Curriculum Vitae AUGUST 2019
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Will Sellenraad - Balance BIO
Will Sellenraad - Balance BIO www.WillSellenraad.com Will Sellenraad has earned a fast growing reputation of being at the forefront of creative musicians working in New York City. Known for his brilliant improvisations and his compelling, emotive compositions, this New York City native melds the various styles, phrasings and concepts of the jazz idiom with the raw elements of soul, rock and funk, to create a singular sound that is nothing short of inspiring. “ . you will definitely be hearing more from Will Sellenraad” – Kenny Barron The son of prominent New York painters, he was destined towards music at an early age. Raised and immersed in the City's downtown art and music culture, Sellenraad was able to focus all his energies and talent toward the guitar. After being awarded numerous scholarships, Sellenraad graduated from the New School University Jazz Program in 1995, where he studied under many jazz giants. In the mid-1990's, the guitarist landed the house gig at Visiones, one of New York's finest jazz clubs. Over several years of performances at the club Sellenraad developed a great musical kinship with fellow native New Yorker, drummer Eric McPherson and first-call bassist Kiyoshi Kitagawa. This great musical rapport led to the 1998 recording of his critically acclaimed debut album, Streams, which features a special appearance by the astounding James Hurt. “This disc was my introduction to Will Sellenraad; it would be nice to hear a lot more from him." – JazzTimes (on Star Hustler) In 2002, Mr. Sellenraad recorded Star Hustler with his band Root Down, featuring Brian Charette on organ and Darren Beckett on drums. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
Dec 1995-Jan 1996
lazz Calendar On Pages 4-5 Covering lazzEvents in NENY, Mass. and The Hudson Valley Eighth Season Ends, Planning Trip to New for New Season Begins Orleans Finalized It was a great season. We the music. Next year, you gotta We started early this year in our Presented Antonio Hart, ]oe try it! plans for a week's trip to New Lovano, Bobby Sanabria, Orleans for the Jazz andHeri- Madeline Eastman and New ldeas tage Festival. Plans include a BluesWing. In every concert We did some new things this Thursday thru Tuesday trip there were glorious surprises. In year that also worked out well. 25 thru 29. T ake a every concert there were things We had volunteers taking names April Ap.il to treasure. Congratulations to and addresses to add to our look at the description and form the volunteers who picked the mailing list. We had our first on page...... We need confirma- season and ran it. lazz Garden Party to raise tion by December 10, 1995. We'll money for our educational call those of you who already The Secret Season programs. We also recruited new expressed interest to confirm. One of the most wonderful parts volunteers to write for the If you're interested fill out the of the season, was the Saturday newsletter, help out with hospi- form immmediately or call. The workshops. It was designed for tality for the musicians and to trip is definitely on. It's only a musicians and aspiring musi- help us develop a curriculum for matter of how many are going. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
February 2008 Editor: Tim Coakley WEBSITE: DAILY Looking Back
A P A PLACE FOR JAZZ O R February 2008 Editor: Tim Coakley WEBSITE: HTTP://WWW.APLACEFORJAZZ.ORG—UPDATED DAILY Looking Back ... and Ahead By Tim Coakley The 2007 season of A Community College. As always, a great share Place for Jazz was one of Baritone saxophonist of our success is due to our most successful, both Gary Smulyan and trom- the contributions of our musically and in terms of bonist Wycliffe Gordon members, who have sup- attendance. The size and made October a memora- ported us through the VOLUNTEER HELP enthusiasm of the years. Your contributions WANTED ble month; Gary with his crowds made it clear that vigorous, swinging quartet played a major part in there is a vigorous and exploring bebop and be- enabling us to mount the dedicated audience for kind of series we had in We need help: yond, and Wycliffe with his jazz in the Capital Region. inimitable playing and 2007, and will be needed With publicity: distributing fliers and It was a season that would singing music from the again this year. posters have pleased our founder, whole spectrum of jazz ... Please take a moment Writing music reviews for the newsletter Butch Conn, who sought and on a borrowed trom- to check out the member- to build just such an audi- bone, yet! ship form on Page 10, and Greeting people and handing out pro- ence over the years. We grams at the concerts find a membership level hope to continue to please that is comfortable for you. and attract those listeners Wrapping it all up on With your support, we feel in the year ahead. -
