany), Tõnu Kaljuste (Estonia), Stephen Cleobury, John Eliot Gardiner (U.K.), Weston Noble, and Robert
    [Show full text]
  • News Section
    News Section Composers FRANCO DONATONI. Flans; Flag (UK premieres)—10 October/London, Queen Elizabeth Hall/London Sinfonietta JOHN ADAMS. Road Movies (London premiere)-19 October/ c. Markus Stenz. London, Queen Elizabeth Hall/Clio Gould (vln), John Constable (pno). Gnarly Buttons (premiere); Suite from / was HANS ULR1CH ENGELMANN. per LVIGI for flute, looking at the ceiling and then I saw the sky (premieres)—same clarinet, cello, percussion and tape (premiere)—16 July/ date and venue/London Sinfonietta c. composer. Darmstadt/Ensemble Phorminx. LOUIS ANDR1ESSEN. De Weg (Too) (premiere)—19 BRIAN FERNEYHOUGH. Kranichtanze II (premiere)—22 October/Donaueschingen/Hilversum Radio Chamber Orch- July/Darmstadt/Ortwin Sturmer (pno). estra c. Peter Eotvos. De Stijl (US premiere)—6 December/ New York, Brooklyn Academy of Music/Brooklyn MICHAEL FINNISSY. Different Things for four clarinets Philharmonic c. Robert Spano. (premiere)—28 July/Leasowes Bank, Shropshire/No Strings Attached. The Liturgy of St Paul (premiere)—1 August/ BELA BARTOK (d.1945). Viola Concerto (UK premiere of Cambridge, Trinity Chapel/Hilliard Ensemble. revised edition)—24 November/Manchester/Tabea Zimmer- mann (via), Halle Orchestra c. Giinther Herbig. ROBERTO GERHARD (d.1970). Soirees de Barcelone (premi- ere of complete ballet, performing edition by Malcolm SIMON BAINBRIDGE. Tts Time I think (premiere)—20 MacDonald)—29 September/Manchester/BBC Philharmonic July/Ludlow/Mary Weigold (sop), Composers Ensemble. c. Matthias Bamert. Four Primo Levi Settings (premiere)—7 July/Cheltenham Festival/Susan Bickley (mezzo), Nash Ensemble. HEINER GOEBBELS. Heracles 2; La Jalousie (premieres)—30 June/London, Meltdown Festival/London Sinfonietta c. ERIK BERGMAN. String Quaret (UK premiere)—27 July/ Markus Stenz. London, Wigmore Hall/New Helsinki Quartet.
    [Show full text]
  • Von Ulrich Mosch Der Komponist Erik Bergman, Dessen Geburtstag Sich
    Beiträge «Ihre Lieder sind stimmungsvoll und schön, nur …» Erik Bergmans Studien bei Heinz Tiessen zwischen 1937 und 1943 von Ulrich Mosch Der Komponist Erik Bergman, dessen Geburtstag sich am 24. November 2011 zum einhundertsten Mal jährt, gilt als Pionier der musikalischen M oderne in Finnland. Als erster Komponist seines Heimatlandes begann er in den frühen fünfziger Jahren mit den Three Fantasias für Klarinette und Klavier op. 42 (1953) auf reihentechnischer Basis Musik zu schreiben. 1954, im Alter von bald dreiundvierzig Jahren, bewogen ihn kompositorische Schwierigkeiten, in die er dabei geraten war, noch einmal die Schulbank zu drücken und seine Kenntnisse in Sachen Reihentechnik bei Wladimir Vogel in Ascona zu erweitern. Mit der damals sich vollziehenden kompositorischen Neuorientierung gelang es Bergman bald, Anschluß an die europäische Nachkriegsavantgarde zu finden, auch wenn sein Schaffen in den großen Zentren der zeitgenössischen Musik außerhalb Finnlands lange vergleichs- weise wenig zur Kenntnis genommen wurde. All das ist bekannt.1 Weniger bekannt sind Bergmans Anfänge als Komponist und insbe - sondere seine mit großen Unterbrechungen von Juni 1937 bis Sommer 1943 dauernden Studien bei Heinz Tiessen in Berlin, damals Professor für Theorie und Komposition an der Hochschule für Musik. In Verbindung mit dem Briefwechsel mit Heinz Tiessen2 gestatten Musikmanuskripte aus den Studienjahren, die aus dem Nachlaß des 2006 verstorbenen Komponisten in die Sammlung Erik Bergman der Paul Sacher Stiftung gelangten, inter- essante Einblicke in diese Zeit. Nach dem Abitur hatte Bergman in Helsinki an der Universität Musik- wissenschaft und 1931–38 am Konservatorium Komposition bei Erik F uruhjelm und Bengt Carlson und Klavier bei Ilmari Hannikainen studiert.
