Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009, Subscription, Volume 01
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Elliott Carter Works List
W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) .................................................. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R. -
PYO: 11.22.15 Kimmel Center Concert
Philadelphia Youth Orchestra Louis Scaglione • Music Director Presents PHILADELPHIA YOUTH ORCHESTRA KIMMEL CENTER CONCERT SERIES Louis Scaglione • Conductor Jennifer Montone • Horn Sunday • November 22 • 2015 • 3:00 p.m. Kimmel Center for the Performing Arts Verizon Hall Welcome to the 76th Anniversary season of the Philadelphia Youth Orchestra! This year promises to “spirit you away” with the great talent and artistry of our young musicians. You have seen us here with your belief in the power and great merit of music. Our solid, sustained history affords us the ability to reach out into our diverse communities ensuring that the universal gift and language of music is known to all who desire it. The Philadelphia Youth Orchestra organization takes pride in playing a pivotal role to prepare its students for successful university and conservatory experiences. PYO prepares its students to be successful, contributing members of society, and trains them to be tomorrow’s leaders. As you settle into your seats in the acoustically and aesthetically magnificent Verizon Hall, we hope that you will delight in today’s performance. May your experience with us, today, be a catalyst for your returning to us throughout our concert season for you and your family’s music and cultural enjoyment. We welcome and appreciate your generosity and support of our mission, and look forward to welcoming you to our concerts. With much gratitude, Louis Scaglione, President and Music Director 01 Philadelphia Youth Orchestra Kimmel Center Series Philadelphia Youth Orchestra Louis Scaglione • Conductor Jennifer Montone • Horn The Kimmel Center for the Performing Arts • Verizon Hall Sunday, November 22, 2015 • 3:00 p.m. -
(1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements
Wolfgang Amadeus Mozart's (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements Item Type text; Electronic Thesis Authors Koner, Karen Michelle 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 10/10/2021 21:25:51 Link to Item http://hdl.handle.net/10150/193304 1 Wolfgang Amadeus Mozart’s (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements By Karen Koner __________________________________ Copyright © Karen Koner 2008 A Thesis Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements for the Degree of Master of Music In the Graduate College The University of Arizona 2008 2 STATEMENT BY THE AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Signed: Karen Koner Approval By Thesis Director This thesis has been approved on the date shown below: J. Timothy Kolosick 4/30/2008 Dr. -
The Proms Listening Service Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
The Proms Listening Service Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom BACH a kaleidoscope of new forms, groups and layers. In his Indian Brandenburg Concertos summer – composing throughout his eighties and nineties until his death at the age of 103 – Carter continued to revisit and reshape Bach’s Brandenburgs are a set of wildly innovative and dizzyingly the concerto principle, from Dialogues I and II for piano and diverse answers to the question of how musical individuals relate orchestra and his Clarinet Concerto to works that take the to larger groups. Bach doesn’t come up with anything so Brandenburg principle of a group of instruments as an ensemble of straightforward as the concerto form as it became ossified in potential soloists into the present day. That’s the effervescent energy the 19th century, in which a single soloist is set against the that drives Carter’s Boston Concerto, written for the Boston massed ranks of the orchestra. Instead, each Brandenburg Symphony Orchestra in 2002, and the Asko Concerto, composed in Concerto proposes a much more fluid solution to the question 1999–2000 for the eponymous Dutch new music group. It’s not of how a solo part or multiple solo parts weave in and out of only the example of Bach that tonight’s composers are up against: the texture of the instrumental ensemble as a whole. It’s all there are the achievements of Musgrave and Carter to contend with done with such seamless invention that it’s like looking at an too! ever-active shoal of fish in the ocean, where your attention is sometimes drawn to the dazzle and glint of individuals but then flows out to the group as a whole, in and out again, in a dance of different relationships between the players and a dance of listening on which Bach leads us in each of these concertos. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
2019 CCPA Solo Competition: Approved Repertoire List FLUTE
