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Music from Paris Claude Pascal Claude Arrieu Jules Mouquet François Casadesus Gabriel Pierné Francis Chagrin The Atlanta Chamber Winds WWW.ALBANYRECORDS.COM TROY1127 ALBANY RECORDS U.S. Robert J. Ambrose, conductor 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2009 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Music Jules Mouquet: Suite Jules Mouquet was born in Paris on July 10, 1867 and spent his entire life there. He studied harmony and composition Claude Pascal: Octuor pour Instruments à Vent at the Paris Conservatory, eventually becoming Professor of Harmony in 1913. Mouquet won many prizes for his Claude Pascal was born in Paris on February 19, 1921. Showing unusually strong musical talent early in life, he music including the Prix de Rome, the Prix Trémont and the Prix Chartier. Like many turn of the century French entered the Paris Conservatory at age ten. In 1952 he became a Professor of Music at the Conservatory and by 1966 composers, Mouquet favored subjects from Greek mythology, as a sort of neoclassical reaction against the treatments was named Deputy Director. He also achieved success as an active opera singer and was hired at opera theatres of Norse legend in Wagner’s operas. His best known work is his flute sonata entitled La Flute de Pan. He died in Paris around Paris. He served as a music critic for the French journal Le Figaro from 1969-1979. -
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Roger Mcvey Leonard Garrison
WWW.ALBANYRECORDS.COM TROY1585 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. LEONARD GARRISON ROGER MCVEY FLUTE PIANO Parisian Impressions Louis Aubert (1877-1968) 9 Lied [2:11] TROY1585 LEONARD GARRISON Henri Gagnebin (1886-1977) FLUTE 10 March of the Jolly Fellows [2:27] Georges Brun (1878-1961) ROGER MCVEY PIANO 11 Romance, Op. 41 [4:41] Arthur Honegger (1892-1955) Leonard Garrison, 12 Romance [2:46] Charles-Édouard Lefebvre (1843-1917) Armand Bournonville (1890-1957) Deux pièces, Op. 72 13 Danse pour Katia [2:12] [5:17] 1 I. Barcarolle mélancolique Henri Büsser (1872-1973) flute 2 II. Scherzo [3:14] [2:46] 14 Les Cygnes Gérard Meunier (b. 1928) 15 Les Écureuils [1:39] 3 Au crépuscule [2:40] Johannes Donjon (1839-1912) Claude Arrieu (1903-1990) 16 Offertoire, Op. 12 [4:44] Sonatine [3:29] 17 Pan! (Pastorale No. 1) flute 4 I. Allegro moderato [2:57] Henri Büsser (1872-1973) 5 II. Andantino [1:40] Petite suite, Op. 12 6 III. Presto [2:12] 18 I. En sourdine: Andante poco adagio [2:13] Victor Alphonse Duvernoy (1842-1907) 19 II. Valse lente: Allegretto [2:03] Deux morceaux, Op. 41 [3:06] 20 III. Vieille chanson: Andante Leonard Garrison, 7 I. Lamento [4:36] [1:59] 21 IV. Scherzetto: Allegro vivace 8 II. Intermezzo [3:16] Total Time = 62:07 WWW.ALBANYRECORDS.COM TROY1585 ALBANY RECORDS U.S. -
“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi
Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals. -
Information to Users
INFORMATION 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. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road Ann Arbor, Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 9401192 A selected bibliography of music for clarinet and one other instrument by women composers Richards, Melanie Ann, D.M.A. The Ohio State University, 1993 UMI 300 N. -
Biographies of the Composers | Biographies Des Compositeurs Myriam Bleau Myriam Bleau Explore L'utilisation D'objets Famil
Biographies of the composers | Biographies des compositeurs Myriam Bleau Myriam Bleau explore l’utilisation d’objets familiers dans des performances où elle donne vie à ses aspirations esthétiques à l’aide de ses instruments étranges conçus sur mesure, évoquant un hybride futuriste entre une platine et un disque ou encore par l’utilisation d’objets quotidiens produisant une musique d’un autre monde. En intégrant son bagage de multiinstrumentiste – elle joue du violoncelle, de la guitare et du piano, en plus des instruments de sa propre création – à l’art audiovisuel, Bleau crée des installations sonores et des interfaces musicales s’animant à l’extérieur de l’écran, ainsi que des systèmes complexes lui permettant d’explorer la frontière délimitant la performance musicale et les arts numériques. Sa musique électronique hybride intègre des rythmes réguliers et des mélodies parfois reconnaissables