Claude Debussy Iberia Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor

Total Page:16

File Type:pdf, Size:1020Kb

Claude Debussy Iberia Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor Claude Debussy Iberia Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor 1 I. Par les rues et par les chemins 07:08 2 II. Les parfums de la nuit 08:27 3 III. Rondes de printemps 04:27 Maurice Ravel Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor 4 La Valse 11:54 Maurice Ravel Rhapsodie espagnole Rochester Philharmonic Orchestra / Theodore Bloomfield, Conductor 5 I. Prelude a la Nuit 04:21 6 II. Malaguena 02:01 7 III. Habanera 02:33 8 IV. Feria 06:03 Debussy: Ibéria orchestral pieces. As it turned out, he never falls; nature sleeps and is at rest until bells Ravel: La Valse – a choreographic did orchestrate Gigues; that task he assigned and aubades announce the dawn, and the poem /Rapsodie Espagnole to his pupil André Caplet. world awakens to life.” Theodore Bloomfield conducting The Rochester Philharmonic The first sketches for Ibéria date from Ravel: La Valse Orchestra 1906. At one point during its composition, Debussy wrote his publisher that he had in Maurice Ravel composed his choreo- With these three colorful French orches- mind three different finales for Ibéria, and graphic poem La Valse in 1920 at the sugges- tral masterpieces, a brilliant young American didn’t know whether to toss a coin in order to tion of Sergei Diaghilev, who wished to have conductor – Theodore Bloomfield – and a decide which to use or to sit down and devise an “Apotheosis of the Waltz” to make into great American orchestra – the Rochester a fourth ending. a ballet for his Russian troupe. When Ravel Philharmonic – make their debuts on Everest showed him the music, however, he did not Records. Thanks to the unsurpassed fidelity Ibéria finally had its first performance find it to his liking, and told the composer of Everest sound, it is possible to enjoy exact by the Orchestre des Concerts Colonne in so. As a result, a quarrel ensued, causing the duplicates of the original live performances. Paris on February 20, 1910. The conduc- permanent estrangement of the composer tor on that occasion was the noted French and the impresario. Debussy: Ibéria composer, Gabriel Pierné, who once com- plained to Debussy that the score was too La Valse was first played in an arrangement Ibéria is the second of Claude Debussy’s difficult for either the orchestra or the con- for two pianos by Ravel and the Italian com- three Images pour Orchestre. The first of the ductor. This premiere may be said to have poser-conductor-pianist, Alfredo Casella, in Images – Gigues – was intended as a musical been quite successful, considering the fact Vienna in November, 1920. In its orchestral impression of England; the third – Rondes de that in those days Debussy was looked upon dress, it was first heard on December 12th Printemps – was meant to serve a similar role as an ultra-modern composer. His constitu- of that year, at a concert of the Lamoureux for France. The most popular of the three, ents in the audience were so vociferous in Orchestra in Paris, conducted by Camille Ibéria, as its name implies, evokes impres- their demands for a repetition of the work Chevillard. sions of Spain. The eminent Spanish com- that Pierné was about to signal the orches- poser, Manuel de Falla, a recognized author- tra to play it again. It was then, however, that Ravel originally called this composition ity on the music of his native land, once the anti-Debussy faction made itself heard. Wien (Vienna), and the score bears the indi- declared that in Ibéria Debussy had captured Its hissing protest caused the conductor to cation, Movement of a Viennese Waltz. There the letter and spirit of Spanish music and had change his mind and proceed with the rest are some who find much irony in this music, expressed it more vividly than had many a of the program. as if Ravel were painting a musical picture of Spaniard. Yet in his entire lifetime, Debussy nineteenth century Vienna as seen through spent only a few hours in Spain, when he The three sections of Ibéria, which are the disillusioned eyes of the twentieth cen- went to San Sebastian to watch a bullfight. played with out-out pause, bear these respec- tury. Included in the music is a traceable tive headings: In the Streets and Byways; quotation from the Treasure Waltz from the The three Images required about six years Fragrances of the Night, and The Morning of a younger Johann Strauss’ opera The Gypsy for completion. When Debussy first con- Festival Day. After the first performance, one Baron. ceived them, they were to be for two pianos, French critic gave an appropriate descrip- in order to complement two earlier sets of tion of the work, declaring that the music Casella described La Valse as “a sort Images