The University of Georgia Symphony Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

The University of Georgia Symphony Orchestra UGA Symphony Orchestra The University of Georgia Symphony Orchestra Thursday Scholarship Series Thursday PROGRAM February 1 2018 Édouard Lalo Symphonie espagnole for Violin and Orchestra, Op. 21 7:30 p.m. I. Allegro non troppo conductor Mark Cedel Sahada Buckley, violin assistant conductor Jean Gómez Henri Tomasi Concerto for Saxophone and Orchestra I. Andante et Allegro Megan Elks, saxophone Winners of the Annual Concerto Competition Wolfgang Amadeus Mozart Concerto for Clarinet and Orchestra violin Sahada Buckley in A Major, K.622 soprano Laura Anne Cotney I. Allegro saxophone Megan Elks Mateus Faltemback, clarinet clarinet Mateus Faltemback Béla Bartók Piano Concerto No. 2 I. Allegro piano Elena Lyalina Alexandre Tchaykov, piano piano Alexandre Tchaykov INTERMISSION Richard Strauss Vier letze Lieder (Four Last Songs) Frühling (Spring) Thursday Scholarship Series September Beim Schlafengehn (When Falling Asleep) The Hugh Hodgson School of Music and the Hugh Hodgson Concert Hall are named Im Abendrot (At Sunset) in honor of native Athenian and UGA graduate Hugh Leslie Hodgson. In 1928, Hodgson became the University’s first music professor and first chairman of the Department of Laura Anne Cotney, soprano Music. From 1941-1950, he directed the University of Georgia Little Symphony Orchestra, a forerunner of today’s UGA Symphony. The Thursday Series began in 1980 and Chopin Piano Concerto No. 2 in F Minor, Op. 21 continues the tradition of “Music Appreciation Programs” started by Hugh Hodgson in II. Larghetto the 1930s. Proceeds from these concerts are the primary source of funds for School III. Allegro vivace of Music general student scholarships. Elena Lyalina, piano HODGSON CONCERT HALL 32 Performance UGA January February 2018 33 UGA Symphony Orchestra the Hodgson Wind Ensemble. This past with Master of Music in piano performance he was also a finalist in this year’s Atlanta About the Soloists summer, Megan attended the European from the University of Northern Iowa where Pro-Mozart Society scholarship competi- University of Saxophone in Gap, France. she studied with Dmitri Vorobiev. Now she tion. Tchaykov has spent his summers at the She performed a solo recital at the 2017 is pursuing D.M.A. degree at the University Georgia Governor’s Honors Program, the Sahada Buckley (Violin) is from Daphne, regional North American Saxophone Alli- of Georgia in the studio of Evgeny Rivkin. Holy Cross Chamber Music Institute (MA), AL. She is currently studying violin perfor- ance conference, and she has performed in and the Brevard Music Center studying with mance and music theory as an undergradu- master classes for Debra Richtmeyer and Alexandre Tchaykov (Piano) was born in Adam Golka, Michael Brown, and Donna ate at the UGA as a student of Shakhida Vladislav Vals. Performance highlights with Varna, Bulgaria. He is in his third year of un- Lee. He has performed in master classes Azimkhodjaeva and Levon Ambartsumian. Fresca Quartet include a featured recital at dergraduate study at UGA pursuing a double for several distinguished musicians, includ- Buckley graduated from the high school the 2017 U.S. Navy Band International Saxo- major in piano performance and English. In ing Alessio Bax, Gilles Vonsattel, Arnaud division of Interlochen Arts Academy in phone Symposium; a three-day educational his freshman and sophomore years, he was Sussmann, and the Hocket Piano Duo. On Michigan. She has attended music festivals outreach tour near Charlotte, NC; and mas- the winner of the Georgia Music Teachers completing his undergraduate programs, including Montecito Music Festival, Mead- ter classes with the Masato Kumoi Quartet Association State