DOCSLIB.ORG

ISU Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ISU Symphony Orchestra Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-1-1995 ISU Symphony Orchestra Glenn Block Director/Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Block, Glenn Director/Conductor, "ISU Symphony Orchestra" (1995). School of Music Programs. 1344. https://ir.library.illinoisstate.edu/somp/1344 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department Ilinois State University I I ISU SYMPHONY I ORCHESTRA I Glenn Block, Music Director I and Conductor I with :I f eatu red guest I BARRY TUCKWELL Braden Auditorium Sunday Afternoon October 1, 1995 3:00p.m. Program BARRY TUCKWELL, Guest Artist Australian-born BarryTuckwell, "the acknowledged master of the French Horn," is the only born player ever to have established a career exclusively as a soloist. He is also a distinguished conductot A New Yorker profile described him as "the 'I The Young Person's Guide to the Orchestra. Op. 34 (1945) Benjamin Britten finest horn player of the present generation and one of the finest who ever lived." 'I Variations and Fugue on a Theme of Purcell (1913-1976) He has recorded more solo works than any other player with over 45 albums to I his credit and has received three Grammy nominations. Julian Dawson, Narrator Barry Tuckwell, Guest Conductor The range of his musical activities is both broad and diverse. More than twenty I 1 works have been composed especially for him, and as a scholar he has edited the entire horn literature for G. Schirmei; Inc. As an educator, Mr. Tuckwell was professor of Hom at the Royal Academy of Music in London for ten years, and Concerto in B-Flat Major, Op.91 (1950) Reinhold Gliere today is famous for his Master Classes all over the world. As an orchestral I I Allegro (1875-1956) player, Mr. Tuckwell held the prestigious first horn chair with the London Sym­ Andante phony Orchestra for thirteen years and was chairman of the orchestras Board of Moderato Directors for six years. I Barry Tuckwell, Horn Glenn Block, Although Mr. Tuckwell first achieved fame as a horn soloist, he has now be­ Conductor come well-known as an important conductot He was chief conductor of the Tasmanian Symphony Orchestra for four years and is currently the Music Direc­ I I tor of the Maryland Symphony Orchestra which he founded in 1982. In 1993 he Intermission was named Guest Conductor of the Northern Sinfonia of England. He bas been featured on CBS Sunday Morning, on the NBC Today Show, and I I on CBS This Morning during which he composed and performed a duet for horn and tuba with Larry Smith. He was also the subject of an houi=-long documentary Pictures at an Exhibition (1874) Modest Mussorgsky shown on the Bravo Channel. High Fidelity called his playing "irresistible;" Promenade (1839-1881) I I The Gnome Orchestrated (1922) by Maurice Ravel Time said "ravishing. The London Financial Times used "miraculous," and the Promenade (1875-1937) Los Angeles Times said "he bas subjected the French Hom to a degree of obedi­ The Old Castle ence that approaches perfection." Promenade Tuileries Recently Maestro Tuckwell received the highest honor from the government of Bydit> Promenade Australia-the Companion of the Order ofAustralia given for "eminent achieve­ Ballet of the Unhatched Chickens ment and merit of the highest degree in service to Australia or to humanity at Samuel Goldenberg und Schmuyle large." Among his other honors and awards he is an Officer of The Order of the Promenade British Empire, an Honorary Member of the Royal Academy of Music and an The Market Place at Limoges Honorary Member of the Guildhall School of Music. Barry Tuckwell was the Catacombae-Cum mortuis in lingua mortua The Hut of the Baba-Yaga charter President of the International Hom Society and has been named as an The Great Gate of Kiev Honorary Member. Glenn Block, Conductor I I Barry Blinderman, Visuals I I Contributors and Committees I I Concertmaster - $100 Tickets Event Co-Chairs Ed & Sandy Barnes Charles Bolen Elizabeth Gellert Arved Larsen William & Martha Miller I 1 Vern & Doris Prenzler Marketing/Public Relations Elizabeth Stein Amy Gilreath Jay Groves Section Principal - $50 Tickets Pam Miller l1 Nancy & John Bernstein Joe Neisler Mrs. Robert G. Bone Judy Thomas I' Drs. Ann & Ira Cohen Jay & Sue Edmondson Reception/Decorations 1; I Dr. & Mrs. William Gurowitz Barb DeNight - Co-Chair Arved & Donna Larsen Donna Larsen - Co-Chair Carole & Jerry Ringer Paul Borg Dr. David B. Williams Birdie Dawson I I Donna Neisler Acknowledgements Cassandra Carter - Braden Auditorium Program Pantagraph