DOCSLIB.ORG

Audition Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audition Guide Audition Guide Contents: Overview 2 Our Ensembles 3 Student Progression 4 Musical Skills Required: Strings 5 Winds/Brass 7 Percussion 8 Jazz 9 Audition Guidelines 10 Audition Tips 12 MYS Auditions OVERVIEW All new and returning MYS students* must play an audition for the MYS Conducting Staff to determine their group assignment. Based on this audition, the student will be placed in the most advanced ensemble the conductors feel will be a good fit; where students are challenged musically but can succeed and have fun. This document includes an overview of all MYS ensembles and the musical skills expected for each. Students and their families are expected to become familiar with this information as they prepare for their MYS audition. Important notes to keep in mind: • Group assignments are valid for the entire school year. • Students may play in a second MYS ensemble at no extra cost. Many wind/brass/percussion students choose to play with an Orchestra in the morning and with a Band in the afternoon. • The average MYS student plays with the same ensemble for 2 years before moving on to the next. • Typically, students grow their individual and ensemble skills during year 1, and become leaders in year 2, while continuing their musical advancement. *except students who are pre-registered for Symphony Orchestra, Symphonic Band or Jazz Ensemble 2 Our Ensembles Ensembles and their conductors are arranged below by level and type, with most advanced at the top: LEVEL Full Orchestras Bands Strings Jazz Percussion Advanced Symphony Orch. MYSfits Jazz MYSticks Perc Ensemble Symphonic Band Concert Orch. Vivaldi Strings Intermediate Percussion Studio Sinfonietta Jazz Band Concert Band Baroque Strings Interlude Orch. Entry Level Overture Strings 1 year minimum playing experience required Beginning Beginning Str. No previous playing experience required 3 Student Progression Below is the typical progression across our ensembles as students advance their technical and ensemble skills: Strings Beginning Overture Interlude Baroque Sinfonietta Vivaldi Concert Symphony MYSfits Strings Strings Orchestra Strings Orchestra Strings Orchestra Orchestra Strings Beginning Entry Level Intermediate Advanced Wind/Brass/Percussion Extra Percussion Training (in addition to ensembles listed on the left) Interlude Concert Sinfonietta Concert Symphonic Symphony Orchestra Band Orchestra Orchestra Band Orchestra Percussion MYSticks Perc. Studio Ensemble Entry Level Intermediate Advanced Entry Level Interm. Advanced Harp Jazz Jazz Ensemble Interlude Sinfonietta Concert Symphony Jazz Orchestra Orchestra Orchestra Orchestra Band Big Band Entry Level Intermediate Advanced Entry Level Interm. Advanced 4 Musical Skills Required Strings LEVEL Beginning Overture Interlude Baroque Sinfonietta Vivaldi Concert Symphony MYSfits Strings Strings Orchestra Strings Orchestra Strings Orchestra Orchestra Strings Beginning Entry Level Intermediate Advanced Overture Strings: Interlude Orchestra: Baroque Strings: Sinfonietta Orchestra: • At least one year of playing • Developing vibrato for all string • Most or all of major and minor • Most or all of major and experience players; slurred & staccato (melodic and harmonic) scales melodic scales in at least two • Able to read music notation bowing styles in at least two octaves. octaves. • Facility throughout first position • Violins & violas: facility in third • Good vibrato and tone • Fully developed vibrato; slurred, • Know several major scales in at position production spiccato & staccato bowing least 1 octave (2 octaves • Cellos: Knowledge of extensions • Off-the-string bowing (spiccato) styles. preferred) & 4th position • Violins & violas: facility up to • Violins & violas: facility up to • Knowledge of flats and sharps: • Level equivalent to Suzuki Books 5th position 5th position low 1st finger, low/high 2nd, 3 - 4 • Cellos: Knowledge of extensions • Cellos: Knowledge of extensions 3rd or 4th finger • Private Lessons recommended & 5th position & 5th position • Level equivalent to Suzuki books • Level equivalent to Suzuki Books • Level equivalent to Suzuki Books 1-3 4 - 5 5-6 • Private Lessons recommended • Private Lessons recommended • Private lessons recommended cont. next page 5 Musical Skills Required Strings (cont.) LEVEL