Howard Brubeck Papers
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Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
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) .................................................. -
By Chau-Yee Lo
Dramatizing the Harpsichord: The Harpsichord Music of Elliott Carter by Chau-Yee Lo “I regard my scores as scenarios, auditory scenarios, for performers to act out their instruments, dramatizing the players as individuals and partici- pants in the ensemble.”1 Elliott Carter has often stated that this is his creative standpoint, his works from solo to orchestral pieces growing from the dramatic possibilities inherent in the sounds of the instruments. In this article I will investigate how and to what extent this applies to Carter’s harp- sichord music. Carter has written two works for the harpsichord: Sonata for Flute, Oboe, Cello, and Harpsichord was completed in 1952, and Double Concerto for Harpsichord and Piano with Two Chamber Orchestras in 1961. Both commissions were initiated by harpsichordists: the first by Sylvia Marlowe (1908–81) and the Harpsichord Quartet of New York, for whom the Sonata was written, the latter by Ralph Kirkpatrick (1911–84), who had been Carter’s fellow student at Harvard. Both works encapsulate a significant development in Carter’s technique of composition, and bear evidence of his changing approach to music in the 1950s. Shortly after completing the Double Concerto Carter started writing down the interval combinations he had frequently been using. This exercise continued and became more systematic over the next two decades, and the result is now published as the Harmony Book.2 Carter came to write for the harpsichord for the first time in the Sonata. Here the harpsichord is the only soloist, the other instruments being used as a frame. In particular Carter emphasizes the wide range of tone colours available on the modern harpsichord, echoing these in the different musi- cal characters of the other instruments. -
Stage Acoustics for Symphony Orchestras in Concert Halls This Is the Medium Resolution (96Dpi) Version
akuTEK www.akutek.info PRESENTS The PhD thesis by Jens Jørgen Dammerud: Stage Acoustics for Symphony Orchestras in Concert Halls This is the medium resolution (96dpi) version. Click for full resolution (5.5MB) akuTEK navigation: Home Papers Title Index Stage Acoustics Concert Hall Acoustics STAGE ACOUSTICS FOR SYMPHONY ORCHESTRAS IN CONCERT HALLS Submitted by Jens Jørgen Dammerud for the degree of Doctor of Philosophy of the University of Bath September 2009 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no information derived from it may be published without the prior written consent of the author. This thesis may be made available for consultation within the University library and may be photocopied or lent to other libraries for the purposes of consultation. Acknowledgments I would like to thank everyone who has generously contributed to the work forming this thesis: First of all the musicians of professional symphony orchestras who have taken part in discussions (in alphabetical order): David Daly, Chris Gale, Gunnar Ihlen, Kevin Morgan, Finn Orestad, Torbjørn Ottersen, Mike Smith, Geir Solum and Bengt Arstad.˚ I would also like to thank all the musicians who responded to questionnaires, the contact persons within all the symphony orchestras who kindly collaborated in this project and my wife Silje Marie Skeie for all useful input as -
LEONARD BERNSTEIN Symphony No
GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians. -
John Corigliano Was Born Into a Musical
Symphony No. 1 John Corigliano ohn Corigliano was born into a musical represented the first time in two decades Jfamily; his father (John Corigliano, Sr.) that the company presented a new work it served for more than two decades as con- had commissioned. In March 2000 Corigli- certmaster of the New York Philharmonic. ano won another notable honor: an Acade- As a young composer, he studied with Otto my Award for The Red Violin, his third film Luening at Columbia University and Vit- score, music that has gone on to become torio Giannini at the Manhattan School of popular as a concert work quite apart from Music and worked for nearly a decade with its original cinematic context. This was not Leonard Bernstein on the CBS broadcasts of the only distinction accorded to his music the New York Philharmonic Young People’s for The Red