ESO Highnotes November 2020
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Aaron Copland
9790051721474 Orchestra (score & parts) Aaron Copland John Henry 1940,rev.1952 4 min for orchestra 2(II=picc ad lib).2(1).2.2(1)-2.2.1.0-timp.perc:anvil/tgl/BD/SD/sand paper-pft(ad lib)-strings 9790051870714 (Parts) Availability: This work is available from Boosey & Hawkes for the world Aaron Copland photo © Roman Freulich Midday Thoughts Aaron Copland, arranged by David Del Tredici 2000 3 min CHAMBER ORCHESTRA for chamber ensemble Appalachian Spring 1(=picc.).2.2.bcl.2-2.0.0.0-strings Availability: This work is available from Boosey & Hawkes for the world Suite for 13 instruments 1970 25 min Music for Movies Chamber Suite 1942 16 min 1.0.1.1-0.0.0.0-pft-strings(2.2.2.2.1) for orchestra <b>NOTE:</b> An additional insert of section 7, "The Minister's Dance," is available for 1(=picc).1.1.1-1.2.1.0-timp.perc(1):glsp/xyl/susp.cym/tgl/BD/SD- performance. This version is called "Complete Ballet Suite for 13 Instruments." pft(harp)-strings 9790051096442 (Full score) 9790051094073 (Full score) Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world 9790051214297 Study Score - Hawkes Pocket Score 1429 9790051208760 Study Score - Hawkes Pocket Score 876 Music for the Theatre 9790051094066 (Full score) 1925 22 min Billy the Kid for chamber orchestra Waltz 1(=picc).1(=corA).1(=Eb).1-0.2.1.0-perc:glsp/xyl/cyms/wdbl/BD/SD- pft-strings 1938 4 min 9790051206995 Study Score - Hawkes Pocket Score 699 for chamber orchestra Availability: This work is available from Boosey -
Fall 2013 Basingstoke Performance Order
Freshman – Sophomore Showcase Fall 2009 Basingstoke! A celebration of the operettas of William S. Gilbert & Arthur Sullivan Lyrics by William S. Gilbert (1836-1911) Music by Sir Arthur Sullivan (1842-1900) With Guest Graduate Artists: Zachary Angus, Scott Gates, & Peter Morgan Music and Stage Director: Mark Crayton Associate Music Director and Piano: Giorgi Samadalashvili Stage Managers: Erin Stillson, Jeremy Cairns, Kiera Radvanski *** I have a song to sing, O (The Yeomen of the Guard) Elise Nathalie Young Jack Point Matthew Sund In sailing o’er life’s ocean wide (Ruddigore) Rose Ellen Jones Richard Nicholas Metzger Robin Zachary Angus Now wouldn’t you like to rule the roost (Princess Ida) Melissa Priscilla Ip Blanche Gabrielle Robles There is beauty in the bellow of the blast (The Mikado) Katisha Crystal Arrington Ko-Ko Peter Morgan Prithee pretty maiden (Patience) Patience Leah Taylor Grosvenor Michael Coduto If Saphir I choose to marry (Patience) Saphir Samantha D’Adamo Angela Alice Beals Duke Scott Gates Major Matthew Sund Colonel Peter Morgan None shall part us (Iolanthe) Phyllis Helen Knudsen Strephon Nicholas Metzger I am so proud (The Mikado) Pish-Tush Zachary Angus Ko-Ko Scott Gates Pooh-Bah Peter Morgan Intermission Three little maids from school are we (The Mikado) Yum-Yum Marissa Howard Peep-Bo Madison Marino Pitti-Sing Ally Perko So please you, Sir, we much regret (The Mikado) Yum-Yum Dana Brown Peep-Bo Priscilla Ip Pitti-Sing Felicia Warren Pooh-Bah Peter Morgan Ko-Ko Scott Gates (dialogue) O rapture, when alone together (The Gondoliers) Casilda Jamie Younger Luis Michael Coduto Here’s a how-de-do (The Mikado) Yum-Yum Priscilla Ip Nanki-Poo Michael Coduto Ko-Ko Zachary Angus In a contemplative fashion (The Gondoliers) Gianetta Rachel Jainks Tessa Ashley Lugo Marco Scott Gates Giuseppe Zachary Angus Finale: When a man has been a naughty baronette (Ruddigore) Rose Priscilla Ip Richard Nicholas Metzger Robin Peter Morgan Margaret Gabrielle Robles Sir Despard Michael Coduto Zorah Helen Knudsen Ensemble of Bridesmaids and Past Barronettes. -
Margaret Madsen
Sunday, May 14, 2017 • 9:00 p.m Margaret Madsen Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Sunday, May 14, 2017 • 9:00 p.m. DePaul Recital Hall Margaret Madsen, cello Senior Recital SeungWha Baek, piano PROGRAM Mark O’Connor (b. 1961); arr. Mark O’Connor Appalachia Waltz (1993) Hans Werner Henze (1926-2012) Serenade (1949) Adagio rubato Poco Allegretto Pastorale Andante con moto, rubato Vivace Tango Allegro marciale Allegretto Menuett Jean Sibelius (1865-1957) Theme and Variations for Solo Cello (1887) Intermission Samuel Barber (1910-1981) Cello Sonata, Op. 6 (1932) Adagio ma non troppo Adagio Allegro appassionato SeungWha Baek, piano Margaret Madsen • May 14, 2017 Program Johannes Brahms (1833-1897); arr. Alfred Piatti Hungarian Dances (1869) I. Allegro molto III. Allegretto V. Allegro; Vivace; Allegro SeungWha Baek, piano P.D.Q. Bach (1807-1742) Suite No. 2 for Cello All by Its Lonesome, S. 1b (1991) Preludio Molto Importanto Bourrée Molto Schmaltzando Sarabanda In Modo Lullabyo Menuetto Allegretto Gigue-o-lo Margaret Madsen is from the studio of Stephen Balderston. