DOCSLIB.ORG

RENTAL CATALOG C - E.B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RENTAL CATALOG C - E.B About Us Keiser Music Publishing - Lauren Lauren Keiser Music Publishing © LKMP 2012 Veteran music publisher Lauren Keiser started Lauren Keiser Music Publishing (ASCAP) and Keiser Classical (BMI) from the purchase of MMB Music's assets of St. Louis in 2008, strengthening it with new deals free downloads and editions. His almost forty years of being involved with Alfred, Cherry Lane, and Carl Fischer, the latter two where he served as CEO/ Download scores and audio President, provided a foundation for a new music publishing company samples selected from our based on his experience. In 2012, he acquired the 75 year old music catalog. As we continue to add publisher Southern Music, adding this established firm to the new more works, we strive to create company. In addition to his publishing industry experience, he is a an increasingly valuable resource successful composer whose works have been performed at home and for your programming needs. abroad. The firm publishes and administers performance and music Whether you’re looking for copyrights of gifted composers, in addition to producing publications of chamber, orchestra, wind talented musicians, writers and artists. ensemble, or opera music, we invite you to visit frequently and Southern Music Company offer feedback on your experience. Keiser Classical - Southern Musi Since its founding in 1937 in San Antonio, Texas, Southern Music has served students, private teachers, musicians, music educators and music keisersouthernmusic.com stores around the globe with music of all types. The publications catalog includes over 5,000 titles for band, choir, orchestra and for all individual instruments for use by students from beginning to advanced levels. Many of the company's musical works have become standards in the market and have been and continue to be performed throughout the world. Many of the nation’s leading composers have works published by Southern Music. In June of 2012, Southern Music was acquired and their catalog joined the Lauren Keiser Music Publishing family. E.B. Marks Music Rentals E. B. Marks Classical distinguishes the operations of serious and Keisersouthernmusic.com educational music, and their related sheet music publication activity. In Toll-free (US/Can.): 855-752-9576 (PLAY-KSM) October of 2018, Keiser Southern Music was assigned administration of Other Territories: 203-560-9436 the classical and educational catalog, including rentals. EB Marks F: 507-454-8334 Classical continues to maintain commitments to its composers, [email protected] c - E.B. Marks CATALOG RENTAL administering its vast, 100-year old catalog, which includes composers William Bolcom, Kenneth Fuchs, Norman and Justin Dello Joio, Roger Rental Returns Sessions and many more. Piedmont Music is the Marks ASCAP-affiliated 1210 Innovation Dr. company. Winona, MN 55987 USA Headquarters Our headquarters is located in St. Louis, MO and our New York Metro 10757 Indian Head Ind. Blvd. office in Woodbury , CT. Southern and LKMP are delighted to be St. Louis, MO 63132 USA represented and distributed by Hal Leonard Corporation, the world’s T: 203-560-9436 F: 314-270-5305 leader in print music distribution. [email protected] Thank you for your support and interest, Keiser Southern Music HL00295412—CR032019 EAN 13 Front cover photos, from top left to right: William Bolcom, Stephen Har tke, Roger Sessions, Peng- Peng Gong—George Walker, Kenneth Fuchs, Laura Schwendinger, Lalo Schifrin—Yevhen Stankovych, Bruce Adolphe, Lukas Foss, Igor Shcherbakov—Claude Baker, David Schiff, Adolphus Hailstork, Reza Vali, Ricardo Lorenz—David Baker, James Barnes, David Stock, Eric Ewazen, Donald Crockett RENTAL CATALOG Composer Index/ Catalog Key .......................... 2 Ordering Instructions ........................................ 31 Thematic Index ................................................... 32 ORCHESTRA Large and Chamber Orchestra ........................................... 3 String Orchestra ................................................................... 15 BAND Concert Band ........................................................................ 17 Wind Ensemble ................................................................... 20 Jazz Band ............................................................................... 21 Brass Band .............................................................................. 21 Tango Music.......................................................................... 21 CHAMBER MUSIC.................................................................. 22 WOODWIND ENSEMBLE .................................................. 24 BRASS CHOIR ........................................................................... 24 PERCUSSION ENSEMBLE .................................................... 24 STRINGS ENSEMBLE ............................................................. 24 OPERA Serious Opera ....................................................................... 24 Light Opera .......................................................................... 25 Children’s Opera ................................................................. 25 VOCAL High Voice ............................................................................ 26 Medium Voice...................................................................... 27 Low Voice ............................................................................. 27 Other Voice Type ................................................................ 28 Vocal Ensemble ................................................................... 