Walter Hartley

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Walter Biography Hartley Biography WALTER S. HARTLEY (born February 21, 1927, Washington, D.C.) began composing at age five and became seriously dedicated to it at sixteen. All his college degrees are from the Eastman School of Music of the University of Rochester. He received his Ph.D. in composition there in 1953. Some of his teachers were Burrill Phillips, Thomas Canning, Herbert Elwell, Bernard Rogers, Howard Hanson and Dante Fiorillo. At present he is Professor Emeritus of Music and Composer-in-Residence at State University College, Fredonia, N.Y. He also taught piano, theory and composition at the National Music Camp (now Interlochen Arts Camp) at Interlochen, Michigan from 1956 to 1964. His list of acknowledged works is now over 200, dating from 1949 on, and most of these are published. He is a member of the American Society for Composers, Authors and Publishers, from which he has received an annual award for achievement in serious music since 1962. His music has been performed by many ensembles, including the National Symphony Orchestra, Oklahoma City Symphony, Eastman-Rochester Orchestra and the Eastman Wind Ensemble. His Chamber Symphony of 1954 was commissioned by the Koussevitsky Foundation, his Concert Overture for orchestra received a prize from the National Symphony Orchestra in 1955, and his Sinfonia No. 3 for brass choir won for him the 1964 Conn Award. Since then he has received many commissions from college and high school musical organizations. A lately published orchestral work, Symphony No. 3, was commissioned by the Greater Buffalo (NY) Youth Orchestra; several band works were commissioned by U.S. service bands. There have been many recordings. He and the former Sandra Mount have been married since June 17, 1960 (two daughters, five grandchildren). From: International Tuba Euphonium Association Honorary Life Members .

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EASTMAN NOTES JUNE 2005 Draft: Web Date: July 5, 2005 INSIDE
NOTES JUNE 2005 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR Loss, love, and legacies Dear Eastman Alumni: More than any time since I began editing Eastman Notes, the winter and spring of 2004¬2005 was marked by a sense of loss, with the deaths of two inimitable NOTES figures in Eastman’s history: Frederick Fennell and Ruth Watanabe, who died in Volume 23, Number 2 December 2004 and February 2005 respectively. June 2005 It’s representative of their importance, not just to the School but to the musical world in general, that everyone reading this magazine, no matter when they at- Editor tended, knows who Frederick Fennell and Ruth Watanabe are. Both are indelibly David Raymond associated with two monuments of the School—the Wind Ensemble and the Sib- Assistant editor ley Library. Fennell built a new model for wind band playing—and a repertory— Juliet Grabowski pretty much from scratch; while Ruth Watanabe didn’t found the Sibley Library, Contributing writers she certainly developed it to its present eminence over a 40-year career. (See Martial Bednar Christine Corrado pages 6 and 8 for more Susan Hawkshaw on their remarkable ca- Contributing photographers reers.) Both continued Richard Baker to be generous with Kurt Brownell their time and talent Bob Klein well after retirement— Gelfand-Piper Photography Amy Vetter Fennell visiting Eastman numerous times to con- Photography coordinators Nathan Martel duct, Watanabe as the Amy Vetter School’s historian. Design These two people were Steve Boerner Typography & Design definitely respected as professionals, but they Frederick Fennell Ruth Watanabe Published twice a year by the Office of were also loved as people— Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, see the brief tributes to Fennell by his successors Don Hunsberger and Mark 14604, (585) 274-1050.