Printing & Stationery Co. - Fliers Paul Borg II I Bernardi Printers - Special Invitations Douglas Johnson Ensemble Extravaganza Series I I Tickets: ph. 309-438-5444 Concert II: "Music for the Holidays," ISU Symphony Ochestra and combined choirs--November 19, 7:00 p.m., BraaenAuditorium I _I Concert III: ISU Wind Symphon:x & Jazz Band with SJ)ecial Guest Artist, Scott Hartman, trombone-February 11, 3:00 p.m, Braden Au­ ditorium I I Concert IV: "PoJ)'S Dinner Concert," ISU Wind Symphony performs in the flavor of a Boston "Pop's Concert"; dinner mcfuded-Mach 3, NEWS, BLUE 1:00 p.m, BSC Ballroom I I AND .JAZZ RA Concert V: "Holocaust Concert,"ISU Symphony Orchestra performs works in memory of \i\brld War II concentration camp victims--April 21, 3:00 p.m, Braden Auditorium I I Chamber Music Series Tickets: ph. 309-438-3839 111 I Haydn, Schumann, Bach LT November 12, 3:00p.m., Kemp Recital Hall Brahms, Glinka, Telemann, Paganini February 4, 3:00p.m., Kemp Recital Hall I I rmm Fran~aix, Beethoven, Dvorak April 14, 3:00pm, Kemp Recital Hall I I Program Notes I I by Douglas E. Johnson Reinhold Gliere Concerto for Horn and Orchestra in B-Flat Maj01; Op. 91 I. 1 (1950) Born in Kiev on January 11, 1875, Gliere became a leading 20th-century Rus- sian composer. He studied at the Moscow Conservatory and graduated with a i gold medal in 1900. Several years latei; he taught at the Kiev Conservatory ( 1914- Look who's coming to 1920) and the Moscow Conservatory (1920-1941). Among his students were Khachaturian, Prokofiev, Scriabin, and Slonimsky His career linked pre-Revo- lutionary Russian music to the Soviet era. Gliere was a conservative traditional­ 1 ist and was oddly labeled a "Soviet Realist"-although his style did not change. dinner .. _ I His music fit in well with the new communist regime due to its Nationalist ten­ dencies. Clear-cut forms, folk elements, and expressive melodies underline his compo­ I sitional style. Although he wrote little chamber music, he composed approxi­ I mately two hundred songs, two hundred piano pieces, and was prolific in lage scale works such as operas, ballets, concertos, and symphonies. Gliere identified himself with the great Russian romantic tradition of the 19th century as is evident in his writing. His enthusiastic nationalism endeared him to Soviet authorities. I I Gliere's music drew upon the wealth of folk songs as he attempted to portray "Soviet goodness". He traveled extensively throughout Russia. His last tour was made just one month before his death in Moscow on June 23, 1956. Gliere composed concertos for harp, voice, saxophone, cello, horn, but his vio­ I I lin concerto remained incomplete. His horn concerto sounds somewhat dated in its romantic conservatism when heard alongside other 20th century works; how- ever, its technical demands are quite modem. The opening theme of the first movement is grand in style as it is stated by the I I orchestra. The horn follows closely, reiterating the theme over nearly the entire range of the instrument. Winds are heard with an element reminiscent of Tchaikovsky's music which leads to the lyrical, highly romanticized second theme, I stated by the strings. A third theme follows in a military style, leading into a horn cadenza of some length that serves as a development section to the sonata form. A recapitulation of all three subjects follows and the movement closes in a grand march. The slow movement opens with the horn stating the theme first, then violins I' take it up. The horn plays a more conservative role until it finally speaks out in a I closing cadence accompanied by winds. The final movement is a rondo dominated by folk-like tunes and opens with the winds stating a melody in a melancholy flavoc Alternating sections contain folk­ You'll have the best seat In the l 1 I like melodies and brass chords are heard to introduce these tunes. A bassoon house when vou turn to TM 90 for plays the first dance-like melody and the second melody has a distinctive Russian 1970•1995 flavor. world class concerts. music & news Gliere dedicated the concerto to Valery Polekh who was the most prominent from National 'Public Xadlo® Russian horn soloist of his time. The work is arguably one of the least performed I I and most-demanding horn concertos ever written. Polekh was once quoted as saying, "Gliere had the idea of treating the horn as a virtuoso instrument, almost like the violin; the model is Tchaikovsky's violin concerto." A mastery of the FM 81.1 Dh ~ FM ~ I I instrument is required in order to play its long phrases and powerfully expressive 90 Tf.e A-tt~ M,,U 1110 passages.