Violin; it also won the Canadian Concerts. Following an early period during Genie Award for best film score, the Quebec which his music — as he has described it Jeutra Award, and the German Critics’ Prize. — was a “tense, histrionic outgrowth of the With his Symphony No. 2 (an expanded ‘clean’ American sound of Barber, Copland, re-composition of his 1995 String Quartet) Harris, and Schuman,” he embraced a pos- he was awarded the Pulitzer Prize for Mu- ture in which Romantic grandeur can rub sic in 2001. Since 1991 Corigliano has been elbows with a modernist musical vocabu- a member of the American Academy of Arts lary. The New York Philharmonic has a long and Letters; in 1992 Musical America named and deep history with his work, having per- him its first Composer of the Year; and in formed 15 of his symphonic compositions 2002 he was honored with the Gold Medal since 1980. -
Holiday Cheer Holiday Cheer
At Home Holidwiath they Jun eauC Symhpheoney r VIRTUAL CONCERT In Collaboration with Sitka Fine Arts Camp's Holiday Brass Premiers Sunday, December 20, 3:00 PM 2:30 pm Pre-Concert Talk with Franz Felkl & Roger Schmidt Performed at the State Library, Archives, & Museum String and Brass Chamber ensembles juneausymphony.org At Home with the Juneau Symphony Welcome and thank you for joining us for the 58th season of the Juneau Symphony! We are thrilled to share with you the third virtual concert of the season – Holiday Cheer, featuring the Juneau Symphony String Chamber Ensemble and a special collaborative Brass Ensemble made up of the Juneau Symphony Brass and the Sitka Holiday Brass under the leadership of Roger Schmidt and our At Home with the Juneau Symphony fall season Artistic Director, Franz Felkl. During these challenging times of the COVID-19 2020 Board and Staff pandemic, we are grateful for the opportunity Beth Giron Pendleton to continue to share music with you from some President of the most iconic locations in Juneau. We value Connie McKenzie our community and recognize the many Vice President Stan Lujan contributions of businesses and individuals who Past President support us and have included those in this Myrna Elgee digital program as a way of thanking them for Secretary Margaret MacKinnon their ongoing commitment to our mission to Treasurer “foster and create high-quality musical experiences Sharon Barton that contribute to the cultural diversity and vitality Annie Carpeneti Cherie Curry of Alaska’s Capital City.” Nancy Jones Heather Parker We look forward to the day when we can meet Deborah Rudis Neil Slotnick together to share in mainstage concerts at the Christian Veliz Juneau-Douglas High School auditorium, and until then we hope you enjoy this special Franz Felkl Strings Artistic Director concert in the comfort and safety of your home. -
Trumpet Music by Women Composers
Trumpet Music by Women Composers Amy Dunker, DMA Professor of Music Theory, Composition and Trumpet Clarke University 1550 Clarke Drive Dubuque, IA 52001 [email protected] www.amydunker.com If you perform a composer’s work, please email them and/or send them a program. It is important to know that your work is appreciated! Trumpet Alone Beamish, Sally: Fanfare for Solo Trumpet (Trumpet Alone) http://www.warwickmusic.com/Main-Catalogue/Sheet-Music/Trumpet/Solo-Trumpet/Beamish-Fanfare- for-Solo-Trumpet-TR065 Beat, Janet: Fireworks in Steel (Trumpet Alone) http://furore-verlag.de/shop/noten/trompete/ Bernofsky, Lauren: Fantasia (Trumpet Alone) http://laurenbernofsky.com/works.php Bielawa, Lisa: Synopsis No. 5 (Trumpet Alone) http://lisabielawa.typepad.com/works_section/ Bingham, Judith: Enter Ghost Act 1, Scene 3 of Hamlet (Trumpet Alone) http://www.sheetmusicplus.com/title/enter-ghost-act-1-scene-3-of-hamlet-2002-sheet-music/19110817 Bouchard, Linda: Propos (Trumpet Alone or Trumpet Ensemble) http://www.musiccentre.ca/node/21128 Campbell, Karen: Pieces (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=85460 Clarke, Rosemary: Winter’s Winds (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=86228 Cronin, Tanya: Undercurrents (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=86700 Dinescu, Violeta: Abendandacht (Trumpet Alone) http://www.composers21.com/compdocs/dinescuv.htm Dunker, Amy: Advanced Solos (Trumpet Alone) 1. "Distant -
WIND INSTRUMENT USAGES in the SYMPHONIES of GUSTAV MAHLER ' by Donald Irvin Caughill a Thesis Submitted to the Faculty of the SC
