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Allentown Symhpony Orchestra Audition
ALLENTOWN SYMHPONY ORCHESTRA AUDITION REQUIREMENTS VIOLIN SECTION ASSOCIATE CONCERTMASTER & ASSISTANT PRINCIPAL SECTION: Orchestral Excerpts: Brahms Symphony No. 4, Movement I 1. m. 392 to the downbeat of m. 426 Mozart Symphony no. 39, Movement II 2. m. 1 to the end of m. 56 Mozart Symphony no. 39, Movement IV 3. m. 1 to m. 53 Mendelssohn Midsummer’s Night Dream - Scherzo 4. m. 17 to the downbeat of 7 ms. after reh. D Schumann Symphony no. 2 – Movement II - Scherzo 5. Coda (pick-ups to m. 362 to end of m. 397) Prokofiev Symphony no. 1 “Classical” – Movement I 6. beginning to 4 ms. after reh. E R. Strauss Don Juan 7. beginning to the downbeat of 13 ms. after reh. C Beethoven Symphony no. 9 – Movement III 8. Lo’stesso tempo (m. 99 to the end of m. 114) Brahms Symphony no. 1 – Movement IV 9. Reh. A to 2 ms. before reh. B (m. 22 to the end of m. 28) 10. Pick-up to 1 m. before reh. D to the downbeat of 5ms. after reh. F Smetana Bartered Bride Overture (violin 2 part) 11. beginning to the end of m. 33. CONCERTMASTER ASSOCIATE CONCERTMASTER ASSISTANT PRINCIPAL (In addition to Section Repertoire) Rimsky-Korsakov Scheherazade, op. 35 (solos) Movement I 12. m. 14 to the downbeat of m. 18 13. Reh. C to the downbeat of reh. D 14. Reh G to the downbeat of reh. H Movement II 15. m. 1 to the downbeat of m. 5 Movement III 16. 8 ms. after reh. K to the end of b. -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
Music Director Riccardo Muti Returns to Cso for Two Weeks of Concerts in February
FOR IMMEDIATE RELEASE Contact: January 14, 2016 Eileen Chambers, 312.294.3092 Photos Available By Request: [email protected] MUSIC DIRECTOR RICCARDO MUTI RETURNS TO CSO FOR TWO WEEKS OF CONCERTS IN FEBRUARY February 11–20, 2016 CSO Principal Clarinet Stephen Williamson and CSO Concertmaster Robert Chen Make Solo Appearances with Muti and CSO Muti and Members of CSO Offer Lenten Performance of Haydn’s The Seven Last Words of Our Savior on the Cross with Archbishop Blase J. Cupich at Holy Name Cathedral on February 19 CHICAGO—Music Director Riccardo Muti returns to Chicago in February for two weeks of concerts and activities February 11-20 during the Chicago Symphony Orchestra’s 125th anniversary season. Programs include subscription concerts featuring CSO Principal Clarinet Stephen Williamson (February 11-14) and CSO Concertmaster Robert Chen (February 18-20), a Lenten performance at Holy Name Cathedral with members of the CSO and Archbishop Blase J. Cupich on February 19 and an Open Rehearsal with the Festival Orchestra of the 2016 Chicago Youth in Music Festival on February 15. On February 11-14, Muti leads a program that highlights the CSO strings in a diverse array of works including György Ligeti’s haunting work for string orchestra, Ramifications, and Tchaikovsky’s Serenade for String Orchestra. The previously-announced premiere of CSO Mead Composer-in-Residence Elizabeth Ogonek’s new work for strings and percussion commissioned for the CSO has been postponed until a future date to be announced. Replacing the Ogonek work on the program is Arvo Pärt’s Orient and Occident, an intense and evocative work for strings in a first-ever performance by the CSO. -
An Investigation of Dalcroze-Inspired Embodied Movement
AN INVESTIGATION OF DALCROZE-INSPIRED EMBODIED MOVEMENT WITHIN UNDERGRADUATE CONDUCTING COURSEWORK by NICHOLAS J. MARZUOLA Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Nathan B. Kruse Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2019 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Nicholas J. Marzuola, candidate for the degree of Doctor of Philosophy*. (signed) Dr. Nathan B. Kruse (chair of the committee) Dr. Lisa Huisman Koops Dr. Matthew L. Garrett Dr. Anthony Jack (date) March 25, 2019 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Copyright © 2019 by Nicholas J. Marzuola All rights reserved 3 DEDICATION To Allison, my loving wife and best friend. 4 TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 LIST OF FIGURES .......................................................................................................... 10 ACKNOWLEDGEMENTS .............................................................................................. 11 ABSTRACT ...................................................................................................................... 13 CHAPTER ONE, INTRODUCTION ............................................................................... 15 History of Conducting .................................................................................................. -
Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: -
Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style. -
Bluewater Chamber Orchestra to Go Conductorless at the Breen by Mike Telin
BlueWater Chamber Orchestra to go conductorless at the Breen by Mike Telin “When a composer writes a piece of music, they don’t really picture someone with a stick telling the musicians what to do,” BlueWater Chamber Orchestra concertmaster Ken Johnston said during a recent telephone conversation. On Saturday, February 18 at 7:30 at the Breen Center for the Performing Arts, Johnston and his BlueWater colleagues will go conductorless when they perform works by Aaron Copland, Richard Wagner, and Benjamin Britten. Johnston said that as concertmaster, he is always leading and communicating with the players. “I don’t think this is going to be a huge stretch from what I’m used to doing. And with a group this good, the leadership is going to be shared.” Composed for choreographer and dancer Martha Graham and premiered in 1944, Copland’s ballet Appalachian Spring was originally scored for a chamber ensemble of double string quartet plus bass, flute, clarinet, bassoon, and piano. The composer revised the work for full orchestra in 1954. BlueWater will perform the thirteen-player version on Saturday. Johnston, who has played the chamber version, said that he’s enjoyed the opportunity to reexamine the score. “There are so many little textures that are missing in the symphonic version. It’s not that Copland meant to dilute anything with that version — it is big and lush and we all love it — but the chamber version is a lot more intricate.” Johnston admits that there will be some negotiating to be done among the players, especially when it comes to the tempo of the square dance. -