Terell Stafford
Jazz and Black History Texas Instruments and the The history of Jazz and Black History are completely intertwined. Music elements from various cultures blended together on the streets of New Orleans to create the TI Black Employee Initiative present: foundation of jazz. Hundreds of innovators sculpted and developed the music over the years. It was a different time and people had societal obstacles to overcome, but they created musical art that is unmatched in beauty and creativity. We are proud to pay tribute to a few of the great black musicians, composers, and arrangers that contributed so much to the art of jazz. Terell Stafford Terell is a Professor of Music and Director of Jazz Studies at Temple University in Philadelphia and is a clinician for the prestigious Vail Foundation in Colorado and Jazz at Lincoln Center's Essentially Ellington Program. He just picked up a Grammy award as a member of the Vanguard Jazz Orchestra which was established by Thad Jones and Mel Lewis and has been playing at the Village Vanguard in New York for over 33 years. In addition to his own bands’ recordings, Stafford has appeared on several albums including Diana Krall's Grammy-nominated From this Moment On (2006), for which Stafford joined with the Hamilton-Clayton Jazz Orchestra. The Texas Instruments Jazz Band The Texas Instruments Jazz Band is a non-profit organization chartered through the Texins Association at TI. Members consist of current, former, and retired TI A Celebration of employees supplemented with a few guests as needed. The band was formed in the summer of 1986 and has been going strong for over 22 years. -
Rehearing Beethoven Festival Program 4, Christopher Taylor
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four: Christopher Taylor, Piano December 17, 2020 ~ 8:00 pm The Library of Congress Virtual Event We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. Conversation with the Artist Join us online at https://loc.gov/concerts/christopher-taylor.html for a conversation with the artist, and find additional resources related to the concert, available starting at 10am on Thursday, December 17. Facebook Chat Want more? Join other concert goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event December 17, 2020 — 8:00 pm Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four Page 4) Christopher Taylor, piano 1 (RE)HEARING BEETHOVEN FESTIVAL Welcome to the (Re)Hearing Beethoven Festival, a series of unique concerts pre- sented virtually by Concerts from the Library of Congress. -
Introduction to Louis Spohr and Nonet in F Major, Op. 31 David Heyes, Bassist
Introduction to Louis Spohr and Nonet in F major, Op. 31 David Heyes, Bassist For composers to enjoy great popularity in their lifetime and then, after their death, to be gradually forgotten is not uncommon. Louis Spohr is a case in point; there was a time, according to Stanford, when he was considered to be an even greater composer than Beethoven. Moreover, his popularity was by no means confined to his native Germany. From 1820 onwards, for example, he made frequent appearances at concerts of the Philharmonic Society in London and between that year and 1897 almost three hundred performances of his works were given there." [John Lade] _ Although much of Spohr's prolific output remains unknown and unperformed, undeservedly so in my opinion, one work has remained popular and been performed throughout its entire existence - two hundred and one years to be precise. His Nonet, more accurately his Grand Nonetto in F major, Op.31, was composed in 1813 and is scored for flute, oboe, clarinet, horn, violin, viola, cello and double bass. It has remained in the repertoire for all this time, has been recorded many times, and was the forerunner and blueprint of almost every nonet since. Although other works had been written for nine players before, Spohr's work was the first to actually use the title 'nonet' and many composers have written for the same combination of instruments over the past two hundred years, particularly for the Czech Nonet, founded in 1924. The basic instrumentation of the group was influenced by Spohr's Nonet, which was performed in their first concert on 17 January 1924, and more than 300 works have been composed for them over the past 90 years. -