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“Incidental Suite” by Claude T. Smith, “Concerto for 23 Winds” by Walter S
AN EXAMINATION OF MAJOR WORKS FOR WIND BAND AND BRASS ENSEMBLE: “INCIDENTAL SUITE” BY CLAUDE T. SMITH, “CONCERTO FOR 23 WINDS” BY WALTER S. HARTLEY, AND “FANFARE FOR LA PERI” BY PAUL DUKAS by ANDREW DEAN FEYES B.M., Bowling Green State University, 2003 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2007 Approved by: Major Professor Frank Tracz, Ph.D. Abstract The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Andrew D. Feyes. The recital, performed by the Kansas State University Symphony Band, was given in McCain Auditorium on the campus of Kansas State University on March 13, 2007 at 7:30pm. The repertoire included Fanfare for La Peri, by Paul Dukas, Concerto for 23 Winds, by Walter S. Hartley, and Incidental Suite, by Claude T. Smith. This examination contains thorough theoretical and historical analyses of the included literature. The report also includes the procedures of planning and performing the graduate conducting recital. Table of Contents Chapter I Introduction and Report Information .............................................1 Introduction and Statement of Purpose......................................................1 Performance Information ...........................................................................1 Music Examined.........................................................................................1
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HOWARD HANSON COLLECTION Accession No
HOWARD HANSON COLLECTION Accession no. 997.12 RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER The initial intellectual arrangement and physical arrangement of these papers imposed by personnel employed by the Howard Hanson Institute for American Music at the Eastman School of Music, ?1993-1997; revisions to same under the supervision of David Peter Coppen, 2017; description revised by David Peter Coppen, 2018-19. Howard Hanson, accession no. 997.12 Director Howard Hanson at his desk, ca. 1920s. Photograph from ESPA 2-14 (8x10). Howard Hanson at the piano, ca. 1960s. Photograph from Howard Hanson Collection (Accession no. 2005/3/25), Box 61, Folder 53. 2 Howard Hanson, accession no. 997.12 TABLE OF CONTENTS Description of the Collection . 5 Description of Series . 8 INVENTORY Series 1: Addresses, essays, articles, and publicity . 14 Series 2: Correspondence . 64 Sub-series A: Inside Eastman . 64 Sub-sub-series i: Offices, departments, and budget . 64 Sub-sub-series ii: Projects, endeavors, and initiatives , , 66 Sub-sub-series iii: Programmed events . 70 Sub-series B: Outside Eastman: endeavors and initiatives . 73 Sub-series C: University of Rochester River Campus . 83 Sub-sub-series i: Reports and correspondence . 83 Sub-sub-series ii: Endeavors and initiatives . 84 Sub-series D: Hanson’s original works . 85 Series 3: Manuscripts . 86 Sub-series A: Original compositions . 86 Sub-series B: Arrangements of music by other composers . 147 Sub-series C: Other writings . 150 Sub-sub-series i: Harmonic Materials of Modern Music . 150 Sub-sub-series ii: Sketches . 151 Sub-series D: Oversized manuscripts .
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Conception, Significance, Analysis and Performance Preparation of Walter Hartley’S Concerto for 23 Winds
Conception, Significance, Analysis and Performance Preparation of Walter Hartley’s Concerto for 23 Winds Jacob Bridges 2021 SFA Graduate Research Conference Bridges 1 Since its premiere by Frederick Fennell and the Eastman Wind Ensemble in 1957, Walter Hartley’s Concerto for 23 Winds, written during a period of substantial growth of serious music for wind band, is considered a masterwork in the wind band repertory. However, despite its eventual status as an important work within said repertory, the amount of academic discussion on the piece is fairly minimal, and performances of the work are quite few recently, both due to the lack of discussion surrounding the work, and for the high artistic and technical demands of the performers. Through research on the work’s conception and its rise to the upper echelon of wind band works, conductors and performers may find the Concerto of interest not just because it is a challenging, yet rewarding, work that benefits both groups of people, but also because of its historical importance within the development of the modern wind band. In addition, documentation of rehearsal preparation of the work for performance, conducted by the author, will provide insight to conductors on the steps and procedures that were taken to create a successful performance of the piece. Therefore, Walter Hartley’s Concerto for 23 Winds is a work that deserves further academic discussion and performance because of its historical importance within the wind band medium’s most important developmental period. Short Biography: Born on February 21, 1927 in Washington D.C., Walter Hartley began his musical education by taking piano lessons at age four by organist Lucile Shannon Etchison.