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Margaret Madsen • May 14, 2017 PROGRAM NOTES Mark O’Connor (b. 1961) Appalachia Waltz Duration: 4 minutes Besides recently becoming infamous for condemning the world-renowned late pedagogue Shinichi Suzuki as a fraud, Mark O’Connor is also known as an award-winning violinist, composer, and teacher. Despite growing up in Seattle, Washington, O’Connor always had a passion for Appalachian fiddling and folk tunes, winning competitions in fiddling, guitar, and mandolin as a teen and young adult. -
9.-Rhapsody-Short.Pdf
RHAPSODY “FORM-LESS” FORMS “FORMLESS” FORMS ! " Pieces that have no set structure ! " Consist of one section, or… ! " Consist of a series of seemingly “random” sections ! " Imitate improvisations, or the feeling of improvisation Johann Sebastian BACH (1685-1750) 1685-1750 ! "1685- 1703: Youth ! "1703-17: WEIMAR ! "1717-1723: CÖTHEN ! "1723-1750: LEIPZIG 1703-17: WEIMAR 1703-17: WEIMAR ! "In Weimar, Bach hired as organist ! "Writes the bulk of his organ music, including the TOCCATA and FUGUE in D minor 1717-1723: CÖTHEN 1717-1723: CÖTHEN ! "Hired by the Prince of Cöthen to write chamber music ! "Writes the bulk of his chamber music here, including his ! "Cello Suites (There are 6) Baroque Music is… ! " Hyper-Emotional ! " Mimics Movement (especially Dancing) ! " Dramatic Emotion Gian Lorenzo Bernini Pluto and Persephone PRELUDE from Cello Suite No. 1 ! "PRELUDE = Introductory Piece ! "Exploratory - “Warming Up” pieces ! "Improvised in 17th and 18th Centuries ! "Written down to imitate (or notate) improvised preludes PRELUDE from Bach Cello Suite No. 1 ! "The Cello Suites are sets of dances ! "Allemande, Courante, Sarabande, Gigue ! "Each set is introduced by a PRELUDE PRELUDE from Bach Cello Suite No. 1 ! "Many of Bach’s preludes are a series of CHORDS explored in a RHYTHMIC PATTERN First page of the Prelude to Cello Suite No. 1 written out by Bach’s wife Anna Magdalena She had 13 children with Johann Sebastian Bach Cellist Mischa Maisky TOCCATA and FUGUE in D minor ! "TOCCATA from the Italian word Toccare or “To Touch” ! "Freeform pieces -
Single Page PDF.Indd
Hitting the streets for social change PAGE 23 MAKING A DIFFERENCE in the lives that follow Eugene “Gene” Morris (BSBA, ’69) (center) presents 2008-09 scholarship awards to Roosevelt seniors Joseph Celestin (left) and Heena Syed. At right, Robert Snyder (second from left) receives the “Top Prof” award from Morris, Lawrence Silverman and David Greene. ALLAN WEBER he late “Dr. Bob” Snyder was a great professor of the founding chairman of the Association of Black-Owned marketing and advertising at Roosevelt University Advertising Agencies. Additionally, he has received recog- who was an inspiration and a mentor to his students, nition for his work with many community and other profes- especially to me,” says Eugene “Gene” Morris (BSBA, ’69). sional organizations. When Morris heard Snyder was retiring and in ill-health, he Morris is proud of his successful career, but he gives established the Dr. Robert E. J. Snyder Endowed Scholarship much of the credit to Snyder, who practically “carried” in his honor. He also included Roosevelt University in his KLVUHOXFWDQWVWXGHQWWRWKHGRRUVWHSVRIKLVÀUVWDGYHUWLV estate plan. “I wanted to create a legacy for a beloved pro- ing agency. “He saw something in me that I didn’t see in fessor, give back to Roosevelt University — an institution myself. By endowing this scholarship in his name, I can pay that means so much to me — and help students. It was a win, tribute to him and help other students understand how one win, win decision,” says Morris. dedicated professor can have a lasting and dramatic impact With an advertising career that has spanned four decades, on their lives.” Morris knows a lot about winning … and success. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
99 Stat. 288 Public Law 99-86—Aug. 9, 1985