for solo piano. But he later found that takes the listener right to Spain. “The bells of of triptych: a. The Birth of the Waltz. this medium would be inadequate for his horses and mules are heard,” he wrote, “and (The poem begins with dull rumors, as in purposes, so he decided to develop them into the joyous sounds of wayfarers. The night Rheingold, and from this chaos gradually on March 15, 1908. Its reception was quite Albert Coates, Sir Eugene Goossens, José takes form and development). b. The Waltz. enthusiastic, but most of that enthusiasm Iturbi, Erich Leinsdorf, and now Theodore c. The Apotheosis of the Waltz.” is said to have emanated from the upper Bloomfield. reaches of the auditorium. After the playing On the score is printed the follow- of the second movement – the Malaguena – Appointed musical director of the ing description, written by Ravel himself: one adherent, the noted French composer Rochester Philharmonic in March, 1958, “Whirling clouds give glimpses, through Florent Schmitt, shouted to Ravel from the Theodore Bloomfield is the first American- rifts, of couples waltzing. The clouds scat- balcony, “Play it once again for the people born permanent conductor in the orches- ter, little by little. One sees an immense hall downstairs who have not understood it!” The tra’s history. He had already established an peopled with a twirling crowd. The scene is movement was duly repeated. But when the international reputation as conductor of the gradually illuminated. The light of the chan- applause at the end of the Rapsodie was not Portland (Oregon) Symphony Orchestra deliers bursts forth, fortissimo. An Imperial vociferous enough to suit Schmitt, he yelled, and guest conductor of leading orchestras Court about 1855.” “If it had been something by Wagner you throughout the United States and Europe. would have found it very beautiful!” Bloomfield is noted for the brilliance and Ravel: Rapsodie Espagnole excitement of his Interpretations, which now Actually, the Rapsodie Espagnole is a suite come so vividly to life in Everest recordings. There is a close kinship between Debussy’s in four brief movements. The first, entitled Ibéria and Ravel’s Rapsodie Espagnole. Both Prelude a la Nuit, is a languorous nocturne, Original Liner Notes are works in the Spanish idiom by French the principal motif of which makes a fleet- composers; both were written about the ing reappearance in the second and fourth same time, and both received their initial per- movements. The second section is the afore- formances within two years of one another, mentioned Malaguena, a Spanish dance in by the same orchestra and under similar triple meter, with an improvisatory English circumstances. But whereas Debussy was a horn solo in the middle. The third move- Frenchman through and through who barely ment is none other than that early Habanera set foot in Spain, Ravel was born only a short for two pianos, first written in 1895 and distance from the Spanish border, at Ciboure enlarged and orchestrated for use in the in the Basses-Pyréneés. Besides, his mother Rapsodie. The suite then concludes with the was a Basque. Tracing through the list of his lively Feria (The Fair), in which once again compositions, one finds that among his very we hear a contrasting solo in the middle for first works was a Habanera for two pianos, English horn. while among his very last was the Bolero. In between lie such Spanish-style compositions The Rochester Philharmonic Orchestra as the Alborada del Graciodo, the Vocalise has been ranked among the major sym- en forme d’Habanera, the opera L’Heure phonic groups in America ever since it was Espagnole, and the Rapsodie Espagnole. founded in 1922. It is unique among the nation’s symphonic organizations in that it The Rapsodie Espagnole was Ravel’s first is supported by the world’s largest commu- large orchestral work. It was written in one nity music group, the Rochester Civic Music month during the summer of 1907, in the Association, which has more than 13,000 seclusion of a friend’s yacht, and was first subscribers. During its history, the orches- performed at a Colonne Concert in Paris tra has had only five permanent conductors: Some notes on the history of Everest Below is a graphic representation of this new “wow and flutter” to an absolute minimum. recordings made anywhere in the world. By Records and the digital remastering material. What you see here, your ears will The film has another advantage in its great utilizing specially designed portable versions quickly verify when you listen to an EVER- tensile strength which effectively eliminates of EVEREST 35 mm equipment, EVEREST When Everest Records was founded by Harry EST recording. pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and Belock in 1958 as a division of Belock Instru- tion heretofore almost impossible to control.