Competition, Lower Col- he plans to continue his piano studies at the owmount School of Music, and the Tangle- (Japan), and the U.S. Air Force Band’s reed lege Division, resulting in performances at graduate level. He currently studies at UGA wood BUTI Program. She has also stud- quintet. She is a recipient of UGA’s Ken- the 2016 and 2017 state conferences. A recip- with Liza Stepanova. ied with Steve Weiss, Michael Heald, Paul neth Fischer Scholarship and Outstanding ient of the John H. Dorminy, Jr. Scholarship Sonner, Linda Wang, Enen Yu, and Walter Sophomore Award. She is a graduate of the from the Hugh Hodgson School of Music, Schwede. She has performed in masterclass- University of North Carolina School of the es for Arnaud Sussman, Espen Lilleslåten, Arts High School, where she studied with and Oliver Yatsugafu. Taimur Sullivan. Laura Anne Cotney (Soprano) has per- Mateus Falkemback (Clrinet) performs formed in operatic productions across the on both the clarinet and bass clarinet. A na- country with groups such as Atlanta Opera, tive of Rio de Janiero, Brazil, Falkemback be- Capitol City Opera, Great Lakes Light Op- gan his musical studies at the age of six and era, Piedmont Opera, and Utah Lyric Opera. his study of the clarinet at age 15. In 2008, She was praised for her “mastery of the de- he started his undergraduate education at manding vocal lines” of Sister Constance in the Universidade Federal do Estado do Rio Poulenc’s Dialogues of the Carmelites, which de Janeiro with Fernando José Silveira and she performed with the Cleveland Institute Marcos Passos, graduating in 2012. Falkem- of Music Opera Theatre. Her other operatic back has performed in master classes by credits include Donna Anna in Don Giovan- Luiz Afonso Montanha (Brazil), Cristiano ni, Fiordiligi in Così fan tutte, the title role in Alves (Brazil), and Jorge Montilla (Venezu- The Merry Widow, and Mimì in La bohème. ela), among other clarinetists. He is mem- Equally at home on the concert stage, Laura ber of the Omega Clarinet Quartet and the Anne has served as a soloist in works such as Banda Filarmônica do Rio de Janeiro since Handel’s Messiah, Vivaldi Gloria, Schubert’s its founding in 2010. He is also a current Mass in G, and Haydn’s Creation. She re- member of the Brazilian Army Band, and cently performed the role of the Matriarch he performed with the Orquestra Sinfônica in the US premiere of Paul Mealor’s The Far- Brasileira (Rio) during the 2013 season. He thest Shore with the Atlanta Boy Choir. This has participated in many music festivals, month she will perform as the Countess in winning prizes in Brazil and abroad. He is Mozart’s Le nozze di Figaro with the Univer- currently pursuing a master’s degree in mu- sity of Georgia Opera Theatre. Laura Anne sic under the guidance of D. Ray McClellan. is a student of Frederick Burchinal. Elena Lyalina (Piano) is a native of Rus- Megan Elks (Saxophone), from Lumber- sia. She received her musical training at the ton, NC, is a junior performance major at College of Music in Togliatti and the Glinka UGA where she studies with Connie Frigo. State Conservatory in Nizhny Novgorod. She is a member of the Graduate Saxophone Her teachers included Irina Bogdanova and Quartet, Fresca Saxophone Quartet, and Valery Starynin. In 2013, Lyalina graduated 34 Performance UGA January February 2018 35 The University of Georgia Symphony Orchestra conductor Mark Cedel assistant conductor Jean Gómez VIOLIN I Elitsa Atanasova OBOE Jordan Stone, Anastasia Petrunina, Ava Cosman Billy Jones, Principal Bass Trombone Concertmaster Joy Hsieh Remy Kepler Alexander Ambartsumian Seonkyu Kim Kenny Bader TUBA Teresa Grynia Sean Askin Elvis Yang Yeasol Kang Will Ruff CLARINET Serena Scibelli Trey Golden Pedro Alliprandini, PERCUSSION Caroline Dorr Principal