à des ambiances électroacoustiques. Örjan Sandred Örjan Sandred is a composer of both instrumental and computer music. His instrumental works reach from music for Symphony Orchestra to solo instruments. Several of his later compositions show an increased interest in mixed music, where acoustic instruments are combined with live electronics. He has composed music for performers in many countries, for example the Harrington/Loewen Duo (Ice Fog for saxophone, piano and live electronics), Sarah Jo Kirsch (A Ghasal, soprano and live electronics) and Oleg Pokhanovski (Sundogs for violin and live electronics) in Kanada, Camilla Hoitenga and Heloïse Dautry (Whirl of Leaves, flute and harp) in Germany/France, The Pearls Before Swine Experience (Fragments of Light), Das Orchestra (Flames and Blazes, blfl, tbn, vlc) and Mårten Falk (Cracks and Corrosion I, guitar and live electronics) in Sweden. -
Women Composers at CMNC Mills College, October 3, 2015
Women Composers at CMNC Mills College, October 3, 2015 Arrieu, Claude Suite en trio for oboe, clarinet and bassoon Wind quintet in C Claude Arrieu (French, 1903-1990) was the pen name of prolific composer Marie Louise Simon. We’ve been playing Arrieu for years and most of us never knew she was a woman! This YouTube https://www.youtube.com/watch?v=yJJ7yCNS8zs is of her Wind Quintet in C played by the Bellavente Wind Quintet, with coach Alicia Telford on horn. Bacewicz, Grazyna String Quartet no.4 Grazyna Bacewicz (Polish, 1909-1959) was a virtuoso violinist and composer who was concertmaster of the Warsaw Radio Symphony, where she played many of her compositions. She wrote seven violin concertos, a viola concerto, two cello concertos and two piano concertos, seven string quartets and four symphonies, as well as ballets, film scores, songs and much more. Bolz, Harriett Lyric sonata, flute, clarinet, bassoon and string quartet Harriett Bolz (American, 1909-1995) was an important regional composer who composed music for piano, chorus, solo instruments, and instrumental ensembles from duos to full orchestra. Clara Lyle Boone of Arsis Press describes Bolz's music as "gentle, delicate and highly accessible," and "thoroughly contemporary." This piece is the one that Terrie Baune rescued from some orphan music after the Women’s Philharmonic disbanded. Her son has told us that the piece survives only because Terrie saved it. Callaway, Ann Memory Palace, Trio for clarinet, cello and piano Ann Callaway (American, b. 1949) has written chamber music as well as larger pieces including a concerto for bass clarinet and a tone poem, Amethyst. -
MUSIC and the ECLIPSE of MODERNISM By
SIGNAL TO NOISE: MUSIC AND THE ECLIPSE OF MODERNISM By MATTHEW FRIEDMAN A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of T.J. Jackson Lears and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION Signal to Noise: Music and the Eclipse of Modernism By MATTHEW FRIEDMAN Dissertation Director: T.J. Jackson Lears There was danger in the modern American soundscape; the danger of interruption and disorder. The rhetoric of postwar aural culture was preoccupied with containing sounds and keeping them in their appropriate places. The management and domestication of noise was a critical political and social issue in the quarter century following the Second World War. It was also an aesthetic issue. Although technological noise was celebrated in modern American literature, music and popular culture as a signal of technological sublime and the promise of modern rationality in the US, after 1945 noise that had been exceptional and sublime became mundane. Technological noise was resignified as "pollution" and narrated as the aural detritus of modernity. Modern music reinforced this project through the production of hegemonic fields of representation that legitimized the discursive boundaries of modernity and delegitimized that which lay outside of them. Postwar American modernist composers, reconfigured as technical specialists, developed a hyper-rational idiom of "total control" which sought to discipline aural disorder and police the boundaries between aesthetically- acceptable music and sound and disruptive noise. -
Georges Dandelot (1895-1975)