Fiorito 2020 Resume
Margaret A. FioRito, Violinist 630-880-9986 margaretfiorito.com [email protected] ~ First Violinist: Northbrook Symphony Orchestra First Violinist: Peoria Symphony Orchestra Associate Concertmaster: Wheaton Symphony Pops Orchestra ~ M.A. Music / Violin Pedagogy: Northeastern Illinois University, Chicago Student of David Taylor, Assistant Concertmaster of the Chicago Symphony Orchestra B.M. Violin Performance: University of Illinois, Urbana-Champaign Student of Sherban Lupu, Romanian concert violinist and international pedagogue 2020- present • Performed with CSO Concertmaster Robert Chen and the Northbrook Symphony Orchestra, Maestro Mini Zikri • Acting Assistant Concertmaster of Peoria Symphony Orchestra: Harry Potter and the Chamber of Secrets; Maestro George Stelluto • Acting Concertmaster of Peoria Symphony Orchestra: Paris: The 1920s; Maestro George Stelluto • Substitute first violinist with the Heartland Festival Orchestra; Maestro David Commanday • Guest Concertmaster of Fox Valley Orchestra: Music and Engineering; A Children’s Concert; Maestro Brian Groner 2017-2019 • Ravinia Festival and the Peoria Symphony: Leonard Bernstein: 100 Years Young, Kids’ Concert Series • Guest first violinist with the Fox Valley Orchestra, Broadway and the Big Screen, Maestro Brian Groner • Violin soloist: Jim Kendros’ The Enchanted Musicians; newly commissioned work for the NSO • Contract first violinist position with the Peoria Symphony Orchestra; Maestro George Stelluto • Private violin instructor: District 203 at Naperville North High -
Primary—The Animated Orchestra Study Guide
17 Primary 18 Study Guide The Toronto Symphony Orchestra’s School Concerts are generously supported by Mrs. Gert Wharton and an anonymous donor. Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 10 Lesson Plans Artist Biographies Musical Terms Glossary 11 - 19 20 - 23 24 - 25 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 26 - 37 38 - 41 42 - 43 The Toronto Symphony Orchestra gratefully acknowledges Robin Malach for preparing the lesson plans included in this guide Concert Overview The Animated Orchestra Primary: Suitable for students in grades K–4 Dina Gilbert, conductor Greg Smith, narrator Join the TSO on an adventure where students discover the magic of music. Through storytelling and one-of-a-kind characters, students will be introduced to orchestral favourites that allow their imagination to soar. Meet a creative ferret named Ari who will tell the story of The Animated Orchestra with narrator Greg Smith. There will even be an audience sing-along where students get to perform alongside the TSO! Program to include excerpts from*: Georges Bizet Aragonaise from Carmen Suite No. 1 Traditional Mister Sun Audience Sing-Along Georges Bizet Les Toréadors from Carmen Suite No. 1 Greg Smith The Animated Orchestra *Program subject to change 3 Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience! Before Listen and Read Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations. -
A Performer's Guide to Multimedia Compositions for Clarinet and Visuals: a Tutorial Focusing on Works by Joel Chabade, Merrill Ellis, William O
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar. Mary Alice Druhan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Druhan, Mary Alice, "A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar." (2003). LSU Major Papers. 36. https://digitalcommons.lsu.edu/gradschool_majorpapers/36 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A PERFORMER’S GUIDE TO MULTIMEDIA COMPOSITIONS FOR CLARINET AND VISUALS: A TUTORIAL FOCUSING ON WORKS BY JOEL CHADABE, MERRILL ELLIS, WILLIAM O. SMITH, AND REYNOLD WEIDENAAR 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 Mary Alice Druhan B.M., Louisiana State University, 1993 M.M., University of Cincinnati -
AMI Music Parent & Student Guide
Guide for Music Parents & Music Students American Music Institute Winter/Spring 2016 (630) 858-8505 [email protected] http://AMImusic.org Coupon Inside!!! Why do most people drop out of music lessons? By Remus Badea There is no doubt that music is one way that a select few can make a lot of money. However, that does not come that easily. In other words, you need to put in a lot of effort before you can start reaping in rewards from your music career. One such effort is studying in music lessons. But not everyone who enrolls in music lessons ends up achieving what they wanted. What prompts someone talented to leave the music lessons they need to develop? “The best way for a student to get out of difficulty is to go through it” — Aristotle As an art, music has to be formally learned to bring out the best of person’s musical talent. It is a journey and a long one that requires patience, practice, and perseverance. Not many, sorry to say, soldier on consistently to the ultimate goal they had in mind of becoming a musician, simply because they prematurely ended their studies. Why do so many people drop out of music lessons? Absence of love and passion for the music theory Yes, you may be talented, but those that don’t have enough enthusiasm or enough passion towards music end up dropping out. Passion is the music engine propeller. Too high expectations High expectations are important for success in anything, however, too much of it will nose dive your talent.