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The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2014 The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire Eric Hilgenstieler University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hilgenstieler, Eric, "The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire" (2014). Dissertations. 269. https://aquila.usm.edu/dissertations/269 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi THE APPLICATION OF CONTEMPORARY DOUBLE BASS LEFT HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2014 ABSTRACT THE APLICATION OF CONTEMPORARY DOUBLE BASS LEFT-HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler May 2014 The uses of contemporary left hand techniques are related to solo playing in many ways. In fact, most of these techniques were arguably developed for this kind of repertoire. Generally the original solo repertoire is idiomatic for the double bass. The same cannot be said for the orchestral repertoire, which presents many technical problems too difficult to solve using the traditional technique. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Rep List 1.Pub
Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; Please contact Anne Hoffler, contest coordinator, at aahoffl[email protected] for repertoire approval no later than November 30. VIOLIN Faure Elegy, Op. 24 Bach All Violin concerti Haydn Cello Concerto No. 1 in C major Beethoven Violin Concerto in D major Haydn Cello Concerto No. 2 in D major Beethoven Romance No. 1 in G major Lalo Cello Concerto in D minor Beethoven Romance No. 2 in F major Rubinstein Cello Concerto No. 2 in D minor, Op.96 Bériot Scéne de Ballet, Op. 100 Saint-Saëns Cello Concerto No. 1 in A minor, Op.33 Bériot Violin Concerto No. 7 in G major Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bériot Violin Concerto No. 9 in A minor Schumann Cello Concerto in A minor Bruch Violin Concerto No. 1 in G minor Shostakovich Concerto for Cello No. 1 Haydn All Violin concerti Stamitz All Cello concerti Kabalevsky Violin Concerto in C Major, Op. 48 R. Strauss Romanze in F major Lalo Symphonie Espagnole Tchaikovsky Variations on a Rococo Theme, Op.33 Massenet Méditation from Thaïs Vivaldi All Cello concerti Mendelssohn Violin Concerto in E minor, Op.64 Mozart Violin Concerto No. 1 in B-flat major BASS Mozart Violin Concerto No. 2 in D major Bottesini Double Bass Concerto No.2 in B minor Mozart Violin Concerto No. 3 in G major Capuzzi Double Bass Concerto in D major Mozart Violin Concerto No. -
Violin Syllabus / 2013 Edition
VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. -
A Pioneering Twentieth Century African-American Musician: the Choral Works of George T
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Pioneering Twentieth Century African- American Musician: The Choral Works of George T. Walker Jeffery La'Moun Ames Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PIONEERING TWENTIETH CENTURY AFRICAN-AMERICAN MUSICIAN: THE CHORAL WORKS OF GEORGE T. WALKER By JEFFERY L. AMES A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 The members of the Committee approve the Dissertation of Jeffery L. Ames defended on March 31, 2005. ______________________________________ André J. Thomas Professor Directing Dissertation ______________________________________ Patrick J. Meighan Outside Committee Member ______________________________________ Judy K. Bowers Committee Member ______________________________________ Kevin A. Fenton Committee Member Approved: _______________________________ Jon R. Piersol, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is affectionately dedicated to: God for His awesome work in my life! Kimberly Ames, my wife - Thank you for praying with me, encouraging me, And being the one God ordained to walk by my side on this journey. I love you Princess! and My mother Mrs. Erma Ames, and the memory of my father Therman E. Ames, Sr. I have good plans for you, not plans to hurt you. I will give you hope and a good future. And when you search for me with all your heart, You will find me. -
An Annotated Bibliography and Performance Commentary of The
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-1-2016 An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble Stephen Andrew Hunter University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Fine Arts Commons, Music Education Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hunter, Stephen Andrew, "An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra by Composers Awarded the Pulitzer Prize in Music 1993-2015, and a List of Their Works for Chamber Wind Ensemble" (2016). Dissertations. 333. https://aquila.usm.edu/dissertations/333 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. AN ANNOTATED BIBLIOGRAPHY AND PERFORMANCE COMMENTARY OF THE WORKS FOR CONCERT BAND AND WIND ORCHESTRA BY COMPOSERS AWARDED THE PULITZER PRIZE IN MUSIC 1993-2015, AND A LIST OF THEIR WORKS FOR CHAMBER WIND ENSEMBLE by Stephen Andrew Hunter A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Catherine A. Rand, Committee Chair Associate Professor, School of Music ________________________________________________ Dr. -
Pablo De Sarasate’S Personal Style of Violin Playing and His Own Spanish-Styled Compositions