Recommended publications
  • Yann Tiersen La Valse D Amlie for Bassoon Sheet Music
    Yann Tiersen La Valse D Amlie For Bassoon Sheet Music Download yann tiersen la valse d amlie for bassoon sheet music pdf now available in our library. We give you 1 pages partial preview of yann tiersen la valse d amlie for bassoon sheet music that you can try for free. This music notes has been read 4599 times and last read at 2021-09-24 14:20:17. In order to continue read the entire sheet music of yann tiersen la valse d amlie for bassoon you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon Solo Ensemble: Mixed Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music Yann Tiersen La Valse D Amlie For Cello Yann Tiersen La Valse D Amlie For Cello sheet music has been read 3070 times. Yann tiersen la valse d amlie for cello arrangement is for Early Intermediate level. The music notes has 1 preview and last read at 2021-09-26 16:23:58. [ Read More ] La Valse D Amlie For Bassoon And Piano Yann Tiersen La Valse D Amlie For Bassoon And Piano Yann Tiersen sheet music has been read 4522 times. La valse d amlie for bassoon and piano yann tiersen arrangement is for Early Intermediate level. The music notes has 4 preview and last read at 2021-09-24 18:13:53. [ Read More ] Yann Tiersen La Valse D Amlie For French Horn Yann Tiersen La Valse D Amlie For French Horn sheet music has been read 4225 times. Yann tiersen la valse d amlie for french horn arrangement is for Early Intermediate level.
    [Show full text]
  • Mother Goose
    2017 2018 SEASON Stéphane Denève, conductor Friday, February 2, 2018 at 10:30AM Christina and Michelle Naughton, pianos Saturday, February 3, 2018 at 8:00PM RAVEL Ma mère l’oye (Mother Goose) Suite (1911) (1875–1937) Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) Petit Poucet (Tom Thumb) Laideronnette, Impératrice des pagodes (Laideronnette, Empress of the Pagodas) Les Entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast) Le Jardin féerique (The Enchanted Garden) POULENC Concerto in D minor for Two Pianos and Orchestra (1932) (1899–1963) Allegro ma non troppo Larghetto Finale: Allegro molto Christina and Michelle Naughton, pianos INTERMISSION GUILLAUME CONNESSON Flammenschrift (2012) (b. 1970) RAVEL Valses nobles et sentimentales (1911) Modéré – Assez lent – Modéré – Assez animé – Presque len – Assez vif – Moins vif – Épilogue: lent NO PAUSE RAVEL La Valse (1920) 23 ACKNOWLEDGMENTS The 2017/2018 Classical Series is presented by World Wide Technology, The Steward Family Foundation, and Centene Charitable Foundation. These concerts are presented by FleishmanHillard. These concerts are sponsored by Steinway Piano Gallery. Stéphane Denève is the Felix and Eleanor Slatkin Guest Conductor. Christina and Michelle Naughton are the Bruce Anderson Memorial Fund Guest Artists. The concert of Friday, February 2 is underwritten in part by a generous gift from Cynthia and Bill Durham. The concert of Saturday, February 3 is underwritten in part by a generous gift from Dr. Cora E. Musial. Pre-Concert Conversations are sponsored by Washington University Physicians. 24 GALLIC LIGHTNESS BY RENÉ SPENCER SALLER TIMELINKS “You will find sobriety and sadness in French music just as in German or Russian,” Francis Poulenc observed in 1950.
    [Show full text]
  • Season 2016-2017
    23 Season 2016-2017 Thursday, January 26, at 8:00 The Philadelphia Orchestra Friday, January 27, at 2:00 City of Light and Music: The Paris Festival, Week 3 Yannick Nézet-Séguin Conductor Choong-Jin Chang Viola Berlioz Harold in Italy, Op. 16 I. Harold in the Mountains (Scenes of melancholy, happiness, and joy) II. Pilgrims’ March—Singing of the Evening Hymn III. Serenade of an Abruzzi Mountaineer to his Sweetheart IV. Brigands’ Orgy (Reminiscences of the preceding scenes) Intermission Ravel Alborada del gracioso Ravel Rapsodie espagnole I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria Ravel Bolero This program runs approximately 1 hour, 55 minutes. The January 26 concert is sponsored in memory of Ruth W. Williams. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 24 Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue.