99 STAT. 288 PUBLIC LAW 99-86—AUG. 9, 1985 Public Law 99-86 99th Congress Joint Resolution To provide that a special gold medal honoring George Gershwin be presented to his Aug. 9, li>a5 sister, Frances Gershwin Godowsky, and a special gold medal honoring Ira Gersh- [H.J. Res. 251] win be presented to his widow, Leonore Gershwin, and to provide for the production of bronze duplicates of such medals for sale to the public. Whereas George and Ira Gershwin, individually and jointly, created music which is undeniably American and which is internationally admired; Whereas George Gershwin composed works acclaimed both as classi cal music and as popular music, including "Rhapsody in Blue", "An American in Paris", "Concerto in F", and "Three Preludes for Piano"; Whereas Ira Gershwin won a Pulitzer Prize for the lyrics for "Of Thee I Sing", the first lyricist ever to receive such prize; Whereas Ira Gershwin composed the lyrics for major Broadway productions, including "A Star is Born", "Lady in the Dark", "The Barkleys of Broadway", and for hit songs, including "I Can't Get Started", "Long Ago and Far Away", and "The Man That Got Away"; Whereas George and Ira Gershwin collaborated to compose the music and lyrics for major Broadway productions, including "Lady Be Good", "Of Thee I Sing", "Strike Up the Band", "Oh Kay!", and "Funny Face"; Whereas George and Ira Gershwin collaborated to produce the opera "Porgy and Bess" and the 50th anniversary of its first perform ance will occur during 1985; Whereas George and Ira Gershwin collaborated to compose -
1 Slide Per Page
Man from Mars Module 5 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course September 2018 1 Outline • Biography of George Gershwin • Analysis of Love Is Here to Stay 2 Biography • George Gershwin, 1898-1937 – Born in Brooklyn as Jacob Gershwine (Gershowitz). • Son of Russian-Jewish immigrants. – Began playing piano purchased for brother Ira – Much later, had 10-year relationship with Kay Swift, also an excellent composer. – Died from brain tumor, age 38. George and Ira 3 Biography • Musical career – Studied piano and European classical music, beginning at age 11. – Wrote songs for Tin Pan Alley, beginning age 15. – Moved to Paris to study with Nadia Boulanger • She said he didn’t need her instruction. – Wanted to study with Igor Stravinsky • Stravinsky asked, “How much money do you make a year?” On hearing the answer, he said, “Perhaps I should study with you, Mr. Gershwin.” 4 Biography • Musical career – Band leader Paul Whiteman asked Gershwin to write a piece that would improve the respectability of jazz. • He promised to do so, but forgot about it. • When he saw his piece advertised, he hurriedly wrote something – Rhapsody in Blue. 5 Biography • Musical career – Played and composed constantly. • Annoyed fellow musicians by hogging the piano. – Became known for highly original style • “Man from Mars” musically. • Example: Three Preludes (2nd at 1:22) • Perhaps result of effort to adjust European training to jazz and blues. 6 Biography • Famous compositions – Rhapsody in Blue (1924), for piano and orchestra -
Ballet for Martha: MAKING APPALACHIAN SPRING
Ballet for Martha: MAKING APPALACHIAN SPRING A RIF GUIDE FOR EDUCATORS Themes: Dance, Collaboration, Community Authors: Book Brief: This book tells the story of three people Jan Greenberg who worked together to create the ballet Appalachian and Sandra Jordan Spring. Take a behind-the-scenes look at how this Illustrator: Brian Floca ballet went from an idea to an American classic. Content Connections: Art, Social Studies, Science TIME TO READ! BEFORE WE READ, dancing. What was involved in making this video? LET’S LOOK AT… A script? Music? Dance choreography? Set design? Costumes? Would the video have been as good with- The Cover: Have any out any one of these elements? Then, show students students ever heard of scenes from Appalachian Spring (www.youtube.com/ Appalachian Spring? Where watch?v=XmgaKGSxQVw) to contextualize the story. is Appalachia? Find it on a map. What do students know about ballet? Do the Vocabulary: choreographer, composer, pioneer, women on the cover look like typical ballerinas? tableau The Pictures: Flip briefly through the pictures. Do the Purpose for Reading: As we read, think about the illustrations give any clues about when the story is story within the story—Appalachian Spring. Pay set? When the ballet is set? attention to what Martha Graham wants her ballet to be about, and how she and her collaborators work to Prior Knowledge: Discuss collaboration. Show the tell a story without words. class an age-appropriate music video featuring WHILE WE READ MONITORING COMPREHENSION u How does Isamu Noguchi work with Martha -
Edgar Meyer Biography by IMG Artists - IMG Artists Imgartists.Com
Edgar Meyer Biography by IMG Artists - IMG Artists imgartists.com Edgar Meyer In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “...the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002. As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of “The Best of Edgar Meyer”. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album. As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world.