Beginning Overture Interlude Baroque Sinfonietta Vivaldi Concert Symphony MYSfits Strings Strings Orchestra Strings Orchestra Strings Orchestra Orchestra Strings Beginning Entry Level Intermediate Advanced Vivaldi Strings: Concert Orchestra: Symphony Orchestra: MYSfits • Know most major and minor • All major and minor scales in at • All major and minor scales in at • Members of MYSfits are scales in at least three octaves least 3 octaves with contrasting least 3 octaves with contrasting selected based on Symphony with contrasting articulations, articulations, including spiccato articulations, including spiccato Orchestra seating auditions including spiccato • Facility in all positions and • Facility in all positions and • Fully developed vibrato, slurred bowing techniques bowing techniques & staccato bowing styles. • Fully developed vibrato • Versatility in vibrato and bow • Violins & violas: facility up to • Cellists must be able to read strokes 7th position and play fluently in tenor and • Violists must be able to fluently • Cellos: Knowledge of extensions treble clef read and play in treble clef. & beyond 5th position • Violists should have facility in • Cellists must be able to fluently • Level equivalent to Suzuki books treble clef read and play in tenor AND 6-7 • Level equivalent to Suzuki Books treble clefs. • Private Lessons required 7-8; early concerto repertoire • Highly advanced/professional (e.g. for violins: Viotti, Accolay, solo repertoire Mendelssohn) • Private Lessons required • Private Lessons requried 6 Musical Skills Required Winds/Brass Interlude Concert Sinfonietta Concert Symphonic Symphony Orchestra Band Orchestra Orchestra Band Orchestra Entry Level Intermediate Advanced Interlude Orchestra / Concert Band Sinfonietta Orchestra: Concert Orchestra: Symphonic Band / Symphony Orch. • Know chromatic scales and • Know chromatic scales and • Know chromatic scales and • Know chromatic scales and all major and minor scales up to 3 major and minor scales up to 3 major and minor scales up to 4 major and minor scales in at sharps and flats in two octaves sharps and flats in two octaves sharps and flats in two octaves least two octaves • Comfortable reading in all • Comfortable reading in all with contrasting articulations • Strong sight-reading skills, meters including duple and meters including duple and • Comfortable reading in all intonation, rhythm and triple triple meters including duple and musicality. • Private lessons recommended • Bassoonists must be able to triple • Bassoonists & trombonists must read and play in tenor clef • Bassoonists must be able to be able to read and play in • Clarinetists should have basic read and play fluently in tenor tenor clef. transposition skills clef • French horn, trumpet & clarinet • Trumpet and horn players • Clarinetists should have strong players must have excellent should have basic transposition transposition skills transposing skills. skills • Trumpet and horn players • Flute players may be asked to • Private Lessons highly should have strong play piccolo. recommended transposition skills • Clarinet players should have • Must be taking private lessons access to an A Clarinet, and may be asked to play bass clarinet and E-flat clarinet. • Oboe players may be asked to play English Horn. • Private lessons required 7 Musical Skills Required Percussion (additional training) Interlude Concert Sinfonietta Concert Symphonic Symphony Orchestra Band Orchestra Orchestra Band Orchestra Percussion MYSticks Perc. Studio Ensemble Entry Level Intermediate Advanced Entry Level Interm. Advanced Entry Level Intermediate Advanced Notes: • At least one year of playing • Know major and minor scales • Know all major and minor scales All MYS percussion students take experience (on xylophone) up to 3 sharps (on xylophone) part in Percussion Studio class with • Have basic music-reading and and flats • Know legato and staccato Mr. Michael Roberts. This class playing skills • Know basic timpani stroke and timpani stroke, pp—ff—pp happens during regular rehearsal • Private lessons recommended timpani roll timpani roll times on select weeks. • Know closed “concert” snare • Snare Drum Rudiments: drum roll • Double Stroke Roll MYSticks Perc. Ensemble is made up • Learning/developing mallet • Orchestral (multiple of Symphony Orchestra skills bounce) Roll percussionists and guests from • Must be taking private lessons • 9 Stroke Roll other MYS ensembles as needed. • Flam Tap • Flamacue • Double Paradiddle • Experience in mallet instruments • Must be taking private lessons 8 Musical Skills Required Jazz Jazz Jazz Ensemble Jazz Band Big Band Entry Level Interm. Advanced Entry Level / Intermediate Advanced: Jazz Ensemble Advanced: Big Band Drummers • Know at least five major scales • All major and dominant scales, • All major and dominant scales, Must be able to demonstrate: Able to play a two-octave and a two-octave chromatic and a two-octave chromatic 1. Swing beat: medium and fast chromatic scale scale. scale. tempo • Sight-reading skills • Strong sight-reading skills • Strong instrumental skills 2. Bossa Nova or latin beat • Able to play a transcription of a • Improvisation skills required • Strong sight-reading skills jazz solo • Advanced improvisation skills • Sight-reading
Load more

Recommended publications
  • Partitur Del 1 EN
    Joakim Sandgren Sinfonietta for Chamber orchestra Instruments and mutes Flute Oboe (cloth) B-flat clarinet, also Bass clarinet (cloth) Bassoon (cloth) F horn C trumpet (straight, cup, harmon) Trombone (straight, cup) 1 Percussionist * Piano Violin 1 (practice mute) Violin 2 (practice mute) Viola (mute) Cello (mute) Double bass Duration 13 minutes Score in C * Percussion and mallets 2 snare drums without snares (nails, rod sticks) Vibraphone (elastic, medium hard mallets) 1 large muted bass drum (small drumstick, gope mallets) 1 small muted bass drum (small drumstick, gope mallets) 1 large tam-tam** (heavy soft mallets) 1 small tam-tam** (heavy soft mallets) 4 wood drums (heavy soft mallets) ** the large and small tam-tam should lie on thick blanket covering a table Joakim Sandgren h = 80 Sinfonietta 1997 - 1999 A molto legato, vibrato e dolcissimo ∞ ` ~~~~~~~~~ 1 with a cloth ` ~~~~~~~~~ ∞ I b œ . 4 ˙ b œ b œ ` ~~~~~~~~~ 2 œ b œ œ ˙ œ Œ b œ œ ‰ b œ œ b œ ≈ Œ œ œ œ ˙ œ Ó Ob l & 2 l b ˙ l ˙ n œ l l l π F π π l F π % F cold, stiff, and non vibrato molto l straight mute half valve II ¶ norm. valve, d.t. 1) £ l 2 half valve Œ . Œ ‰ –j ≠ ‰ Œ Ó Œ – ≠ Trp & 2 # ≠ – – – æ # – – – l - - - l -˙ #_ œj - l - – l –j - l - l π> > > > > >- > > l poco l F poco π l l l l molto legato, vibrato e dolcissimo (valve) l l l ~~ l l (valve) l cup mute ` (valve) 2) £ ` £ £ ` ~~~~ l _œ _œ_ œ ~~~~~ l l b_ ˙ l _œ _œ l _œ _œ l I2 b œ œ b ˙ œ b œ b œ œ œ Trb l B 2 Œ l Ó l Ó l Œ l Œ Ó l π π π π l F l F l l % F l l molto across the drum, up to down (from rim to rim) l 2 snare dr.
    [Show full text]
  • Korngold, Erich Wolgang
    Erich Wolgang Korngold (1897-1957) Violin Concerto A clear understanding of Erich Korngold comes magically into focus when one acknowledges the profound similarities with Gustav Mahler. This prolific prodigy, composer, arranger, and conductor, like Mahler before him, did it all. Korngold was born in Brno, in modern day Czechoslovakia - a German influenced city of the Austro-Hapsburg empire, much like near by Iglau had been for Mahler. Both of them were born into Jewish families, struggling with their familial roots and the confusing national identity of the region. The two are inextricably linked to this formative soil, and in the very rich artistic environment of 1875-1925. Though not exact contemporaries they did meet, a young Erich was introduced by his father to Gustav in 1906 – the latter at his zenith within Viennese music circles and the former being heralded as the next genius. The adopted Viennese pedigree of both composers permeates their world view and their music, but Korngold’s acceptance in Vienna was much less complicated than Mahler’s. Dr. Julius Korngold, Erich’s father had stepped into the shoes of the fabled Edouard Hanslick, the great critic of the Neue Freie Press ( New Free Press). The ins and outs of Viennese musical circles were not a closed door at all – as they had been for Mahler. After being duly impressed with the young boy, Mahler suggested that Alexander von Zemlinsky be Korngold’s teacher, which though there were other influences, remained the only official teacher/pupil relationship, and it didn’t last very long. Julius, in his connected position was also able to privately publish three very early works in 1909 - with Erich at the ripe old age of 12.
    [Show full text]
  • Innovative String Program Expands to Five Nashua Schools!