    [Show full text]
  • Ravel Bolero / La Valse / Rapsodie E. Spagnole / Alborada Del Gracioso / Gaite Parisienne / Danse Macabre / the Sorcerer's Apprentice Mp3, Flac, Wma
    Ravel Bolero / La Valse / Rapsodie E. Spagnole / Alborada Del Gracioso / Gaite Parisienne / Danse Macabre / The Sorcerer's Apprentice mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Bolero / La Valse / Rapsodie E. Spagnole / Alborada Del Gracioso / Gaite Parisienne / Danse Macabre / The Sorcerer's Apprentice Country: Netherlands Released: 1984 MP3 version RAR size: 1550 mb FLAC version RAR size: 1316 mb WMA version RAR size: 1985 mb Rating: 4.3 Votes: 555 Other Formats: WAV AIFF MIDI MP4 ADX MMF DXD Tracklist Hide Credits A1 Bolero 13:50 A2 La Valse 12:58 Rapsodie Espagnole (15:46) B1 I. Prelude A La Nuit B2 II. Malaguena B3 III. Habanera B4 IV. Feria B5 Alborada Del Gracioso 8:43 C1 Gaite Parisienne (Beginning) 24:00 Gaite Parisienne (Conclusion) D1 6:20 Arranged By – Rosenthal* D2 Danse Macabre 6:35 D3 The Sorcerer's Apprentice 11:34 Credits Composed By – Saint-Saëns* (tracks: D2), Offenbach* (tracks: C1, D1), Ravel* (tracks: A1 to B5), Kukas* (tracks: D3) Conductor – Lorin Maazel Orchestra – Orchestre National De France Barcode and Other Identifiers Label Code: LC0149 Related Music albums to Bolero / La Valse / Rapsodie E. Spagnole / Alborada Del Gracioso / Gaite Parisienne / Danse Macabre / The Sorcerer's Apprentice by Ravel Ravel, Leonard Bernstein, L'Orchestre National De France - Bolero / La Valse / Alborada Del Gracioso Ravel, Saint-Saëns, Dukas, Detroit Symphony Orchestra - Musical Rendezvous Presents Bolero/ La Valse/ Danse Macabre / The Sorcerer's Apprentice Ravel - The Cleveland Orchestra, Boulez - Daphnis
    [Show full text]
  • A BIOGRAPHY of JOSEPH MAURICE RAVEL by Matthew Dechirico
    A BIOGRAPHY OF JOSEPH MAURICE RAVEL by Matthew DeChirico Joseph Maurice Ravel, who lived from March 1875 to December 1937 was a French composer born in the Basque region of France His mother of Basque-Spanish heritage from Madrid Spain had a strong influence on his life and his music. His father was a Swiss inventor and industrialist from France. Both parents provided a happy and stimulating life for Joseph and his younger brother. His parents encouraged his musical pursuits and sent him at age 14 to the Conservatoire de Paris first as a preparatory student and eventually as a piano major. Although intellectually bright and well read, he was not successful academically even as his musicianship matured. Considered “very gifted” he nevertheless was called “somewhat heedless” in his studies. He failed to meet the requirements of earning a competitive medal and was expelled. He returned three years later studying with Gabriel Faure focusing on composition rather than piano. He was again dismissed for having won neither the fugue nor the composition prize. He remained an auditor with Faure until he left the Conservatoire in 1903. During his years at the Conservatoire, Ravel tried numerous times to win the prestigious Prix de Rome but to no avail: he was probably considered too radical by the conservatives. Ravel’s “String Quartet in F” is now a standard work of chamber music, though at the time it was criticized and found lacking academically. His first significant work, “Habanera” for two pianos was later transcribed into the third movement of his “Rapsodie Espagnole”.
    [Show full text]
  • (MTO 21.1: Stankis, Ravel's ficolor
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme * Jessica E. Stankis NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.stankis.php KEYWORDS: Ravel, texture, color, counterpoint, Japonisme, style japonais, ornament, miniaturism, primary nature, secondary nature ABSTRACT: This article establishes a link between Ravel’s musical textures and the phenomenon of Japonisme. Since the pairing of Ravel and Japonisme is far from obvious, I develop a series of analytical tools that conceptualize an aesthetic orientation called “color counterpoint,” inspired by Ravel’s fascination with Chinese and Japanese art and calligraphy. These tools are then applied to selected textures in Ravel’s “Habanera,” and “Le grillon” (from Histoires naturelles ), and are related to the opening measures of Jeux d’eau and the Sonata for Violin and Cello . Visual and literary Japonisme in France serve as a graphical and historical foundation to illuminate how Ravel’s color counterpoint may have been shaped by East Asian visual imagery. Received August 2014 1. Introduction It’s been given to [Ravel] to bring color back into French music. At first he was taken for an impressionist. For a while he encountered opposition. Not a lot, and not for long. And once he got started, what production! —Léon-Paul Fargue, 1920s (quoted in Beucler 1954 , 53) Don’t you think that it slightly resembles the gardens of Versailles, as well as a Japanese garden? —Ravel describing his Le Belvédère, 1931 (quoted in Orenstein 1990 , 475) In “Japanizing” his garden, Ravel made unusual choices, like his harmonies.
