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UNIVERSITY OF WASHINGTON SCHOOL OF MUSIC AND THE OFFICE OF LECTURES AND CONCERTS present The University Symphony Stanley Chapple, condua(ff Thursday, November 9, 1961 • 8:30 p.m . • Meany Hall PROGRAM "7:\ Five Variants of Dives and Lazarus for String Orchestra V) and Harp ..... .......... ....... ....... .......... .. ... ......... .. R. Vaughan Williams 'Sl Q ~ First Essay for Orchestra, Opus 12 ... Barber '-..J "" * Prelude a l'Apres-midi d'ut~ jaIme. .. ..... .. ... Debussy ~ I NTERMISSION ~nfinM<Ui Sympbony No. 8 in B mino< ...... .... ....... ... ....Schubert ~ I< A/hgro nwder",o Andante COt~ moto University Symphony Autumn, 1961 Violin I Flute Sue Berger Rae Palmer Carolyn Francis Janet Bosshard Sheila Todd Cecile Hamm Martha Banks Patricia Kolstad Susan McQuarrie Misa Oiye Oboe Leila Cook Betty Richie Mary Senter Frank Starr Sandra Ganear Kurt Dechert Linnea Arntson Lindll Hoffart Clarinet Violin II Larry McDaniels Kelly Farris Marcia Hilden Jack Barbeau Judith Evans Bassoon Alice Detweiler Frances Thorn Karen Cahill E. Beth Bartholomew Raymond Niver Karen Imbs Rebekah Stewart French Horn Diana Gleason Ted Plute Elizabeth Ward Viola Robert Kopsola William Humphreys Robert Marler Karen Hughes Roger Johnson Wesley Fisk Elizabeth Knight Judith Larson Kathleen Pritchard Ron Erickson Violoncello Trumpet Ron Welch Alan Tubbs Marcy DeCou Fraoces VanAusdal Nelson Tandoc Susan Bradway Marilee Hopkins Norma Dawson Trombone Arlene Hinderlie Michael Woodcock Pat Bonnar Dick Roblee Susan Gardiner Bruce Caldwell Shirley Williams Walter Braafladt Tympani Double Bass Joo Keliehor Fred Ockwell Barbara Poole Harp Mary Ann Stephens Pam Campbell Ann Perry Barbara Bondelid .

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UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA
UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
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Choose Yourfavorite Three Concerts
CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
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Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identiﬁed as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
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Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
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Doctoral Recital
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Spectacular Disappearances: Celebrity and Privacy, 1696-1801
Revised Pages Spectacular DiSappearanceS Revised Pages Revised Pages Spectacular Disappearances Celebrity and Privacy, 1696– 1801 Julia H. Fawcett University of Michigan Press Ann Arbor Revised Pages Copyright © 2016 by Julia H. Fawcett All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. ISBN 978– 0- 472– 11980– 6 (hardcover : alk. paper) ISBN 978– 0- 472– 12180– 9 (e-book) Revised Pages Acknowledgments I have often wondered if my interest in authors who wrote themselves in order to obscure themselves stems from my own anxieties about the permanence of the printed word—m y own longing (that I imagine everyone shares?) for words that linger on the page for a moment only and then— miraculously, mercifully— disappear before their inadequacies can be exposed. I think I will always harbor this anxiety, but I have been blessed with mentors, colleagues, friends, and family members who have known how to couch their criticism in kindness and without whom I could never have summoned the courage to keep this work up or to set these words down. The germs for this book’s ideas began many years ago, when, as an under- graduate at Harvard, I stumbled somewhat accidentally (to fulfill a require- ment) into Lynn Festa’s course on “Sex and Sensibility during the Enlighten- ment.” Thank goodness for requirements.
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Woodwinds Flute Engaging the Past Semantic Issues
Woodwinds Welcome to the Woodwinds lecture! By the end of this lecture, you will be able to: • Identify historical and physical characteristics of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Identify the role and use of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Recognize the characteristic sounds of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Visually recognize the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. Flute Why do loud, obnoxious whistles exist at some factories? • To give us some sort of appreciation for flutes. The flute may perhaps be the most exciting of all the woodwind instruments. Its versatile character allows it to be a regular fixture in all musical genres. Why is this so? Let’s go find out! Engaging the Past The flute is the oldest woodwind instrument. Historians estimate that flute-like instruments can be traced as far back as the 9th century B.C. Prehistoric artwork shows evidence of the use of flute like instruments. The modern mechanism of the flute was invented by Theobald Boehm. He was a German goldsmith who was an adept mechanical artist. He lived in Munich from 1794 to 1881. A flute player himself, Mr. Boehm designed and built flutes with his own key mechanism. His key system revolutionized the modern design of the flute since it allowed flute players to play difficult passages with ease.
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