    Innovative String Program Expands to Five Nashua Schools! By Carol Marine Have you heard of, or heard, the Sinfonietta Strings of Greater Nashua? If not you are in for a treat. Sinfonietta Strings is an innovative musical program in partnership with the United Way of Greater Nashua and the Nashua School District. Entering its fifth season, the Sinfonietta Strings offers students from all economic and cultural backgrounds an opportunity to learn to play a string instrument. Because of its continued success, this year the Sinfonietta has expanded to five elementary schools and added cello lessons and a third advanced ensemble. Sinfonietta Strings is a comprehensive string program offered to students in grades three and up. Currently 120 students are enrolled in Sinfonietta Strings. Sinfonietta members have the opportunity to collaborate with other players through weekly group lessons, concert preparation and a summer camp. Developed by Nashua’s own Nancy Goodwin, Sinfonietta Strings is not your run of the mill, check the box music lesson. In addition to becoming proficient in a string instrument, students experience an emotional and creative outlet as they develop an ear, learn the language of music and the art of collaboration in making music. A day in the musical life of a Sinfonietta Strings member may include a lesson with a professional violinist, violist and now a cellist. These two young cellists, Allison Frye and Logan Lovett, are learning proper cello posture at their first lesson this fall. Each week students gather for small group lessons which include individual instruction as well as the more complex but fun ensemble playing.
    [Show full text]
  • ODE 1191-2D Booklet DIGITAL.Indd
    KORNGOLD MUCH ADO ABOUT NOTHING (Complete InCIdental musIC) SINFONIETTA HelsInkI pHIlHarmonIC orCHestra JoHn storgårds 1 ERich WOLfGaNG KORNGOLD (1897–1957) Cd 1 Much ado about Nothing, Op. 11 43’38 1 1. overture 5’31 2 2. don John – act I, scene 2 0’18 3 3. masquerade (Hornpipe) – prelude to act II 2’27 4 4. Festive music – act II, scene 1 4’43 5 5. Balthasar’s song – act II, garden 3’58 soloist: Mati Turi, tenor 6 6. garden scene – prelude to act III 5’55 7 7. Intermezzo 2’10 8 8. dogberry and Verges (march of the Watch) 2’32 – prelude to act III, scene 2 9 8a. arrest – end of act III 0’25 10 9. maiden in the Bridal Chamber – prelude to act IV 3’36 11 10. Church scene – act IV, scene 2 1’05 12 11. dogberry and Verges (march of the Watch) 1’29 13 12. Funeral music – prelude to act V 4’43 14 13. Intermezzo 2’10 15 14. Final dance 2’37 2 Cd 2 Sinfonietta, Op. 5 43’33 1 I. Fließend, mit heiterem schwunge 11’18 2 II. scherzo. molto agitato, rasch und feurig 8’57 3 III. molto andante 7’43 4 IV. Finale. patetico – allegro giocoso 15’35 Helsinki Philharmonic Orchestra JOHN STORGÅRDS, conductor publisher: schott music recordings: Helsinki music Centre, 9–10.8.2011 (Cd 2, tracks 2–4), 26-28.1.2012 (Cd 1), 28.1.2012 (Cd 2, track 1) a 24-bit recording in dXd (digital eXtreme defnition) executive producer: reijo kiilunen recording producer: seppo siirala recording engineer: enno mäemets – editroom oy ℗ 2012 ondine oy, Helsinki © 2012 ondine oy, Helsinki Booklet editor: elke albrecht photos: schott promotion (korngold), Heikki tuuli (John storgårds) design: armand alcazar 3 rich Wolfgang korngold ranks securely among the principal composer Eprodigies.
    [Show full text]
  • African-American Bassoonists and Their Representation Within the Classical Music Environment
    African-American Bassoonists and Their Representation within the Classical Music Environment 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 Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra).
    [Show full text]
  • Acknowledgments
    ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R.
    [Show full text]
  • Fall 2019 Blind Audition Procedure
    Fall 2019: KSU Concert Ensemble Audition Letter Wind Ensemble, Wind Symphony, Concert Band, Woodwind Ensemble, Brass Ensemble Auditions: Dear KSU Fall 2019 Concert Ensemble Auditioner, The FollowinG brass and woodwind excerpts are to be prepared at the designated style and tempo For your ensemble audition. These excerpts are taken From: Sinfonietta – InGolf Dahl Symphony in B-flat for Band – Paul Hindemith Two-Lane Blacktop – James M. David Beneath a Canvas of Green – Aaron Perrine POEM for Wind Ensemble – John Frantzen there are no words – James Stephenson Children’s March – Percy Grainger Silver Light – Benjamin Yeo Excerpts can be downloaded at http://www.k-state.edu/band/ensembles/windensemble.html. Percussion auditions will be on the afternoon of Sunday, August 25th. For more inFormation and for audition percussion specific audition excerpts, please email Dr. Kurt Gartner ([email protected]). Brass and woodwind players can expect the Following during their blind audition (see attached Blind Audition Procedure): 1. Sign up For an audition time (Band Office, McCain 226) ONLY USING YOUR WID NUMBER. 2. Attend the mandatory audition meeting on Monday, August 26th at 3:30pm in McCain 201. 3. ThorouGhly and accurately complete the Audition InFormation Sheet prior to your audition. a. This sheet will be provided riGht beFore your audition. b. Please hand your completed Form to your audition room proctor (GA). 4. PerForm 1-2 scales (slurred up, tonGue down). a. Any of the 12 major/minor scales could be chosen. b. Be prepared to perForm scales a minimum of 2 octaves. 5. PerForm Audition Excerpts. a. Download at http://www.k-state.edu/band/ensembles/windensemble.html i.