1/10 Data Georges Dandelot (1895-1975) Pays : France Langue : Français Sexe : Masculin Naissance : 02-12-1895 Mort : 17-08-1975 Note : Compositeur. - Critique musical. - Professeur au Conservatoire national supérieur de musique de Paris ISNI : ISNI 0000 0001 2123 2749 (Informations sur l'ISNI) Georges Dandelot (1895-1975) : œuvres (458 ressources dans data.bnf.fr) Œuvres musicales (217) Fantaisie et fugue Un vieux cimetière (1974) (1951) Le pont Mirabeau À Clotilde (1948) (1942) Symphonie. Ré mineur En vacances (1941) (1936) Chansons de Bilitis La belle Yolande (1929) (1924) "Sonates. Violoncelle, basse continue. Mi mineur. No 5. RV 40" de Antonio Vivaldi avec Georges Dandelot (1895-1975) comme Arrangeur Voir plus de documents de ce genre data.bnf.fr 2/10 Data Œuvres textuelles (13) Cent nouvelles dictées musicales à une voix, classées par Étude du rythme, en trois cahiers. 3e cahier. Rythmes ordre progressif (de moyenne force à très difficile). 2° simultanés recueil (1936) (1934) Théorie musicale. Questionnaire contenant quatre cents Cent dictées musicales assez faciles et de moyenne questions. à l'usage des élèves du degré supérieur difficulté classées par ordre progressif (1932) (1930) Vingt leçons de solfège en clé de sol, avec accompagnement de piano, classées par ordre progressif et précédées d'une notice sur les principes de la transposition Vingt leçons de solfège classées par ordre progressif (1929) (1929) Cent dictées musicales à une voix, classées par ordre progressif. Première partie : cinquante dictées faciles et de moyenne force. Deuxième partie : cinquante dictées assez difficiles et difficiles (1927) Voir plus de documents de ce genre Manuscrits et archives (227) "Dandelot, Georges (1895-1975). -
Interpreting the Flute Works of Jean Francaix (1912-1997)
Interpreting the Flute Works of Jean Françaix (1912-1997) by Abby Bridgett Grace Fraser BMus (Hons) Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (Music Performance) Conservatorium of Music University of Tasmania September 2011 Declaration This exegesis contains the results of research carried out at the University of Tasmania Conservatorium of Music between 2008 and 2011. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Signed: _____________________ Abby Fraser Date: ___________________ ii Acknowledgements I would like to acknowledge my wonderful supervisory team, Dr Anne-Marie Forbes, Dr Heather Monkhouse, and Fiona Perrin, and acting head of school, Dr Andrew Legg for their great wisdom, inspiration and continuous support. Soon-to-be-Dr Matthew Ives for his camaraderie. Dr Carolyn Philpott for her endless encouragement. Juliet Beale, Geoff Green and David Harvey for their lovely librarianship. Lloyd Hudson, Douglas Mackie, Andrew Macleod, Alexis Kenny, Jean Ferrandis, and Wissam Boustany for the extra flute lessons. My terrific translators, Beryl Sedivka and Delphine Lannuzel. Fellow Jean-Pierre Rampal enthusiasts, Alan Hardy, Margaret Crawford, Denis Verroust and the Association Jean-Pierre Rampal. -
PROGRAM NOTES June 6 2021 Final
Classical Series Sunday, June 6, 2021 at 5:00 p.m. Helzberg Hall, Kauffman Center for the Performing Arts Michael Stern, Music Director and conductor Jason Seber, David T. Beals III Associate Conductor IGOR STRAVINSKY Octet I. Sinfonia — Allegro II. Tema con variazioni III. Finale Jason Seber, conductor, David T. Beals III Chair Kayla Burggraf, flute Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Julian Kaplan, trumpet, James B. and Annabel Nutter Chair Steven Franklin, trumpet Porter Wyatt Henderson, trombone Adam Rainey, bass trombone CLAUDE ARRIEU Wind Quintet in C (LOUISE MARIE SIMON) I. Allegro II. Andante III. Allegro scherzando IV. Adagio V. Allegro vivace Kayla Burggraf, flute Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair David Sullivan, horn Classical Series Program Notes June 6, 2021 Serenade in D Minor, op. 44 I. Moderato quasi marcia II. Menuetto — Trio: Presto III. Andante con moto IV. Finale: Allegro molto Michael Stern, conductor Kristina Fulton, oboe, Shirley Bush Helzberg Chair Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair John Klinghammer, clarinet Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Thomas DeWitt, contrabassoon David Sullivan, horn Stephen Multer, horn David Gamble, horn Susie Yang, cello, Richard Hill Chair Jeffrey Kail, double bass The 2020/21 Season is generously sponsored by The Classical Series is sponsored by SHIRLEY AND BARNETT C. HELZBERG, JR. Additional support provided by R. CROSBY KEMPER JR.