    [Show full text]
  • Ravel, Maurice (1875-1937) by John Louis Digaetani
    Ravel, Maurice (1875-1937) by John Louis DiGaetani Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright ©2002, glbtq, inc. Reprinted from http://www.glbtq.com Maurice Ravel in 1915. Courtesy Library of Congress Prints and One of France's most distinguished composers, Maurice Ravel was a prolific and Photographs Division. versatile artist who worked in several musical genres, creating stage music (two operas and several ballets), orchestral music, vocal music, chamber music, and piano music. His unique musical language, employing harmonies that are at once ravishing and subtle, made him one of the most influential composers of the twentieth century. Ravel's sexuality has been the subject of intense speculation. Although it is not certain that he was gay, he was rumored to be so. Fiercely protective of his privacy, his most significant emotional relationship seems to have been with his mother. At the same time, however, he embraced a public identity as a cultured dandy, a dapper man-about-town of refined taste and sensibility. A life-long bachelor, Ravel had several significant relationships with men, including one with pianist Ricardo Viñes, a fellow dandy and bachelor, but it is not certain whether these friendships were sexual. He was born Joseph Maurice Ravel on March 7, 1875 at Ciboure, France, near St. Jean de Luz, Basses- Pyrénées, a village close to the French-Spanish border, to a Swiss father and a Basque mother. Ravel's father, who was talented musically, was an engineer. The composer may have inherited from his father the devotion to craftsmanship and meticulous detail that led Igor Stravinsky to describe him as the "Swiss watch-maker of music." Although he was raised in Paris, Ravel was very conscious of his Basque heritage.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Mahler's Symphony No. 10
    SCHEDULE OF EVENTS WEDNESDAY, MAY 17, 7:30PM [Concert] Gordon Gamm Theater at The Dairy Center • G. Kurtág: Signs, Games, Messages (Jelek, Játékok és Üzenetek) • D. Matthews: Romanza for Violin and Piano, op 119a (U.S. Premiere) • G. Mahler/A. Schnittke: Piano Quartet in a (fragments) • F. Schubert: String Quintet in C, D. 956, Op. posth. 163 THURSDAY, MAY 18, 1:30PM [Master Class] Boulder Public Library • The Conducting Fellows, Kenneth Woods, David Matthews and Mahler specialists. • Mahler: Lieder eines fahrenden Gesellen– Chamber version (Schoenberg) FRIDAY, MAY 19, 2:00PM [FILM] BOEDECKER THEATRE AT THE DAIRY CENTER, BOULDER • Ken Russell’s Mahler SATURDAY, MAY 20, [Symposium] (speaker order subject to change) • Morning Session – 8:30am – C-199 – Imig Building, CU Boulder • Frans Bouwman ”Transcribing Mahler 10: what does it show?” • David Matthews ”Mahler’s 10th Symphony – Restored to Life” • Kenneth Woods, Artistic Director and Conductor, Colorado MahlerFest “A Conductor’s Perspective on the Tenth Symphony” • Jerry Bruck assisted by Louise Bloomfield In“ Search of Mahler: A Personal Recollection” • Lunch – Atrium Lobby, ATLAS building, University of Colorado • Afternoon Session – 1:30pm - Rm 102 – ATLAS Building, CU Boulder • Panel Discussion with David Matthews, Kenneth Woods and Donald Fraser • Jason Starr’s “For the Love of Mahler – The Inspired Life of Henry-Louis de La Grange” Presented in Memory of Henry-Louis de La Grange SATURDAY, MAY 20, 7:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado SUNDAY, MAY 21, 3:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado • Sir Edward Elgar (arr. David Matthews): String Quartet in e, opus 83 – arranged for string orchestra (2010) (US Premiere) • Gustav Mahler: Symphony No.