    [Show full text]
  • LOTTA ELEONOORA MATAMBO Submitted in Fulfilment of The
    THE SOLO PIANO MUSIC OF EINOJUHANI RAUTA V AARA by LOTTA ELEONOORA MATAMBO Submitted in fulfilment of the requirements for the degree of MASTER OF MUSIC in the DEPARTMENT OF MUSIC AND MUSICOLOGY at RHODES UNIVERSITY SUPERVISOR: DR J BRUKMAN DECEMBER 2010 EINOJUHANI RAUT AV AARA (b. 1928) [i] TITLE: The solo piano music of Einojuhani Rautavaara ABSTRACT: Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity. KEY TERMS: Musical identity; intertextuality; postmodernism; neo-classicism; expanded tonality; serialism; neo-romanticism; nationalism; mysticism; constructivism. [i i] DEDICATED to my son, Eino Mafavuke Mikael, who was born during the writing of this dissertation.
    [Show full text]
  • XAƧ by Iannis Xenakis and Rasch by Franco Donatoni
    A THEORETICAL AND PERFORMANCE ANALYSIS OF TWO WORKS FOR SAXOPHONE QUARTET: XAƧ BY IANNIS XENAKIS AND RASCH BY FRANCO DONATONI By SEAN C. FREDENBURG A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Performance August 2013 ACKNOWLEDGEMENTS Reproduction of the excerpts from these great works would not have been possible without the express permission of Casa Ricordi – Milano, All rights reserved (Reproduced by kind permission of MGB Hal Leonard) and Salabert éditions – Paris, Tous droits reserves (Reproduced by kind permission of MGB Hal Leonard). In addition, I owe an extra debt of gratitude to Ms. Carina Raschér for her support of this project. She was a great source of discussion about the pieces and supplied the programs from the premieres. I would like to thank my advisor, Dr. Idit Shner, for her unending support and guidance through the process of completing this document and during my time at the University of Oregon. I wish to thank my committee members, Dr. Steve Vacchi and Dr. Jack Boss for their invaluable insight and suggestions throughout the writing and editing processes. I would like to thank my parents for their selflessness and words of encouragement throughout my entire music career. Finally I must thank my close friends Dr. Javier Rodriguez, Mr. Mark Rockwood, and Ms. Rianna Cohen for their collaboration and support throughout the last four years. ii TABLE OF CONTENTS List of Tables and Figures..........................................................................................................iv List of Musical Examples............................................................................................................v 1.
    [Show full text]
  • Finnish Choral Music by Jeffrey Sandborg
    Finnish Choral Music By Jeffrey Sandborg Jeffrey Sandborg is Assistant Professor of Music and tion is a set of twenty "Piae Cantiones" arrangements for Chairman of the Department of Music at Pikeville College, mixed chorus by Heikki Klemetti. Pikeville, Kentucky. Between 1978 and 1979 Sandborg studied in Helsinki, Finland at both the Sibelius Academy and Helsinki University as an ITT Fellow. His D.M.A. in choral music is in progress at the University of Illinois, Urbana-Champaign. Finnish choral music rarely has been performed in the United States nor has much been written in the English language on the subject. The repertory remains largely unex­ amined not for lack of interest but, for lack of ready informa­ tion and materials. The Finnish language presents a for­ midable barrier to any kind of bibliographic inquiry, and ~:;fr:ff$~*lE~:[f. translations ofeven the simplest Finnish text settings nearly ==~: ~~=t=~~~::;_L3..:==::::-= 0,. 1111 llurU1/J ~ mo hgger in pr"fi1'i 0<\1 (om e'olrn are impossible for a non-speaker or for someone without ac­ (tijncr cess to a Finn. Contributing to the problem is that Finland has not been a country to propagate its music outside its borders. Further, the principal music publisher, Fazer, relies on an agent in the U.S. to advertise and distribute its publications. Sad to say, the agent has no catalogues or lists and all orders go directly to Finland, followed by a wait of up wRh-S-'--~....--------I--- to three months for delivery. Clearly acquisition of a score is ~- ~~:=~--j-===== made by only the most determined customer.
    [Show full text]