Wind instrument usages in the symphonies of Gustav Mahler, by Donald Irvin Caughill Item Type text; Thesis-Reproduction (electronic) Authors Caughill, Donald I. 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 26/09/2021 04:43:50 Link to Item http://hdl.handle.net/10150/318086 WIND INSTRUMENT USAGES IN THE SYMPHONIES OF GUSTAV MAHLER ' by Donald Irvin Caughill 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 1972 STATEMENT BY AUTHOR This thesis has heen submitted in. partial fulfillment of re- • guirements 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 acknowledgment 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 head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. 'SIGNED: APPROVAL BY THESIS.DIRECTOR This thesis has been approved on the date shown below: E. -
Orchestral-Dialogues: Accepting Self, Accepting Others –
Orchestral-Dialogues: Accepting Self, Accepting Others – Translating Deep Listening Skills to Transformative Dialogue Skills A Dissertation Submitted to the Faculty of Drexel University by Janelle S. Junkin in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2017 Orchestral Dialogues Ethnography ii ©Copyright 2017 Janelle S. Junkin. All Rights Reserved. Orchestral Dialogues Ethnography iii Acknowledgements To my friends, family and faith community, I could not have completed this PhD journey without you. Your words of encouragement, of support, and your presence have been invaluable. To Andrea and Chantelle, our monthly spiritual direction meetings kept me grounded and reminded me who I am; I love you both and treasure our friendship and sisterhood. Karen, you are brilliant and your ability to give (and receive) is incomparable. I know that I would not have completed this process without your spiritual guidance, your encouragement and your loving support, thank you for all that you have done for me. A huge thank you to the staff, parents and guardians and children of Orchestral Dialogues. You are the reason that this dissertation is what it is. I have learned so much from each of you and I have appreciated all of you checking in about the research, asking me how I am doing and in general being a support to me through this whole process. It was a humbling experience to learn with and from you, thank you for trusting me and allowing me to be a part of this new community experience. Nathan Corbitt and Vivian Nix-Early and the staff at BuildaBridge International without you Orchestral Dialogues might have remained only a dream. -
Shepherd School Symphony Orchestra
" .. r • SHEPHERD SCHOOL • > SYMPHONY ORCHESTRA ,J ty LARRY RACHLEFF, music director JEFFREY NEUFELD, piano Friday, March 2 6, 2004 8:00 p.m. Stude Concert Hall • ... - ..., • • .. RICE UNIVERSITY .. t• PROGRAM Symphonic Metamorphosis on Paul Hindemith ,. Themes of Carl Maria von Weber (1895-1963) ... ' Allegro < t• Turandot, Scherzo - Moderato Andantino Marsch Piano Concerto No. 2 Bela Bart6k •· Allegro (1881-1945) r. Adagio Allegro molto Jeffrey Neufeld, soloist INTERMISSION La Mer Claude Debussy De l'aube a midi sur la mer- Tres lent (1862-1918) Jeux de vagues - Allegro -,. Dialogue du vent et de la mer -Anime et tumultueux • ... The reverberative acoustics of Stude Concert Hall magnify the slightest .._ sound made by the audience. Your care and courtesy will be appreciated. ~ ~ The taking ofphotographs and use of recording equipment are prohibited. ~ ,. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin l Viola (cont.) English Horn Tuba Cristian Macelaru, Marissa Winship Adam Dinitz Aubrey Ferguson concertmaster Karen Raizen William Samson Caroline Shaw Erin Nolan Clarinet > Victoria Lindsay Leah Biber Harp Virginie Gagne Cello Alexandra Bond Megan Levin Brittany Boulding Marieve Bock, Louis DeMartino Nuiko Wadden Jennifer Driskill Jessica Blackwell principal Timpani and Justin Bruns Leanne Zacharias Brian Hermanson Percussion ~ Martin Shultz Alexander Friedhojf Brandon Bell Bass Clarinet Jacqueline Metz Marina Comas Evan Bertrand Louis DeMartino Laura Geier Elise Pittenger Spencer Doty Jennifer Driskill Maria Evola Aaron Merritt Daniel Gould Turi Hoiseth Matthew Dudzik Seth Rowoldt ~ Bassoon Elizabeth Bakalyar Ryan Sweeney Brian Smith Nicholas Akdag '( Matthew Detrick Kathryn Bates Brian Vogel Ellen Connors Andrew Williams Laura Love Erin Irvine Jessica Tong Meng Yang Orchestra Manager Catherine Luczkiw Jennifer Humphreys Martin Merritt Carin Miller .. -
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.