    [Show full text]
  • Curriculum Vitae
    Matthew Forte, Conductor, Educator Profile . Director of Orchestras at the University of New Mexico, conductor at Sitka Fine Arts Camp, and education faculty at the Aspen Music Festival and School. Graduate of Michigan State University (DMA, MM), where I was a Rasmussen Fellow, a University Distinguished Teacher, and Music Director of the Michigan State University Concert Orchestra and the Hartt School (BM), summa cum laude, Belle K Ribicoff Prize. Previous teaching experience includes as Director of Orchestral Studies and Assistant Professor of Music History at the University of Toledo, conductor of the Toledo Symphony Youth Orchestras and the Greater Toledo International Youth Orchestra, conducting faculty at Grand Valley State University, and graduate fellow positions at Michigan State University. Also a composer, my works have recently been premiered by organizations including the Glass City Singers, the Pittsburgh New Music Ensemble, Michigan State University, and the Hartt School. Education Michigan State University (2012-2017) • D.M.A., Orchestral Conducting (2017) Rasmussen Fellow, MSU Distinguished Teaching Citation • M.M., Orchestral Conducting (2014) The Hartt School of the University of Hartford (2007-2012) • B.M., Music History (2011), summa cum laude, Belle K. Ribicoff Prize • Graduate Professional Diploma, Orchestral Conducting (2012) Professional Conducting Engagements University of New Mexico Orchestras (Fall 2020-) • Director of Orchestral Studies Sitka Fine Arts Camp (Summer 2020-) • Conductor Aspen Music Festival and School (Summer 2018-) • Frequent collaborator and conductor with the AMFS Department of Education. University of Toledo Symphony Orchestra (Fall 2017-Spring 2020) • Music Director Toledo Symphony Youth Orchestras (Fall 2018-Spring 2020) • Conductor, Symphonic and Philharmonic Orchestras Greater Toledo International Youth Orchestra (Spring 2018-Spring 2020) • Music Director, Chamber Orchestra Toledo Symphony Orchestra (Summer 2019) • Concert of new works for chamber orchestra with orchestra members.
    [Show full text]
  • Baur 831792.Pdf (5.768Mb)
    Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908 Author(s): Steven Baur Source: Journal of the American Musicological Society, Vol. 52, No. 3 (Autumn, 1999), pp. 531-592 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831792 Accessed: 05-05-2016 18:10 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press, American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society This content downloaded from 129.173.74.49 on Thu, 05 May 2016 18:10:01 UTC All use subject to http://about.jstor.org/terms Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908 STEVEN BAUR The most significant writing on the octatonic scale in Western music has taken as a starting point the music of Igor Stravinsky. Arthur Berger introduced the term octatonic in his landmark 1963 article in which he identified the scale as a useful framework for analyzing much of Stravinsky's music. Following Berger, Pieter van den Toorn discussed in greater depth the nature of Stravinsky's octatonic practice, describing the composer's manipula- tions of the harmonic and melodic resources provided by the scale.
    [Show full text]
  • Resource Pack: Ravel
    RESOURCE PACK: RAVEL musicbehindthelines.org FOOTER INSERT ACE LOGO RPO LOGO WML LOGO MAURICE RAVEL (1875–1937) RAVEL: FURTHER REFERENCE ABOUT BEHIND THE LINES Books, Scores & Audio BIOGRAPHY Periodicals Ravel during the War Websites Chronology of Key dates WW1 CENTENARY LINKS FEATURED COMPOSITIONS Le tombeau de Couperin La Valse Page | 2a About Behind the Lines Behind the Lines was a year-long programme of free participatory events and resources for all ages to commemorate the centenary of the outbreak of the First World War. The programme was delivered in partnership by Westminster Music Library and the Royal Philharmonic Orchestra, and supported using public funding by Arts Council England. Public Workshops Beginning in autumn 2013, educational leaders and world-class musicians from the Royal Philharmonic Orchestra led a series of 18 interactive workshops for adults and families (early years and primary age focus). Sessions explored the music and composers of the First World War through these engaging creative composition workshops, targeted at the age group specified, and using the music and resources housed in Westminster Music Library. Schools Projects In addition to the public workshop series, Behind the Lines also worked with six schools in Westminster and the Royal Borough of Kensington and Chelsea; two secondaries and four primaries. These six schools participated in 2 day creative composition projects which drew upon the themes of the programme and linked in with the schools own learning programmes – in particular the History, Music and English curriculum. Additional schools projects can be incorporated in to the Behind the Lines programme between 2014 – 2018, although fundraising will be required.
    [Show full text]