Load more

Recommended publications
  • SYDNEY SYMPHONY UNDER the STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair
    SYDNEY SYMPHONY Photo: Photo: Jamie Williams UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA PROGRAM Dmitri Shostakovich (Russian, 1906–1975) SYDNEY Festive Overture SYMPHONY John Williams (American, born 1932) Hedwig’s Theme from Harry Potter UNDER THE Wolfgang Amadeus Mozart (Austrian, 1756–1791) Finale from the Horn Concerto No.4, K.495 STARS Ben Jacks, horn SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA THE CRESCENT Hua Yanjun (Chinese, 1893–1950) PARRAMATTA PARK Reflection of the Moon on the Lake at Erquan 8PM, 19 JANUARY 120 MINS John Williams Highlights from Star Wars: Imperial March Benjamin Northey conductor Cantina Music Diana Doherty oboe Main Title Ben Jacks horn INTERVAL Sydney Symphony Orchestra Gioachino Rossini (Italian, 1792–1868) Galop (aka the Lone Ranger Theme) from the overture to the opera William Tell Percy Grainger (Australian, 1882–1961) The Nightingale and the Two Sisters from the Danish Folk-Song Suite Edvard Grieg (Norwegian, 1843–1907) Highlights from music for Ibsen’s play Peer Gynt: Morning Mood Anitra’s Dance In the Hall of the Mountain King Ennio Morricone (Italian, born 1928) Theme from The Mission Diana Doherty, oboe Josef Strauss (Austrian, 1827–1870) Music of the Spheres – Waltz Pyotr Ilyich Tchaikovsky (Russian, 1840–1893) 1812 – Festival Overture SYDNEYSYDNEY SYMPHONY SYMPHONY UNDER UNDER THE STARS THE STARS SYDNEY SYMPHONY UNDER THE STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair Benjamin Northey is Chief Conductor of the Christchurch Diana Doherty joined the Sydney Symphony Orchestra as Symphony Orchestra and Associate Conductor of the Principal Oboe in 1997, having held the same position with Melbourne Symphony Orchestra.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • Wendy Plays MATINEE 4 MATINEE
    Wendy Plays MATINEE 4 MATINEE SATURDAY 19 SEPTEMBER 2.30PM FEDERATION CONCERT HALL Gérard Korsten conductor DUKAS Wendy Page horn Villanelle Duration 6 mins HAYDN Symphony No 83, The Hen Allegro spiritoso INTERVAL Andante Duration 20 mins Menuet: Allegretto Finale: Vivace SCHUMANN Duration 23 mins Symphony No 3, Rhenish Lebhaft MOZART Scherzo: Sehr massig Horn Concerto No 2 Nicht schnell Allegro maestoso Feierlich Andante Lebhaft Rondo Duration 32 mins Duration 16 mins We are proud to support the This concert will end at approximately Tasmanian Symphony Orchestra 4.30pm. Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 27 5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am JOSEPH HAYDN (1732-1809) Symphony No 83 in G minor, The Hen Allegro spiritoso Andante Menuet: Allegretto Finale: Vivace GÉRARD KORSTEN WENDY PAGE Haydn’s Symphony No 83, nicknamed “The Hen”, was one of six symphonies Gérard Korsten is Principal Conductor Wendy Page was born in Darwin and grew (Nos 82-87, written in 1785-86) of the Vorarlberg Symphony Orchestra, commissioned by Count Claude-Claude- up in Derby in the Kimberley region of François-Marie-Rigoley d’Ogny for the Bregenz. Born in South Africa, he began Western Australia, and Narrogin, south-east aristocratic Concert de la Loge Olympique his career as a violinist after studying in Paris where Haydn, in his mid-50s, was of Perth.