28 CHORAL Mixed Chorus ...................................................................... 28 Bass Chorus .......................................................................... 28 Unison Chorus .................................................................... 29 Cantata/ Oratorio ............................................................... 29 Mass ........................................................................................ 31 RENTAL DEPARTMENT Toll-free: 855-752-9576 (PLAY-KSM) Int’l: 203-560-9436 Fax: 314-270-5305 [email protected] Rental Library 1210 Innovation Dr. Winona, MN 55987 USA Copyright © Keiser Productions, Inc. For information, quotes and orders, visit keisersouthernmusic.com, email [email protected] or call 1-855-752-9576 (PLAY-KSM) 2 COMPOSER INDEX Adler, Samuel ............................................................9, 24, 29 Gould, Danny ....................................................................... 5 Porpora, Nicola....................................................................30 Adolphe, Bruce .......................... 3, 9, 11-13, 15, 20, 22-28, 30 Gromowetter, Freda ........................................................... 13 Porter, Cole ................................................................... 12, 18 Amundson, Steven ............................................................... 3 Hailstork, Adolphus ................................................... 5, 20, 29 Proctor, Simon.....................................................................11 Appledorn, Mary Jeanne Van .............................................. 17 Hamlin, Peter .................................................................. 5, 14 Ptaszynska, Marta ..................................................... 7, 22, 24 Avshalomov, Jacob ........................................................ 3 , 28 Handel, George Frideric ..................................... 15, 26, 28-30 Purcell, Henry ......................................................................30 Bach, J.C. ........................................................................... 16 Hanssen, Johannes .............................................................. 5 Rabaud, Henri .....................................................................10 Bach, J.S. ................................................................. 17, 29-30 Harris, Howard ..................................................................... 5 Reed, Alfred ......................................................... 7, 10-11, 23 Baker, Claude .................................. 3, 9, 11-13, 21, 26-27, 30 Hartke, Stephen............... 4-5, 10, 12-13, 15, 20, 22-24, 26-29 Rhoads, William ..................................................................18 Baker, David .................................. 3, 10-16, 19, 21, 24, 26-27 Hartley, Walter .................................................................... 19 Rimelis, David ................................................................ 7, 27 Barnes, Edward ........................................... 22, 24, 26, 28, 30 Hass, Jeffrey ....................................................................... 5 Rimsky-Korsakov, Nicolai ......................................... 10-11, 18 Barnes, James .............................................. 10-11, 16, 18-19 Hause, Evan ................................................. 11, 18, 20-21, 23 Roig, Gonzalo ...................................................... 7, 25-28, 30 Bauer, Ross ........................................................................ 23 Haydn, Franz Joseph.......................................................... 16 Romero, Manly ....................................................................12 Beethoven, Ludwig van....................................................... 29 Heiden, Bernhard ......................................... 5, 10, 13, 20, 23 Rossini,
Load more

Recommended publications
  • 2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
    Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession.
    [Show full text]
  • Bamcinématek Presents a Brand New 40Th Anniversary Restoration of Robert Clouse’S Enter the Dragon, Starring Bruce Lee, in a Week-Long Run, Aug 30—Sep 5
    BAMcinématek presents a brand new 40th anniversary restoration of Robert Clouse’s Enter the Dragon, starring Bruce Lee, in a week-long run, Aug 30—Sep 5 Series sidebar features five wing chun classics including Sammo Hung’s The Prodigal Son, Chang Cheh’s Invincible Shaolin, and Bruce Lee’s The Way of the Dragon, beginning Aug 29 “Bruce Lee was the Fred Astaire of martial arts.”—Pauline Kael, The New Yorker The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Aug 7, 2013—From Friday, August 30 through Thursday, September 5, BAMcinématek presents a week-long run of Robert Clouse’s Enter the Dragon, screening in a new DCP restoration for its 40th anniversary. In conjunction with the release of Wong Kar-wai’s Ip Man biopic The Grandmaster, this series revels in the lightning-fast moves of the revered kung fu tradition known as wing chun, featuring a five-film sidebar of martial arts rarities. Passed on through generations of martial artists, wing chun was popularized by icons like Sammo Hung and Ip’s movie-star disciple Bruce Lee—and has become an action movie mainstay. The first Chinese martial arts movie to be produced by a major Hollywood studio, Clouse’s Enter the Dragon features Bruce Lee in his final role before his untimely death (just six days before the film’s theatrical release). Shaolin master Mr. Lee (Lee) is recruited to infiltrate the island of sinister crime lord Mr. Han by going undercover as a competitor in a kung fu tournament.