Sahada Buckley Adia Dukes Taylor Lents, Principal Lourenço De Nardin Budó Mateus Falkemback Nathan Tingler Sarah Ewing CELLO Maggie Watts Emily Johnson Nicole Valerioti Adriana Ceia, Jake Senter, Bass Clarinet Denis Petrunin Audrey Butler Principal Monica Corliss Valentina Ignjic BASSOON HARP Elizabeth Klingbeil Hank Morris, Principal Katie O’Shaughnessy VIOLIN II Michael Marra Nib McKinney, JP Brien-Slack, Jasmine Rhee Assistant Principal LIBRARY Principal Jamie Mancuso Jennifer Grubbs Cláudia Amaral, Vivian Cheng Jordi Lara Head Librarian RJ Gary Julia Chun HORN Catherine Cook Dilon Bryan, Principal PERSONNEL Gabriella Davis BASS Nic Aquila Manager Kellie Shaw Leonard Ligon, Nathan Dial Adriana Ceia Meghan O'Keefe Principal Emma Dickinson Erin Lollar Mattia Beccari Jordan Lockridge PRODUCTION Ian Chen Nahee Song Anna Zurawski Seonkyu Kim Olivia Curtis Cláudia Amaral JP Brien-Slack Full Concert Halls are Great! Ian Jones Quentin Smith TRUMPET Sam Ferguson James West Yanbin Chen, But did you know that even a sold-out house doesn’t fully cover the cost Jasmine Lau Anai Gimemez Principal of a concert at the Performing Arts Center? Or that the PAC cannot use Shaun Branam, state funds to pay for performances? VIOLA FLUTE Assistant Principal That’s why private support by donors like you is essential. Your annual Nicholas Lindell, Emily Zirlin, Shengduo Chen gift to the Performing Arts Center is an investment in the great Principal Principal Tyler Jesko performances that enrich the lives of audience members each season. Kuan Huah Chen Shana Stone Wesley Hamilton Rachel Anders TROMBONE Make your gift to support the UGA Performing Arts Center today. Claudia Malchow Mindy Griffin Steve Jessup, Principal Contact Carlton Bain, PAC Director of Development, at (706) 542-2031 Joel Clevenger or at [email protected] to make your gift today. å 36 Performance UGA.
Recommended publications
  • Program Notes
    NOTES ON THE PROGRAM Pro Musica March 23, 2017 Academy of St Martin in the Fields Aaron Copland (1900-1990) Quiet City Aaron Copland’s compositions are divided into three periods: the early jazz-inspired works, the severely avant-garde, and the “Americana” or populist style that produced his most beloved works such as Rodeo, Appalachian Spring, Lincoln Portrait, and Fanfare for the Common Man. While Quiet City of 1940 falls into Copland’s populist style, we should be cautious about that categorization causing us to miss the work’s purely musical qualities and genius. That said, we must recognize it as one of the most evocative pieces of Copland’s output. In this case, it paints a night in a sleepless city, presumably New York, Copland’s home. Based on Copland’s incidental music for Irwin Shaw’s failed play of the same name, Quiet City was premiered in 1941 by the Saidenberg Little Symphony in New York City. Copland himself commented that the work was “an attempt to mirror the troubled main character of Irwin Shaw’s play.” He also admitted that Quiet City “seems to have become a musical entity superseding the original reasons for its composition.” On Mozart and Shostakovich In light of the combination of Mozart and Shostakovich on this program, we offer the following thoughts: On the death of the American novelist Saul Bellow, The New York Times reported that Mr. Bellow once told a reporter that “for many years, Mozart was a kind of idol to me—this rapturous singing that’s always on the edge of sadness and melancholy and disappointment and heartbreak, but always ready for an outburst of the most delicious music.” One could say much of the same about the music of Shostakovich, thus pointing to the raison d’etre for combining these two composers on a program.
    [Show full text]
  • 2020-21 Season Brochure
    2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No.