    [Show full text]
  • Degrieck Patrick 11/01/2019 P. 1
    Degrieck Patrick 11/01/2019 Amor Dean Martin Cha Cha Cha Cha cha cha Raymond v. h. Groenewoud Cha Cha Cha Cherry pink & apple blossom white James Last Cha Cha Cha Corazon Espinado Santana Cha Cha Cha Guantanamera Helmut Lotti Cha Cha Cha Me lo diga adela Bert Kaempfert Cha Cha Cha Pata Pata Coumba Gawlo Cha Cha Cha Pata Pata Miriam Makeba Cha Cha Cha Pepito Los Machucambos Cha Cha Cha Sway Michael Bublé Cha Cha Cha Sway Pussycat Dolls Cha Cha Cha Tea for two cha cha Tommy Dorsey Cha Cha Cha Un Rayo del Sol Los Diablos Cha Cha Cha 1 Life Xandee Dance 00 1 Life Xandee Dance 00 1 Life Xandee Dance 00 6th Gate D-Devils Dance 00 A bit patchy Switch Dance 00 Adagio for Strings Tiësto Dance 00 Adelante Sash Dance 00 Ain't no party like an alcoholic party The Jumpaholic Dance 00 Alejandro Lady Gaga Dance 00 Alive Kate Ryan Dance 00 All alone Splitter Dance 00 All day, all night X-Session Dance 00 All day, All night X-Session Dance 00 All for you Kate Ryan Dance 00 All I need The Mackenzie Feat. Jessy Dance 00 All I need The Mackenzie feat. Jessy Dance 00 All night long Lasgo Dance 00 All or nothing Natalia Dance 00 Allein Allein Polarkreis Dance 00 Allejoppa Gunther D Dance 00 Alone Lasgo Dance 00 Alors on danse Stromae Dance 00 Amoré Loco Elsie Moraïs Dance 00 Annie hou jij m'n tassie ff vast Nienke Dance 00 Another Chance Roger Chance Dance 00 Another world Checkmate Dance 00 Anyplace anywhere anytime Nena & Kim Wilde Dance 00 Anyplace, anywhere, anytime Nena & Kim Wilde Dance 00 Attention Da Rick Dance 00 Axel F Crazy Frog Dance 00 Baby when the light David Guetta Dance 00 Back in my life Alice Deejay Dance 00 Bad habit A.T.F.C.
    [Show full text]
  • Acquisitions
    Acquisitions Barry Tuckwell Collection conductor, Tuckwell was chief for Tuckwell by Gunther Schuller, Evelyn Portek conductor of the Tasmanian Alun Hoddinott, Don Banks, Thea The Louise Hanson-Dyer Music Symphony Orchestra for four years, Musgrave, Oliver Knussen and Library has recently acquired a and founding conductor and music Richard Rodney Bennett. Unique substantial collection from the director of the Maryland Symphony items include scores and parts in eminent French horn player and Orchestra for 16. He has made more manuscript, often heavily annotated conductor Barry Tuckwell AC OBE. than 50 commercial recordings as a by Tuckwell, and accompanied by Tuckwell is widely recognised both as soloist and conductor and has correspondence with the composer the foremost horn player of his received three Grammy nominations. which serves to illuminate the process generation and for extending the He continues to have an active of composition. Other documents instrument’s technical possibilities. international career. chart Tuckwell’s study of horn The collection was acquired with the Tuckwell is a Professorial Fellow repertoire by Mozart and Richard generous assistance of a grant from at the University of Melbourne and Strauss in particular. the Ian Potter Foundation, one of Honorary Patron of the Melbourne The concert programs span Australia’s leading private philanthropic International Festival of Brass. His Tuckwell’s career from the mid-1940s organisations, to support the linking many awards include Honorary until his retirement as a performer. of education and the arts. Doctor of Music from the University Many feature performing groups with Barry Tuckwell’s career spans of Sydney, Fellow of the Royal which he was associated, such as the more than 60 years.