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Program of Carnegie Hall, the Juilliard School, and the Weill Music Institute in Partnership with the New York City Department of Education
THE EASTMAN SCHOOL OF MUSIC ndustrialist and philanthropist George Eastman, founder of Eastman Kodak Company, established the Eastman School of Music Iin 1921 as the first professional school of the University of Rochester. Through the efforts of Eastman, Howard Hanson (Eastman Director from 1924–1964), and University President Rush Rhees, the Eastman School became an innovator in American music education. The original vision of a music school dedicated to the highest levels of artistry and scholar- ship, to the broad education of young musicians within the context of a university, to the musical enrichment and education of the greater com- munity, and to the promotion of American music and musicians, is still alive and vital through the Eastman School’s numerous creative endeav- ors. In 1921, George Eastman articulated his belief in the importance of music education in America. “The life of our communities in the future needs what our schools of music and of other fine arts can give them. It is necessary for people to have an interest in life outside their occupations ... I am interested in music personally, and I am led thereby to want to share my pleasure with others. It is impossible to buy an appreciation of music. Yet, without appreciation, without the presence of a large body of people who under- stand music and who get enjoyment out of it, any attempt to develop the musical resources of any city is doomed to failure. Because in Rochester we realize this, we have undertaken a scheme for building musical capac- ity on a large scale from childhood.” Today, more than 900 students are enrolled in the Collegiate Division of the Eastman School of Music—about 500 undergraduates and 400 graduate students.
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Commencement2008.Pdf
Eastman School of Music 83rd Commencement Sunday, May 18, 2008, 11:15 a.m. Eastman School of Music 83rd Commencement Sunday, May 18, 2008, 11:15 a.m. THE EASTMAN SCHOOL OF MUSIC ndustrialist and philanthropist George Eastman, founder of Eastman Kodak Company, established the Eastman School of Music Iin 1921 as the first professional school of the University of Rochester. Through the efforts of Eastman, Howard Hanson (Eastman Director from 1924–1964), and University President Rush Rhees, the Eastman School became an innovator in American music education. The original vision of a music school dedicated to the highest levels of artistry and scholarship, to the broad education of young musicians within the context of a university, to the musical enrichment and education of the greater community, and to the promotion of American music and musicians, is still alive and vital through the Eastman School’s numerous creative endeavors. In 1921, George Eastman articulated his belief in the importance of music education in America: “The life of our communities in the future needs what our schools of music and of other fine arts can give them. It is impossible to buy an appreciation of music. Yet, without appreciation, without the presence of a large body of people who understand music and get enjoyment out of it, any attempt to develop the musical resources of any city is doomed to failure. Because in Rochester we realize this, we have undertaken a scheme for building musical capacity on a large scale from childhood.” Today, more than 900 students are enrolled in the Collegiate Division of the Eastman School of Music—about 500 undergraduates and 400 graduate students.
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Page 1 a THEMATIC CATALOG of the TUBA and EUPHONIUM
A THEMATIC CATALOG OF THE TUBA AND EUPHONIUM LITERATURE OF WALTER HARTLEY BY MATTHEW C. STRATTON Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Eric Isaacson, Research Director __________________________________ Daniel Perantoni, Chairperson __________________________________ John Rommel __________________________________ M. Dee Stewart ii ACKNOWLEDGEMENTS God: I give all praise and glory to my lord and savior Jesus Christ. Thank you lord for your strength, the gift of music, patience, and perseverance. April Stratton: Our daily journey through life is all the motivation I need to wake up each day and live life to the fullest. I am proud to bring this distinction to our family and set this standard for our children. I would not have been here without you. Susan Eccleston and Bert Stratton: Mom and Dad, thank you for starting me on this path and providing me the resources to reach my dreams. Derek Stratton: You are always there for me and will always be there for me. That knowledge helps me have the courage and confidence to keep pushing down the path. William Laughlin: Thank you for your unending support and inspiration. Ryan Spencer: Your chief editing skills were invaluable to my completion of this document. Thank you for your time and efforts on my behalf. Elizabeth Green: Your contributions as a sounding board, idea generator, and editor were much appreciated on this project.
