Concert of Chamber Music for Winds

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CONCERT OF CHAMBER MUSIC FOR WINDS ERIC ARBITER and JANET RARICK Directors Wednesday, November 11,1992 8:00 p.nz. Lillian H. Duncan Recital Hall RICE UNIVERSITY PROGRAM Serenade inC minor, K. 388 Wolfgang Amadeus Mozart I. Allegro (1756-1791) IV. Allegro Dione Chandler, oboe I Kellie Dunlap, bassoon I Michael Austin, oboe II Joshua Hood, bassoon II Jonathan Gunn, clarinet I Iris Rosenstein, horn I Kelly Cramm, clarinet II Michael Mayhew, horn II Quintet for wind instruments Paul Taffanel II. Lento (1844-1908) III. Presto Susan Kerbs, flute Jonathan Gunn, clarinet Karen Friedman, oboe Charles Bailey, bassoon Wade Butin, horn Ross Snyder, horn Trio for oboe, bassoon and piano Francis Poulenc II. Andante (1899-1963) Ill. Allegro Margaret Butler, oboe William Hunker, bassoon Margaret Denton, piano INTERMISSION Divertimento for flute, oboe and clarinet Malcolm Arnold ) Allegro energico (b.1921) Languido Vivace Andantino Maestoso Piacevole Brian Davis, flute Libby Rebholz, oboe Mike Waters, clarinet Fantasie in F minor Wolfgang Amadeus Mozart for ba"el organ (1756-1791) arr. Karl Hermann Pillney Brian Davis, flute Joshua Hood, bassoon I Michael Austin, oboe I Kellie Dunlap, bassoon II Libby Rebholz, oboe II Michael Mayhew, horn I Mike Waters, clarinet I Iris Rosenstein, horn II Kelly Cramm, clarinet II La Cheminee du Roi Renee Darius Milhaud Cortege (1892-1974) Aubade (Morning Serenade) Jongleurs (Jugglers) La Mousing lade LaNelle McDowall, flute Martin Van Maanan, clarinet Kyle Bruckmann, oboe Joshua Hood, bassoon Thomas Jostlein, horn Quintet en Fonne de Choros Heitor VillaLobos (1887-1959) Kris Guthrie,flute Jeff Champion, oboe Benjamin Brady, clarinet Kellie Dunlap, bassoon Michael Mayhew, horn RICE .

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Jessica Charitos Senior Collaborative Piano Recital
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Jessica Charitos Senior Collaborative Piano Recital Saturday, April 30, 2016 • 5:30 p.m. Belhaven University • Concert Hall This recital is presented in partial fulfillment of the requirements for the Bachelor of Music degree in Performance: Collaborative Piano. There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM The Worst Pies in London from Sweeny Todd Stephen Sondheim • b. 1930 No Good Deed from Wicked Stephen Schwartz • b. 1948 Madison Parrott, Soprano; Jessica Charitos, Accompanist Sonata in A major César Franck • 1822 - 1890 I. Allegretto ben moderato II. Allegro Hannah Wilson, Violin; Jessica Charitos, Accompanist INTERMISSION Polonaise in A major, Op. 40, No. 1 Frédéric Chopin • 1810 - 1849 Jessica Charitos, Piano Slavonic Dance Op. 46, No. 2 in E minor Antonín Dvorák • 1841 - 1904 Hungarian Dance, WoO.1, No.1 in G minor Johannes Brahms • 1833 - 1897 Hungarian Dance, WoO.1, No. 2 in D minor Hungarian Dance, WoO.1, No.5 in F# minor Jessica Charitos, Piano; Hannah van der Bijl, Piano Aubade Villageoise, Op.31, No.1 Arthur Foote • 1853 - 1937 Grace Chen, Flute; Jessica Charitos, Accompanist Over the Rainbow E. Y. Harburg & Harold Arlen • 1896 - 1981 Arranged by Ferrante & Teicher • 1905 - 1986 Jessica Charitos, Piano; Mali Lin, Piano PROGRAM NOTES In The Worst Pie in London, Sweeny Todd walks captured by the Wizard’s guard. He was into the meat pie shop on Fleet Street.
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Copyright by Kevin Mark Clifton 2002 The Dissertation Committee for Kevin Mark Clifton Certifies that this is the approved version of the following dissertation: Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality Committee: ______________________________ James Buhler, Supervisor ______________________________ Roger Graybill ______________________________ Stefan Kostka ______________________________ Andrew Dell’Antonio ______________________________ Fred Maus Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality by Kevin Mark Clifton, B.A., M.M. Dissertation Presented to the Faculty of the Graduate School of The Univeristy of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2002 Table of Contents Chapter 1: Ambivalence Theory: Definition, Context, and Methodology 1 Chapter 2: Poulenc’s Mouvements Perpétuels: A Case for Musical Cubism 25 Chapter 3: Revealing Tonal Axes and Musical Masks in Poulenc’s Concerto for Two Pianos in D minor, I 61 Chapter 4: Sexualizing the Exotic: Evocation and Meaning of the Gamelan in Poulenc’s Aubade and the Concerto for Two Pianos in D minor 108 Conclusion: Poulenc’s Ambivalence Reconsidered 149 Bibliography 155 Vita 159 iv Chapter 1 “ A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” -- Leonard Bernstein Ambivalence Theory: Definition, Context, and Methodology Introduction I would like to begin my study of the musical language of Francis Poulenc (1899-1963) by considering Ned Rorem’s description of Poulenc’s personality: Like his name he was both dapper and ungainly. His clothes came from Lanvin but were unpressed.
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Document generated on 09/28/2021 6:50 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Constructing the Monk: Francis Poulenc and the Post-War Context Christopher Moore Volume 32, Number 1-2, 2012 Article abstract Following the Second World War Francis Poulenc took a keen interest in the URI: https://id.erudit.org/iderudit/1018584ar music of the French avant-garde and was compelled to react in both his music DOI: https://doi.org/10.7202/1018584ar and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre See table of contents Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as Publisher(s) light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of Canadian University Music Society / Société de musique des universités “seriousness” in his works—one constructed with recourse to religiosity, canadiennes stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged ISSN following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to 1911-0146 (print) re-examine his works, writings, and elements of his biography for the way in 1918-512X (digital) which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.
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