    [Show full text]
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Classical Programs
    CLASSICAL PROGRAMS Traditional symphonic programs include Peter’s orchestral arrangements of Janacek’s Six Operatic Suites in his premiere recording for Naxos with the New Zealand Symphony Orchestra; new arrangements of Mussorgsky’s Pictures from an Exhibition and Operatic Suites by Tchaikovsky to be released in fall/winter 2012 (also on Naxos) and featured in the movie documentary Bask ; new arrangements of Debussy’s Preludes to be released in September 2012; his arrangements of Brahms Hungarian Dances and works by Bizet, Granados, Albeniz, Handel, Schubert, Satie, Grieg and Tchaikovsky to name a few. Sample programs include… Dances from Around the World: A combination of original pieces and Breiner’s arrangements or the arrangements only. Program to be structured to suit audience and orchestra forces from the following works: - Arnold: English/Irish/Scottish/Cornish Dances - Bartok: Dances of Transsylvania /Rumanian Folk Dances - Borodin: Polovtsian Dances - Copland: Danzon Cubano - Dvorak: Slavonic Dances - Elgar: Three Bavarian Dances - Gorecki: Three Dances - Hindemith: Suite of French Dances - Janacek: Lachian Dances - Kodaly: Dances of Galanta / Marosszek - Mozart: German Dances - Skalkottas: Five Greek Dances - Smetana: Three Dances from Battered Bride - Villa-Lobos: Danses africaines / Danses des Indians For Audio samples please click here. …And Pictures: A program featuring Peter’s brand new and impressive arrangement of Mussorgsky’s warhorse – Pictures at an Exhibition in the second half, First half options: Etchings & Pictures …. Martinu: Estampes Haydn: Piano Concerto (conducted from piano) Stories & Pictures … Suk: Fairy Tale; or Stravinsky: Fairy’s Kiss; or Dvorak: Water Goblin/Golden Spinning Wheel/Midday Witch/ Mozart: Piano Concerto (conducted from piano) POPS PROGRAMS Programs can be structured to suit orchestra and audience from any era.
    [Show full text]
  • A B C a B C D a B C D A
    24 go symphonyorchestra chica symphony centerpresent BALL SYMPHONY anne-sophie mutter muti riccardo orchestra symphony chicago 22 september friday, highlight season tchaikovsky mozart 7:00 6:00 Mozart’s fiery undisputed queen ofviolin-playing” ( and Tchaikovsky’s in beloved masterpieces, including Rossini’s followed by Riccardo Muti leading the Chicago SymphonyOrchestra season. Enjoy afestive opento the preconcert 2017/18 reception, proudly presents aprestigious gala evening ofmusic and celebration The Board Women’s ofthe Chicago Symphony Orchestra Association Gala package guests will enjoy postconcert dinner and dancing. rossini Suite from Suite 5 No. Concerto Violin to Overture C P s oncert reconcert Reception Turkish The Sleeping Beauty Concerto. The SleepingBeauty William Tell conducto The Times . Anne-Sophie Mutter, “the (Turkish) William Tell , London), performs London), , media sponsor: r violin Overture 10 Concerts 10 Concerts A B C A B 5 Concerts 5 Concerts D E F G H I 8 Concerts 5 Concerts E F G H 5 Concerts 6 Conc. 5 Concerts THU FRI FRI SAT SAT SUN TUE 8:00 1:30 8:00 2017/18 8:00 8:00 3:00 7:30 ABCABCD ABCDAAB Riccardo Muti conductor penderecki The Awakening of Jacob 9/23 9/26 Anne-Sophie Mutter violin tchaikovsky Violin Concerto schumann Symphony No. 2 C A 9/28 9/29 Riccardo Muti conductor rossini Overture to William Tell 10/1 ogonek New Work world premiere, cso commission A • F A bruckner Symphony No. 4 (Romantic) A Alain Altinoglu conductor prokoFIEV Suite from The Love for Three Oranges Sandrine Piau soprano poulenc Gloria Michael Schade tenor gounod Saint Cecilia Mass 10/5 10/6 Andrew Foster-Williams 10/7 C • E B bass-baritone B • G Chicago Symphony Chorus Duain Wolfe chorus director 10/26 10/27 James Gaffigan conductor bernstein Symphonic Suite from On the Waterfront James Ehnes violin barber Violin Concerto B • I A rachmaninov Symphonic Dances Sir András Schiff conductor mozart Serenade for Winds in C Minor 11/2 11/3 and piano bartók Divertimento for String Orchestra 11/4 11/5 A • G C bach Keyboard Concerto No.
    [Show full text]
  • A Study of Tyzen Hsiao's Piano Concerto, Op. 53
    A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist.