    [Show full text]
  • Repertoire List
    Fergus McAlpine: Repertoire List (NB. Works performed or conducted are marked in bold, other works studied/assisted are not) Aa, M. van der -Upload Adams, J. -A Guide to Strange Places -Chamber Symphony -Short Ride in a Fast Machine Bach, J. S. -Cantata No. 66, Erfreut euch, ihr Herzen -St John Passion -St. Matthew Passion Barber, S. -Adagio for Strings -Essay No. 1 for Orchestra -Essay No. 2 for Orchestra -A Hand of Bridge -Horizon -Knoxville, Summer of 1915 -School for Scandal Overture -Symphony No. 1 Bartók, B. -Bluebeard’s Castle -Concerto for Orchestra -Divertimento for Strings -The Miraculous Mandarin, Suite -Music for Strings, Percussion and Celeste -Piano Concerto No. 3 Beethoven, L. v. -Egmont (Overture/Complete) -Fidelio (Complete) -Piano Concerto No. 1 -Piano Concerto No. 3 -Piano Concerto No. 4 -Romance No. 2 for Violin -Symphony No. 1 -Symphony No. 2 -Symphony No. 3 -Symphony No. 4 -Symphony No. 5 -Symphony No. 6 -Symphony No. 7 -Symphony No. 8 -Symphony No. 9 -Triple Concerto -Violin Concerto Berg, A. -Violin Concerto Berkeley, L. -A Dinner Engagement Berlioz, H. -Carnaval Romain Overture -Romeo et Juliette -Symphonie Fantastique Bernstein, L. -Serenade after Plato’s Symposium -Symphonic Dances after West Side Story -Symphony No. 1, Jeremiah -Trouble in Tahiti -West Side Story (Scenes) Bizet, G. -Carmen -Pecheurs du Perles -Symphony in C Bons, J. -Mokum -Nomaden, Concerto for Cello and Mixed Chamber Orchestra Brahms, J. -Academic Festival Overture -Symphony No. 1 -Symphony No. 2 -Symphony No. 3 -Symphony No. 4 -Tragische Overture -Variations on a theme by Haydn -Violin Concerto Britten, B. -Albert Herring -Les Illuminations -The Turn of the Screw -Nocturne -Peter Grimes (+ Four Sea Interludes) -Serenade for Tenor, Horn and Strings -Sinfonia da Requiem -Sinfonietta Bruch, M.
    [Show full text]
  • Concert & Recital Programs Concert & Recital Programs
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-23-2019 Concert: Ithaca College Sinfonietta Kin Szeto Andrew J. Kim Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Szeto, Kin and Kim, Andrew J., "Concert: Ithaca College Sinfonietta" (2019). All Concert & Recital Programs. 5443. https://digitalcommons.ithaca.edu/music_programs/5443 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Sinfonietta Octavio Más-Arocas, director of orchestras Kin Szeto and Andrew J. Kim, conductors Ford Hall Tuesday, April 23rd, 2019 8:30 pm Program Pelléas et Mélisande, op. 46 Jean Sibelius I. At the Castle Gate (1865-1957) IV. A Spring in the Park VI. Pastorale VII. Mélisande at the Spinning Wheel VIII. Entr'act IX. The Death of Mélisande Kin Szeto, conductor Symphonic Dances, op. 64 Edvard Grieg III. Allegro giocoso (1843-1907) II. Allegretto grazioso I. Allegro moderato e marcato Andrew J. Kim, conductor Program Notes Sibelius: Pelléas et Mélisande Jean Sibelius composed Pelléas et Mélisande in 1905 as incidental music for Maurice Maeterlinck’s 1892 play with the same title. Originally written in ten parts, Sibelius later rearranged it into a nine-movement suite version, which became one of his most popular concert works. Pelléas et Mélisande is about the dramatic love affair of Mélisande. The story opens in a nearby forest by the castle of King Arkel, where Mélisande is found by Golaud (the grandson of Arkel).