    [Show full text]
  • Inside the Guide the Guide
    wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT THE MINIATURIST A new adaptation of Jessie Burton’s gripping bestseller BEGINS SUNDAY, SEPT. 9 at 8:00 PM September 2018 ALSO INSIDE WFMT’s series Introductions, showcasing aspiring young classical musicians, marks its 10th anniversary this year. We’ll celebrate with a special live concert with the Chicago Youth Symphony Orchestras and Chicago Children’s Choir at Pritzker Pavilion in Millennium Park. From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Renée Crown Public Media Center This year, WFMT’s weekly series Introductions, showcasing aspiring young classical 5400 North Saint Louis Avenue Chicago, Illinois 60625 musicians, marks its 10th anniversary. Fittingly, WFMT will mark the occasion with a special live concert – Chicago’s first Youth Arts Showcase – as part of the citywide Year of Main Switchboard Creative Youth celebration. Join us on air and online on Saturday morning, September 22 (773) 583-5000 Member and Viewer Services as WFMT’s Michael San Gabino welcomes the Chicago Youth Symphony Orchestras and (773) 509-1111 x 6 Chicago Children’s Choir to Pritzker Pavilion in Millennium Park. Websites On WTTW, we observe Hispanic Heritage Month with a variety of relevant content, some wttw.com wfmt.com of it new and local (see page 7). Golden Age Amsterdam comes alive in a new miniseries adaptation of Jessie Burton’s bestselling novel The Miniaturist. Poldark, The Durrells in Publisher Corfu, and 800 Words are back with new seasons along with another Anne of Green Gables Anne Gleason Art Director special; Ken Burns focuses his lens on the Mayo Clinic, and Jamestown, which first premiered Tom Peth on wttw.com, comes to WTTW11 from the creators of Downton Abbey.
    [Show full text]
  • Barry Tuckwell Is the Most Recognizable Name in Solo Horn Playing in the Latter Half of the 20Th Century, but He Is Also Revered As a Conductor, Educator, and Author
    Barry Biography Tuckwell Biography Barry Tuckwell is the most recognizable name in solo horn playing in the latter half of the 20th century, but he is also revered as a conductor, educator, and author. He was present at the first horn workshops and was the first president of the IHS. Barry was born in Melbourne, Australia in 1931 into a musical family. He learned organ, piano, and violin and has perfect pitch. He started playing horn at the suggestion of family friend Richard Merewether, who became his first horn teacher. At age 15, Barry joined the Melbourne Symphony Orchestra as third horn, moving to Sydney a year later to study with Alan Mann at the Sydney Conservatorium and play assistant to Mann in the Sydney Symphony Orchestra. In 1951, at age 19, Barry arrived in London. Over the next four years, he played in the Buxton Spa Orchestra, Halle Orchestra, Scottish National Orchestra, and Bournemouth. In 1955 he became first horn of the London Symphony Orchestra, a position he held for 13 years. He was also on the board of the orchestra and chairman of the board for six years. Barry left the LSO in 1968 to pursue a free-lance solo career. He had already begun that type of work, so the transition was smooth. "If you are the principal in an orchestra, in a sense you are playing in public more, because you have to come to the rehearsals, which are not just yourself playing. The other thing is that if you are playing in an orchestra, you are actually playing more.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No.