    [Show full text]
  • Laurence Hobgood
    Laurence Hobgood "One of the *inest pianists out there. Period." --All About Jazz “ . one of the most incredible pianists I’ve ever heard.” --Dave Brubeck "Welcome to a new piano star . Laurence Hobgood . --The Independent (UK) Best known for his collaboration with vocalist Kurt Elling, multiple Grammy-nominee and 2010 Grammy-winner Laurence Hobgood has enjoyed a multi-faceted and dynamic career. Musical Director for Elling since 1995, he’s played on, composed, arranged and co-produced all of Elling’s CDs (six for Blue Note and three for Concord), each Grammy- nominated. 2009’s Dedicated To You: Kurt Elling Sings The Music Of Coltrane and Hartman, recorded live at Lincoln Center, won the 2010 Grammy Award for Best Vocal Jazz Record. Hobgood began formal piano study at age six in Dallas, Texas, where his father was Chairman of the Southern Methodist University theatre program. At age 12, he was introduced to gospel and blues through his family's church. Several years later, after moving to Illinois, he began formal training in jazz. He attended the University of Illinois, where he played for three years in the "A" jazz ensemble led by John Garvey. During that time his classical study continued with Ian Hobson. After moving to Chicago in 1988, he established a local presence leading his own quintet and joining forces with some of Chicago's premier players, including Ed Peterson, Fareed Haque, and most importantly seven-time Grammy Award-winning drummer, Paul Wertico. The group, Trio New, with Hobgood, Wertico, and bassist Eric Hochberg, played to critical acclaim and established a serious connection with Wertico that spans many projects and ensembles.
    [Show full text]
  • January 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W.
    [Show full text]
  • KENNETH FUCHS Piano Concerto ‘Spiritualist’ Poems of Life • Glacier • Rush Jeffrey Biegel, Piano • Aryeh Nussbaum Cohen, Countertenor D
    AMERICAN CLASSICS KENNETH FUCHS Piano Concerto ‘Spiritualist’ Poems of Life • Glacier • Rush Jeffrey Biegel, Piano • Aryeh Nussbaum Cohen, Countertenor D. J. Sparr, Electric guitar • Timothy McAllister, Alto saxophone London Symphony Orchestra • JoAnn Fal letta Kenneth Kenneth Fuchs (b. 1956) Piano Concerto ‘Spiritualist ’ • Poems of Life • Glacier • Rush FU(b. C195H6) S Helen Frankenthaler’s work has made a significant impact the instrument to make a Silent Wish and embraces a on my creative life. I was first introduced to it in 1983 by diatonic musical cryptogram including the pitches F–C– Piano Concerto ‘Spiritualist’ the PBS Television documentary “Helen Frankenthaler – H–S derived from my surname and the German letter Toward a New Climate.” Through absorbing her free names for two pitches: H for B natural and S for E flat. (After Three Paintings by Helen Frankenthaler) (2016) 21:45 1 creative aesthetic and my personal encounters with her, I The orchestra quietly ruminates on these pitches as the 2 I. Spiritualist: Allegro con spirito 6:28 began to find my own creative path and surmount the piano intones one last fragment of the gymnopédie and II. Silent Wish: Lento – Allegro agitato – Adagio flessibile – doctrinaire rhetoric of avant-garde musical composition brings the movement to quiet repose. The third 3 Allegro agitato – Adagio mesto 9:40 that prevailed at the time. My Piano Concerto is the fourth movement, Natural Answer , in modified rondo form, is III. Natural Answer: Allegro deciso 5:29 work I have composed inspired by Frankenthaler’s visual energetic and optimistic, combining previous mottos and images. I had been captivated for several years by the themes and interpolates jazzy syncopated rhythms.
    [Show full text]
  • College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed.