    [Show full text]
  • Kenneth Woods- Repertoire
    Kenneth Woods- Conductor Orchestral Repertoire Operatic repertoire follows below Adam, Adolpe: Giselle (complete ballet staged) Adams, John Violin Concerto Arnold, Malcolm: Serenade for Guitar and Strings Concerto for Guitar Scottish Dances Applebaum, Edward: Symphony No. 4 Bach, J.S.: St. John Passion St. Matthew Passion Christmas Oratorio Magnificat Cantata Wachet auf, ruft uns die Stimme BWV 140 Brandenberg Concerti, No.’s 1, 3, 4 and 5 Violin Concerti in A minor and E major Concerto for Two Violins Concerto for Violin and Oboe Orchestral Suite No. 2 in B minor Bacewicz, Grażyna Concerto for String Orchestra Barber, Samuel: Prayer of Kirkegarde Overture to “The School for Scandal” Adagio for Strings Violin Concerto Cello Concerto First Essay Medea’s Meditation and Dance of Vengeance Bartók, Bela: Divertimento for Strings Concerto for Orchestra Two Portraits Violin Concerto No. 2 Piano Concerti No.’s 2 and 3 Viola Concerto Miraculous Mandarin (Complete and Suite) Beethoven, Ludwig van: Symphonies No.’s 1-9 Mass in C Major Overtures: Coriolan, Leonore 1, 2 and 3, Fidelio, Egmont, Creatures of Prometheus, King Stephen Incidental Music to “Egmont” Piano Concerti No.’s 1-5 Kenneth Woods- conductor www.kennethwoods.net Violin Concerto Triple Concerto String Quartet in F minor op. 95, “Serioso,” arr. Gustav Mahler Leonore Overture No. 3 arr. Gustav Mahler Berg, Alban: Three Orchestra Pieces Kammerkonzert Violin Concerto Berio, Luciano: Folk Songs Serenata I for Flute and 14 Intruments Berlioz, Hector: Harold in Italy Symphonie Fantastique Damnation of Faust Overtures: Benvenuto Cellini, Roman Carnival, Corsaire, Beatrice and Benedict Te Deum Bernstein, Leonard: Overture to Candide Symphonic Dances from West Side Story Symphony No.
    [Show full text]
  • EARLY LISTENER's GUIDE Strings
    EARLY LISTENER’S GUIDE Strings 1 Table of Contents Welcome Letter, Guide Information…………………………………………………………………3 Strings Concert Program…………………………………………………………………………………..5 About the Composers and Conductors………………………………………………………………6 Snapshot for Students and Teachers………………………………………………………………….8 String One: Connecting Pieces………………………………………………………………………….9 String Two: The Art of Listening…………………………………..…………………………………12 String Three: Bowing and Bowing………………………………………….………………………..17 String Four: Strings…In A Different Part of America!..……………………………………….22 String Five: Strings…In A Different Place!…………………………………………………………27 String Six: All Kinds of A-B-A…………………………………………………………………………31 String Seven: How Do I Look?……………………………………………………………………….35 String Eight: Finding Strings……………………………………………………………………………39 Special Thanks……………………………………………………………………………………………..42 2 Welcome to the BGE Midweek Classroom Broadcasts! On behalf of the BSO Associate Conductor, Nicholas Hersh, Assistant Conductor Jonathan Taylor Rush, the members of the Baltimore Symphony Orchestra, and the BSO Education Department, we are delighted to welcome you to our 2020-2021 Midweek Classroom Broadcasts. With the BSO’s Midweek Concert series as the longest running education initiative at the BSO (running since February 16, 1924), and the first regular educational concert series of any orchestra in the country, we are thrilled to have you join us for these concerts online. About This Guide On the next pages you will find the Early Listener’s Guide for the Strings Concert Program, written by a highly skilled group of Maryland educators with specialism in Music, Drama, Science, English/Language Arts, and Visual Arts, led by award-winning curriculum writer and editor, Richard McCready. At the start of the guide is a “Snapshot” of your concert experience. This will give you a sense of what to expect in the broadcast, along with some thoughts about the various curricular connections, and music we suggest you listen to in the classroom, or at home.
    [Show full text]
  • Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 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 Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." 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: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and
    [Show full text]