2019 CCPA Solo Competition: Approved Repertoire List Please submit additional repertoire, including concertante pieces, to both Dr. Andrizzi and to your respective Department Head for consideration before the application deadline. FLUTE Arnold, Malcolm: Concerto for flute and strings, Op. 45 strings Arnold, Malcolm: Concerto No 2, Op. 111 orchestra Bach, Johann Sebastian: Suite in B Minor BWV1067, Orchestra Suite No. 2, strings Bach, Carl Philipp Emanuel: Concerto in D Minor Wq. 22, strings Berio, Luciano: Serenata for flute and 14 instruments Bozza, Eugene: Agrestide Op. 44 (1942) orchestra Bernstein, Leonard: Halil, nocturne (1981) strings, percussion Bloch, Ernest: Suite Modale (1957) strings Bloch, Ernest: "TWo Last Poems... maybe" (1958) orchestra Borne, Francois: Fantaisie Brillante on Bizet’s Carmen orchestra Casella, Alfredo: Sicilienne et Burlesque (1914-17) orchestra Chaminade, Cecile: Concertino, Op. 107 (1902) orchestra Chen-Yi: The Golden Flute (1997) orchestra Corigliano, John: Voyage (1971, arr. 1988) strings Corigliano, John: Pied Piper Fantasy (1981) orchestra Devienne, Francois: Concerto No. 7 in E Minor, orchestra Devienne, Francois: Concerto No. 10 in D Major, orchestra Devienne, Francois: Concerto in D Major, orchestra Doppler, Franz: Hungarian Pastoral Fantasy, Op. 26, orchestra Feld, Heinrich: Fantaisie Concertante (1980) strings, percussion Foss, Lucas: Renaissance Concerto (1985) orchestra Godard, Benjamin: Suite Op. 116; Allegretto, Idylle, Valse (1889) orchestra Haydn, Joseph: Concerto in D Major, H. VII f, D1 Hindemith, Paul: Piece for flute and strings (1932) Hoover, Katherine: Medieval Suite (1983) orchestra Hovhaness, Alan: Elibris (name of the DaWn God of Urardu) Op. 50, (1944) Hue, Georges: Fantaisie (1913) orchestra Ibert, Jaques: Concerto (1933) orchestra Jacob, Gordon: Concerto No. -
108-Oppens-Plays-Carter-Booklet.Pdf
Ellliott Carter (b. 1908) 1 90+ (1994) (4:55) 2 Retrouvailles (2000) (1:38) 3 Night Fantasies (1980) (19:48) Producer & Engineer: Judith Sherman Engineering & Editing Assistant: Jeanne Velonis Two Diversions (1999) (7:28) Graphic Design: Melanie Germond 4 I. (4:03) 5 Cover Photo: Christian Steiner II. (3:21) Photo of Elliott Carter and Ursula Oppens (p. 3 & traycard): Malcolm Addey 6 Matribute* (2007) (2:05) Recorded February 4–8, 2008, at the American Academy of Arts and Letters, NYC OPPENS Piano Sonata (1945–46) (23:31) Steinway Piano 7 I. Maestoso; Legato scorrevole (10:22) PLAYS Publishers: 8 II. Andante (13:03) 90+, Retrouvailles, Two Diversions for Piano, Two Thoughts about Piano (Caténaires and CARTER Intermittences): Hendon Music, Inc Two Thoughts About the Piano (2005–06) (10:55) Night Fantasies: Associated Music Publishers 9 Intermittences (7:04) Matribute: Boosey & Hawkes, Inc. bk ELLIOTT Piano Sonata: Theodore Pressser Company Caténaires* (3:48) Total: (70:53) CARTER Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. AT 100 The Chicago Classical Recording Foundation’s activities are supported in part by contributions Ursula Oppens piano and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, *World Premiere Recording THE Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. COMPLETE Contributions to The Chicago Classical Recording Foundation may be made at PIANO www.cedillerecords.org or 773-989-2515. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time. -
Multi-Layered Construction of Elliott Carter's Violin
MULTI-LAYERED CONSTRUCTION OF ELLIOTT CARTER’S VIOLIN CONCERTO, FIRST MOVEMENT, AND IMMERSED IN AN ETHEREAL BLUE LIGHT FOR CHAMBER ENSEMBLE ! ! ! ! ! ! ! ! by Jonghee Kang B.M. in Music Composition, Yonsei University, 2000 M.A. in Music Composition, New York University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 ! UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jonghee Kang It was defended on March 31, 2015 and approved by Reza Vali, Professor of Music, Carnegie Mellon University Amy Williams, Associate Professor of Music, University of Pittsburgh Mathew Rosenblum, Professor of Music, Chair, Department of Music, University of Pittsburgh Dissertation Advisor: Eric Moe, Andrew W. Mellon Professor of Music, University of Pittsburgh ! ii! Copyright © by Jonghee Kang 2015 ! iii! ! MULTI-LAYERED CONSTRUCTION OF ELLIOTT CARTER’S VIOLIN CONCERTO, FIRST MOVEMENT, AND IMMERSED IN AN ETHEREAL BLUE LIGHT FOR CHAMBER ENSEMBLE Jonghee Kang, PhD University of Pittsburgh, 2015 ! ! Most analytical studies of Elliott Carter’s music focus on how Carter utilizes his system of harmony, pitch material, or polyrhythmic stratification. This study, however, explores the structure of Carter’s Violin Concerto from a different analytic angle. Violin Concerto constitutes a new structural model for the traditional concerto genre based on its multi-layered construction. The background structure of Violin Concerto is derived from pre-compositional planning, utilizing tempo modulation and three-way stratification based on a long-range polyrhythm. The phrase structure of the concerto divides the first movement into seven sections, while the movement’s rhythmic activity largely shows a four-part structure.