    [Show full text]
  • BIOGRAPHIES of PRESENTERS & COMPOSERS Updated 10/23/17 Adler, Ayden Ayden Adler Is Dean of the Depauw University School of M
    BIOGRAPHIES OF PRESENTERS & COMPOSERS updated 10/23/17 Adler, Ayden Ayden Adler is Dean of the Depauw University School of Music. In her previous role as dean of the New World Symphony, America’s Orchestral Academy, Dr. Adler redesigned the academic program to address 21st-century needs of music students by providing high-level training in audience engagement, community engagement, and digital engagement, musician health and wellness, entrepreneurship, and leadership development. Before working in higher education administration, Dr. Adler served as Executive Director of the Orpheus Chamber Orchestra in New York City. With support from the Mellon Foundation, she expanded the Orpheus Institute, through which Orpheus musicians mentor the next generation of musicians and business leaders in shared leadership, entrepreneurship, and communication. Dr. Adler has also served as Director of Education and Community Partnerships for the Philadelphia Orchestra and as the Atlanta Symphony Orchestra’s Director for Learning Development. As an orchestral musician, Dr. Adler performed in many countries under esteemed conductors, including Loren Maazel, Mstislav Rostropovich, and Alan Gilbert. Alberti, Alexander Alexander Alberti is the current director of instrumental music and psychology at Longleaf School of the Arts in Raleigh, North Carolina. In addition, he works with the Middle Creek High School Marching Mustang Band, instructing front ensemble and percussion. Alberti formerly taught at Southern Lee High School in Sanford, North Carolina, where he directed band, orchestra, chorus, and an extracurricular a cappella program. Alberti is an active researcher in the field of music theory pedagogy and music education, presenting his findings at NAfME, CMS National, and NCUR. Alberti currently holds a Bachelors of Music in Music Education from Appalachian State University with a minor in Psychology.
    [Show full text]
  • An Australian Composer Abroad: Malcolm Williamson And
    An Australian Composer Abroad: Malcolm Williamson and the projection of an Australian Identity by Carolyn Philpott B.Mus. (Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Tasmania October 2010 Declaration of Originality This dissertation contains no material that has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information that is duly acknowledged in the text. I declare that this dissertation is my own work and to the best of my knowledge it contains no material previously published or written by another person except where clear acknowledgement or reference is made in the text, nor does it contain any material that infringes copyright. This dissertation may be made available for loan and limited copying in accordance with the Copyright Act 1968. Carolyn Philpott Date ii Abstract Malcolm Williamson (1931-2003) was one of the most successful Australian composers of the latter half of the twentieth century and the depth, breadth and diversity of his achievements are largely related to his decision to leave Australia for Britain in the early 1950s. By the 1960s, he was commonly referred to as the “most commissioned composer in Britain” and in 1975 he was appointed to the esteemed post of Master of the Queen’s Music. While his service to music in Britain is generally acknowledged in the literature, the extent of his contribution to Australian music is not widely recognised and this is the first research to be undertaken with a strong focus on the identification and examination of the many works he composed for his homeland and his projection of an Australian identity through his music and persona.
    [Show full text]
  • Fabian Russell – Biography
    FABIAN RUSSELL – BIOGRAPHY Fabian Russell was born in Sydney, Australia in 1968. In a career spanning more than three decades, he has been at the forefront of the Australian classical music industry as a multi-award winning conductor, artistic director, pedagogue, orchestral musician and solo performer. Fabian has received invitations to guest conduct orchestras including the Melbourne Symphony Orchestra, Sydney Symphony Orchestra, Queensland Symphony Orchestra, Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, Victorian Opera, Malaysian Philharmonic Orchestra, Orchestra Victoria, Australian National Academy of Music Orchestra, Australian Youth Orchestra, Melbourne Chamber Orchestra, Malaysian Philharmonic Youth Orchestra, Niedersächsisches Jugensinfonieorchester, Sydney Youth Orchestra, Darwin Symphony Orchestra, Geelong Symphony Orchestra, University of Tasmania Conservatorium Orchestra, Griffith University Queensland Conservatorium of Music Symphony Orchestra, Monash University Academy Orchestra and the University of Melbourne Symphony Orchestra. In recent years he has also undertaken residencies with the orchestras of Victorian College of the Arts Secondary School, Griffith University Open Conservatorium and the Sydney Conservatorium High School. Fabian has collaborated with leading international soloists including legendary American pianist Gary Graffman, Brett Dean, Richard Tognetti, Leslie Howard, Daniel de Borah, Stefan Cassomenos, Michael Kieran Harvey and Kristian Winther. Fabian has held numerous conducting positions
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968.
    [Show full text]