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V·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road
Annotated bibliography of selected unaccompanied alto saxophone literature. Item Type text; Dissertation-Reproduction (electronic) Authors Trittin, Brian Lynn. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 18:18:55 Link to Item http://hdl.handle.net/10150/186269 INFORM..ATION 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.
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Report Summer 2016
SCOTT S. HANNA Editor REPORT SUMMER 2016 FROM THE PODIUM Cleaning out my inbox and desk top, I’ve gathered an initiative honors select educators, and their band assortment of updates on various initiatives that have programs, which are challenging students to reach a high taken shape over the past few months. It has been a busy level of excellence. Winners of this award will receive a summer. funded visit of select, prestigious music educators to their school for a workshop to involve students and their A little over a year ago, we entered into discussions with community. our counterparts in the National Band Association (NBA) looking for ways our two organizations could work The CBDNA portion of this exciting initiative is directed together. When you get right down to it, CBDNA and by Dr. Mary Schneider of Eastern Michigan University NBA have a lot in common in the name of promoting with assistance from Dr. Rebecca Phillips of Colorado excellence and artistry in band music. Many CBDNA State University. Many additional CBDNA members members are also members of NBA but, beyond that, we responded to our previous call for help. The project is share mutual interests in performing, teaching, research moving forward and you will be hearing more about this and outreach. We entered into these conversations with over the 2016-17 academic year. Stay tuned. a third potential partner, Music for All. A second outcome of the CBDNA/NBA/Music for All After numerous Skype meetings, shared documents, discussions is a joint presentation to be given at the 2016 testing of ideas and generally ‘spilling our guts’ about the Midwest Clinic concerning bullying and hazing in high state of the art, we held a ‘summit meeting’ of sorts at the school and college band programs.
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RHETT LYLE BENDER Annotated Bibliography of Published Saxophone Quartets (Soprano, Alto, Tenor, and Baritone) by American Composers (Under the Direction of KENNETH M
RHETT LYLE BENDER Annotated Bibliography of Published Saxophone Quartets (Soprano, Alto, Tenor, and Baritone) by American Composers (Under the Direction of KENNETH M. FISCHER) The saxophone quartet has become an established chamber music ensemble. Reviews of quartets may be found in several journals, but collectively there is no single source. This document provides musicians with a single source containing stylistic and performance information on American saxophone quartets. Chapter One provides information on the sources used to locate quartets, defines terms used to describe the quartets, and explains rating of the levels of difficulty. Chapter Two is an annotated bibliography of the quartets. The entries in the bibliography are alphabetized by composer and, depending on availability, each includes the following information: the composer’s birth and death year; title; date of composition; location and name of publisher; date of publication; commissioning body; dedication; level of difficulty; and approximate duration. The annotations briefly cover the quartet’s form, style characteristics, and recommendation of appropriate ensemble level requirements. Chapter Three is a conclusion summarizing compositional styles and characteristics of the quartets. A bibliography, a list of annotated works, a list of annotated works categorized by difficulty, and a list of publishers are also included. INDEX WORDS: Saxophone, Saxophone Quartet, American AN ANNOTATED BIBLIOGRAPHY OF PUBLISHED SAXOPHONE QUARTETS (SOPRANO, ALTO, TENOR, AND BARITONE) BY AMERICAN COMPOSERS by RHETT LYLE BENDER B.M., Iowa State University, 1992 M.M., University of Georgia, 1994 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2000 © 2000 Rhett Lyle Bender All Rights Reserved AN ANNOTATED BIBLIOGRAPHY OF PUBLISHED SAXOPHONE QUARTETS (SOPRANO, ALTO, TENOR, AND BARITONE) BY AMERICAN COMPOSERS by RHETT LYLE BENDER Approved: Major Professor: Kenneth M.
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