    [Show full text]
  • A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
    Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger,
    [Show full text]
  • 0425 Program Notes
    Berkshire Symphony Orchestra Saturday, April 25, 2009 8:00 p.m. Program Notes Wolfgang Amadeus Mozart: Piano Concerto No. 23 in A Major, K. 488 Wolfgang Amadeus Mozart (1756-1791) is widely considered to be one of the most important Classical composers in music history. Many know of his style as playful and elegant, but he also wrote various works that were moodier and contained a Sturm und Drang quality. His 23rd Piano Concerto, K. 488 written in 1786 displays his more playful and cheerful style. The first movement is written in the double exposition form, meaning that the orchestra plays all of the major themes of the movement in the tonic key, A Major. When the pianist later comes in, Mozart fleshes out all of the themes and modulates to various keys. Mozart prominently displays the mature Classical Period stylistic qualities in this first movement. With the rise of the middle class, composers found that pieces that had a simple but melodic line with a tuneful quality to them were widely accepted by the public. One of Mozart’s most characteristic traits is his tendency to create small variations when repeating a phrase or a theme. This transformative quality is especially apparent in many themes of this concerto. Mozart himself probably played this concerto directly after it was written. In 1781 he paved a new road for composers because he decided to become a free-lance artist. Rebelling against the patronage system, Mozart wrote concertos that he would debut to the public to make a living. I chose this piece because I feel it is the best representation of Mozart’s elegant and deceptively simplistic style.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference
    Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable.
    [Show full text]
  • NAU School of Music Concerto Competition Guidelines
    NAU School of Music Concerto Competition Guidelines When: Preliminaries before October 30, 2019 (arranged by area coordinators) Finals on Saturday, November 9, 2019, 1:00-5:00 PM Where: Kitt Recital Hall Eligibility: a. Applicants must be enrolled as a full-time student at NAU, and must be studying with an NAU music faculty member. b. Past winners are ineligible. c. The work to be performed, (one movement of a standard concerto, or an entire concerto/concert piece), shall not exceed 15 minutes in duration. d. All works to be performed must be formally approved by the Director of Orchestras in advance of the application deadline. (Please see list of ineligible pieces below) e. The work must have a published score and orchestral parts. f. Applicants wishing to perform a non-standard concerto or concert piece will be required to provide the Director of Orchestras with a score and recording of the work in advance of the application deadline. g. Any alterations to the piece, including key changes or cuts, must be approved by the Director of Orchestras in advance of the application deadline. Deadline: Applications are due on October 1, 2019 by 5:00pm in the Bands & Orchestras Office (rm.180). Finalists for the competition will be chosen from preliminary auditions held by area faculty. Each of the areas below will name a maximum of two (2) finalists and one (1) alternate to compete in the final competition. a. Woodwinds b. Brass c. Strings d. Percussion, Piano, Organ & Classical guitar Finalists may submit audition-time requests to [email protected] by November 4, 2019.
    [Show full text]
  • Print-At-Home Programme
    Sunday 30 May 2021 LSO St Luke's COPLAND, SHOSTAKOVICH & TCHAIKOVSKY Aaron Copland Our Town – Suite Dmitri Shostakovich Piano Concerto No 2 Pyotr Ilyich Tchaikovsky Symphony No 2 Michael Tilson Thomas conductor Yuja Wang piano London Symphony Orchestra Welcome A warm welcome to these LSO concerts. After 14 months away, it was wonderful last week to make our long-awaited return to our Barbican home, and to be able to reunite with audiences in person, sharing once again in the joy of live music. Sincere thanks to all of our supporters: your generosity has enabled us to continue sharing music with audiences across the globe through these challenging times, and now continues to assist our return to live performance and our recovery from the pandemic. With these concerts we welcome back LSO Conductor Laureate Michael Tilson Thomas, who has been sorely missed over the past year. Across four concerts at the Barbican and LSO St Luke’s, he conducts music by Grieg and Copland, piano concertos by Rachmaninoff and Shostakovich, and symphonies by Beethoven and Tchaikovsky. It is a pleasure to be joined also by soloist Yuja Wang, who has performed with the Orchestra and Michael Tilson Thomas regularly over the years, most recently in 2017 when she joined the Orchestra on tour in Europe. Following these London performances of Rachmaninoff’s and Shostakovich’s Second Piano Concertos, we look forward to Yuja Wang – and Michael Tilson Thomas – joining us for further concerts at Snape Maltings next week. I hope you enjoy these performances. Our thanks to all of you, our audience members, for your support.
    [Show full text]