ABSTRACT Title of Document: SPANISH DANCES FOR VIOLIN: THEIR ORIGIN AND INFLUENCES Tao-Chang Yu, Doctor of Musical Arts, 2006 Directed By: Professor of Violin and Chair of the String Division, Gerald Fischbach, School of Music Many of the Spanish-styled violin virtuoso pieces from the mid-18th century to the twentieth century were dedicated to, or inspired by Pablo de Sarasate’s personal style of violin playing and his own Spanish-styled compositions. As both violinist and composer, Sarasate tailored these compositions to his technical flair and unique personality. Among Sarasate’s enormous output – total of sixty-one original compositions – the four volumes of Spanish Dances were the most popular and influential. Sarasate successfully translated many of his native folk dances and melodies in these dances, and introduced them to the European musical community with his amazing performances. In my written dissertation, I have discussed and illustrated in detail Sarasate’s four volumes of Spanish Dances, the origin of the Spanish-styled pieces, and the influenced works including Saint-Saëns’s Introduction and Rondo Capriccioso, Op. 28, Édouard Lalo’s Symphonie espagnole, Op. 21, Kreisler’s transcriptions of Granados’ Spanish Dance in E minor and Albeníz’s Tango, and Waxman’s Carmen Fantasie. In the performance part of the dissertation, assisted by pianist Kuei-I Wu, I have played all of the mentioned works in their entirety, which is rare in modern concert programming. Through this project, I have gained deeper understanding of the Spanish -
Performance Practice in Hungarian Folk Music and Its Relationship to the Style Hongrois
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2019 Performance practice in Hungarian folk music and its relationship to the Style Hongrois Teresa Vinci Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Practice Commons, and the Other Music Commons "Never Far Away" [CD] can be purchased through [email protected] Recommended Citation Vinci, T. (2019). Performance practice in Hungarian folk music and its relationship to the Style Hongrois. https://ro.ecu.edu.au/theses/2265 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2265 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
Clarinet Syllabus / 2013 Edition
Clarinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. -
November 14 Program
Extraordinary Measures 2020-2021 Season Music by Emma O’Halloran & Gregory T.S. Walker 36th Season 14 November 2020, 7:30 pm Virtual Concert Network Ensemble Members Violin Tenor Saxophone & Julia Li Electronics Hirono Oka Matthew Levy Extraordinary Measures • November 14, 2020 Music by Emma O’Halloran & Gregory T. S. Walker PROGRAM ❧ Introduction by Tomas Schuttenhelm, Artistic Director Introduction by Emma O’Halloran Sum of Its Parts Emma O’Halloran Matthew Levy, tenor saxophone & electronics Introduction by Gregory T.S. Walker Selections from Rock, Pop, and Hip-Hop Fantasies Gregory T. S. Walker Boom Badoom Boom (Hooked Bowing) -- Heartbeat runnin' away Evanescence (Te Syncopation) -- Frozen Inside Your Grandad's Clothes (Octaves) -- Search'in in that section Horse Dance (Chromatic Glissando) -- Allegro con Bounce Julia Li, violin Hirono Oka, violin mma O’Halloran is an Irish composer and vocalist. Freely E intertwining acoustic and electronic music, O’Halloran has written for folk musicians, chamber ensembles, turntables, laptop orchestra, symphony orchestra, flm, and theatre. For her efforts, she has been praised by I Care If You Listen editor-in-chief Amanda Cook for writing “some of the most unencumbered, authentic, and joyful music that I have heard in recent years,” and has won numerous competitions, including National Sawdust’s inaugural Hildegard competition and the Next Generation award from Beth Morrison Projects. O’Halloran’s music aims to capture the human experience, exploring complex emotions felt in specifc moments in time. Tis approach has found a wide audience: her work has been featured at the international Classical NEXT conference in Rotterdam, the Prototype Festival in New York, Bang on a Can Summer Music Festival, and MATA Festival. -
Rep List 1.Pub
Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; please contact Carol Sesnowitz, contest coordinator, at [email protected] for repertoire approval no later than November 1. VIOLIN Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bach All Violin concerti Schumann Cello Concerto in A minor Beethoven Violin Concerto in D major Stamitz All Cello concerti Beethoven Romance No. 1 in G major R. Strauss Romanze in F major Beethoven Romance No. 2 in F major Tchaikovsky Variations on a Rococo Theme, Op.33 Bériot Scéne de Ballet, Op. 100 Vivaldi All Cello concerti Bériot Violin Concerto No. 9 in A minor Bruch Violin Concerto No. 1 in G minor BASS Haydn All Violin concerti Bottesini Double Bass Concerto No.2 in B minor Kabalevsky Violin Concerto in C Major, Op. 48 Capuzzi Double Bass Concerto in D major Lalo Symphonie Espagnole Dittersdorf Double Bass Concerto in E major Massenet Méditation from Thaïs Dragonetti All Double Bass concerti Mendelssohn Violin Concerto in E minor, Op.64 Koussevitsky Double Bass Concerto in F-sharp minor Mozart Violin Concerto No. 1 in B-flat major Vanhal Concerto for Double Bass Mozart Violin Concerto No. 2 in D major Mozart Violin Concerto No. 3 in G major HARP Mozart Violin Concerto No. 4 in D major Alwyn Lyra angelica Mozart Violin Concerto No. 5 in A major Boieldieu Harp Concerto Paganini Violin Concert No. 1 in D major, Op. 6 Debussy Danses sacree et profane Prokofiev Violin Concerto No. -
3. Pablo De Sarasate 76 3.1 a Short Biography 77
City Research Online City, University of London Institutional Repository Citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7937/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.