    [Show full text]
  • Red River Radio Ascertainment Files October 2017 – December 2017 STORY LOG – Chuck Smith, NEWS PRODUCER, RED RIVER RADIO
    Red River Radio Ascertainment Files October 2017 – December 2017 STORY LOG – Chuck Smith, NEWS PRODUCER, RED RIVER RADIO 2498 University of Louisiana System Raises College Grad Goals (1:08) Aired: October 10, 2017 Interview: Jim Henderson, President - University of Louisiana System Type: Interview Wrap 2499 La. Film Prize Wraps 6th Festival Season (3:28) Aired: October 11, 2017 Interview: Gregory Kallenberg, Exec. Dir.-LaFilmPrize, Shreveport, LA Type: Interview Wrap 2500 Many Still Haven't Applied For La. 2016 Flood Recovery Funds (1:53) Aired: October 12, 2017 Interview: Pat Forbes, director for the Louisiana Office of Community Development Type: Interview Wrap 2501 LSUS Pioneer Day Takes Us Back In Time This Saturday (3:28) Aired: October 13, 2017 Interview: Marty Young, Director – Pioneer Heritage Center, LSU-Shreveport Type: Interview Wrap 2502 Share A Story With StoryCorps In Shreveport (2:11) Aired: October 16, 2017 Interview: Morgan Feigalstickles, Site Manager / StoryCorps Type: Interview Wrap 2503 La. Coastal Restoration Projects $50 Billion Over 50 Years (2:15) Aired: Oct 17, 2017 Interview: Johny Bradberry, La. Coastal Protection and Restoration Authority Type: Interview Wrap 2504 Selling Pumpkins To Support Charities in Shreveport-Bossier (2:44) Aired: Oct. 19, 2017 Interview: Janice Boller, Chairman – St. Luke’s Pumpkin Patch Committee Type: Interview Wrap 2505 No Action From Bossier School Board Regarding Student Rights Allegations (1:54) Aired: Oct. 20, 2017 Interview: Charles Roads, South Texas College of Law / Houston, TX Type: Interview Wrap 2506 Caddo Commission Votes For Confederate Monument Removal (1:08) Aired: Oct. 20, 2017 Interview: Lloyd Thompson, President - Caddo Parish NAACP Type: Interview Wrap 2507 National Wildlife Refuge President Visits East Texas Wildlife Refuges (3:26) Aired: Oct 23, 2017 Interview: Geoffrey Haskett, President - National Wildlife Refuge Association Type: Interview Wrap 2508 NW La.
    [Show full text]
  • The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
    THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN 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 Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs
    m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Eino Tamberg: a Catalogue of the Orchestral Music 1954
    EINO TAMBERG: A CATALOGUE OF THE ORCHESTRAL MUSIC 1954: Oratorio “For the Liberty of the Nation” for mezzo-soprano, baritone, chorus and orchestra, op.1: 46 minutes 1955: Symphonic Suite “Prince Gabriel” for orchestra, op.2: 19 minutes 1955/2002: “To the Fatherland” for chorus and orchestra, op.116: 6 minutes 1956: Concerto Grosso for chamber orchestra, op.5: 24 minutes + (Bis and Antes cds) 1957: Symphonic Dances for orchestra, op.6: 21 minutes + (Bis cd) 1959: Ballet-Symphony, op.10: 40 minutes (and Ballet) 1962: “The Moonshine Oratorio” for soprano, baritone, two reciters, chorus and orchestra, op. 17: 46 minutes 1963: Ballet “The Boy and the Butterfly”, op.20: 36 minutes 1964: Suite “King Oedipus” for chorus and orchestra, op.11a 1967: Toccata for orchestra, op. 31: 5 minutes 1970: Ballet “Joanna Tentata”, op.37: 85 minutes (and 1972 Ballet Suite, op.37a: 30 minutes- + (Bis cd)) 1970/2006: Music for Trumpet and String Orchestra, op.126 1972: Trumpet Concerto No.1, op. 42: 16 minutes + (Bis cd) 1975: Cantata “Victory Fanfares” for baritone, chorus and orchestra, op.46: 7 minutes 1975/2001: Opening Fanfares for orchestra, op.112: 3 minutes 1977: Overture “October Fanfares”, op. 54: 8 minutes 1978: Symphony No.1, op.57: 22 minutes + (Antes cd) 1979: Cantata “To the Music” for chorus and orchestra, op.60: 12 minutes 1981: Violin Concerto, op. 64: 17 minutes + (Antes cd) Oratorio “Amores” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.65: 32 minutes Cantata “Vivat Estonia” for six soloists, chorus and orchestra, op.66: 6 minutes 1982: Cantata “Alma Mater” for bass, chorus and orchestra, op.67: 12 minutes 1983: Cantata “People in Soldiers’ Coats” for baritone, chorus and orchestra, op.
    [Show full text]
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
    [Show full text]
  • Orchestra Bells As a Chamber and Solo Instrument: a Survey Of
    ORCHESTRA BELLS AS A CHAMBER AND SOLO INSTRUMENT: A SURVEY OF WORKS BY STEVE REICH, MORTON FELDMAN, FRANCO DONATONI, ROBERT MORRIS, MARTA PTASZYŃSKA, WILL OGDON, STUART SAUNDERS SMITH, LAFAYETTE GILCHRIST AND ROSCOE MITCHELL Mark Samuel Douglass, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Mark Ford, Major Professor Joseph Klein, Relative Field Professor David Bard-Schwarz, Committee Member Benjamin Brand, Director of Graduate Studies and Dean of the College of Music Douglass, Mark Samuel. Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell. Doctor of Musical Arts (Performance), May 2016, 96 pp., 73 musical examples, 11 figures, references, 59 titles. This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s m usical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.
    [Show full text]