My Favourite Spohr Work
MY FAVOURITE SPOHR WORK by Chris Tutt and others TO MARK the 25th armivenary of the formation of the Spohr Society d Great Britain, members were asked to nominate their choice on the above subject. We print a few which went further than just naming the favourite pioce. Chris Tutt writes: With so many works from which to choose it is diffrcult to narow it down to one piece. Thanks to recent recordings therc are mmymore worls available to lisen to than there were even five years ago. I still have a soft qpot for the first nro worts that I got to lnow many years ago, the Nonet and the Eighth Violin Concerto. None of Spohr's works seem o me 16 be absolutely unblemished masterpieces btrt several of them are very close to tlrat. Others do have rather dull patches in places, though none tnt I have heard so fr have been complete 'duds'. I have listened with particular pleaswe 19 the opera Farul, tlre overhre to Pre tro von Afuru, the First and Third symphonies, the I lth Violin Concerto, the String Quintet in B minor, the string quartets Op.45l2 and Op.84/3, the song Sonntag und Montag and several others but for me the palm goes to the String Quartet in C majo4Op.Z9D. This quartet comes from the Vienna years when Spohr reached full matuity as a composer and wrote several of his most successfirl works including Faust uf,the Nonet. Fine though the Nonet is, I think that this quartet is an even finer wsk. -
Quintet from the Nonet, Op
Quintet from the Nonet, Op. 38 Louise Farrenc’s Nonet, Op. 38, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and string bass, was composed in 1849; she subsequently arranged the Nonet as the Quintet, Op. 38, for violin 1, violin 2, viola, cello, and string bass. This lengthy, four-movement work is composed in a conservative romantic style with prominent melodies and clear-cut forms, reminiscent of the chamber music of Franz Schubert (1797-1828). Neither the Nonet nor the Quintet was published dur- ing Farrenc’s lifetime; this is the first edition of the Quintet. The manuscripts for both works are housed in the Bibliothèque Nationale in Paris, France. About the Composer Paris-born Louise Farrenc, née Jeanne-Louise Dumont (1804-1875) showed an obvious musical gift at an early age, and received excellent training in both piano and composition. She married Aristide Farrenc, a flautist and music publisher, in 1821 and enjoyed a long and distinguished career as a pianist, composer, and pedagogue. She composed over fifty works, including: Solo Piano Variations brillantes, Op. 2 Grandes variations, Op. 4 Air russe varié, Op. 17 Trente études, Op. 26 Douze études brillantes, Op. 41 Mélodie, Op. 43 Scherzo, Op. 47 Nocturne, Op. 49 Chamber Variations concertantes sur un air suisse, Op. 20. Violin, piano. Piano Quintet #1, Op. 30. Piano, violin, viola, cello, bass. Piano Quintet #2, Op. 31. Piano, violin, viola, cello, bass. Piano Trio #1, Op. 33. Piano, violin, cello. Piano Trio #2, Op. 34. Piano, violin, cello. Sonata #1, Op. 37. Violin, piano. Nonet, Op. -
Nonet 2019 for Chamber Ensemble Viola Part Sheet Music
Nonet 2019 For Chamber Ensemble Viola Part Sheet Music Download nonet 2019 for chamber ensemble viola part sheet music pdf now available in our library. We give you 6 pages partial preview of nonet 2019 for chamber ensemble viola part sheet music that you can try for free. This music notes has been read 10341 times and last read at 2021-09-21 12:54:05. In order to continue read the entire sheet music of nonet 2019 for chamber ensemble viola part you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon, Clarinet, Double Bass, Flute, Horn, Oboe, Viola, Violin Ensemble: Mixed Level: Advanced [ Read Sheet Music ] Other Sheet Music Nonet 2019 For Chamber Ensemble Cello Part Nonet 2019 For Chamber Ensemble Cello Part sheet music has been read 9886 times. Nonet 2019 for chamber ensemble cello part arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 00:46:06. [ Read More ] Nonet 2019 For Chamber Ensemble Horn In F Part Nonet 2019 For Chamber Ensemble Horn In F Part sheet music has been read 11172 times. Nonet 2019 for chamber ensemble horn in f part arrangement is for Advanced level. The music notes has 5 preview and last read at 2021-09-22 04:44:55. [ Read More ] Nonet 2019 For Chamber Ensemble Violin Part Nonet 2019 For Chamber Ensemble Violin Part sheet music has been read 9853 times. Nonet 2019 for chamber ensemble violin part arrangement is for Advanced level.