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Download the 2021-2022 Season Brochure Here (Pdf)
Pittsburg State University 2021-22 Solo & Chamber Music Series Order Form Call the PSU Department of Music: 620-235-4466 or complete this order form and mail to: Solo and Chamber Music Series • Department of Music 2021-22 Pittsburg State University • 1701 S. Broadway • Pittsburg, KS 66762-7511 I wish to attend the following concerts and have indicated type of ticket(s) requested. Solo & Chamber q Individual Concerts q$12 General Admission q$8 over 65/under 18 Music Series total number of tickets requested: ________ Please check q Friday, September 17 .........Poulenc Trio the boxes of q Friday, October 8 ...............Merz Trio Renewal. the individual q Friday, November 5 ............Alon Goldstein, piano As we begin to emerge from a year in which we were unable to host live concerts q Friday, January 28 .............Benjamin Appl, baritone you will be performances, this word takes on special significance. We are very excited about q Friday, February 18 ............Seraph Brass attending. q the prospect of renewing a tradition that has been such an important part of our Friday, April 1 .....................Jason Vieaux and Julien Labro cultural life for many decades. In assembling this year’s Solo & Chamber Music q q Series, we have turned to some of the profession’s most gifted artists, who q “Any Four Package” $41 General Admission $27 over 65/under 18 will bring an abundance of memorable moments to the stage of McCray Hall’s total number of tickets requested: ________ (a significant savings over individual prices) Sharon Kay Dean Recital Hall on six Friday evenings across the academic year. -
African-American Bassoonists and Their Representation Within the Classical Music Environment
African-American Bassoonists and Their Representation within the Classical Music Environment D.M.A. 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 Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra). -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Two Examples of Neo-Classicism in France from the Early and Late Twentieth Century: Francis Poulenc's Trio for Oboe, Bassoon, and Piano (1926) and Jean Françaix's Trio for Oboe, Bassoon, and Piano (1994) Siobhán Marie Ciulla Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TWO EXAMPLES OF NEO-CLASSICISM IN FRANCE FROM THE EARLY AND LATE TWENTIETH CENTURY: FRANCIS POULENC’S TRIO FOR OBOE, BASSOON, AND PIANO (1926) AND JEAN FRANÇAIX’S TRIO FOR OBOE, BASSOON, AND PIANO (1994) By SIOBHÁN MARIE CIULLA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 © 2017 Siobhán M. Ciulla Siobhán Ciulla defended this treatise on April 10, 2017. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Deborah Bish Committee Member Jeffrey Keesecker Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my loving husband, Nicholas Peter Ciulla iii TABLE OF CONTENTS LIST OF FIGURES .........................................................................................................................v ABSTRACT ................................................................................................................................. -
Ergo Music Collection
M. Bertsch ERGO Collection for Musicians A collection of ergonomical gadgets, physiological tools and instruments to support Music Performance. Keywords: physical therapy | ergonomic instrument | carrying aids | gripping aid | ear protection | footrest | support | seat | shoulder rests | chin Rest | accessory | cases | cold protection | rehabilitation | lips and teeth | breathing | sleep and relaxation | lighting | nails | hearing device | physical handicap | sight | prothesis or dysmelia | prevention Feedback to: [email protected] version of 01.04.2019 For all musical instruments, there are many options for specific accessories or optional gadgets. And there are plenty of physiotherapeutic tools. In fact, for most of all things it is unknown if they are beneficial for practising or useful during performances. Anyway, it is interesting to get an overview of the many options. It always needs individual judgement if specific things can be of any use. All products are presented without any recommendation and no support for purchases can be offered. breathing Ultrabreathe ASI7492 Compact Breathing Exerciser | For breathing control | breathing | wind instrument 182 Angel Sales [see amazon] https://www.amazon.com/Ultrabreathe-ASI7492-Compact-Breathing-Exerciser/dp/B0000E2PBX/ref=pd_bxgy_MI_img_c Breathing Control Trainer | Breathing resistance with grip holes | breathing | wind instrument 700 Storz [see shop.musik-alexander.de/] https://shop.musik-alexander.de/Blasinstrumente/Zubehoer-Blasinstrumente/Zubehoer-fuer-Blasinstrumente/Storz- Atemtrainer::348.html -
Guitarist Paul Galbraith to Present Recital Featuring Works by Bach and Mozart (May 30) by Mike Telin
Guitarist Paul Galbraith to present recital featuring works by Bach and Mozart (May 30) by Mike Telin On Saturday, May 30 at 4:00 pm in Mixon Hall at the Cleveland Institute of Music, Paul Galbraith (Scotland) will present a recital as part of the Cleveland International Classical Guitar Festival. Galbraith’s program will feature Bach’s “Allemande” from the Lute Suite in E minor, BWV 996 and Cello Suite No. 5, BWV 1011 and No. 1, BWV 1007. The program also includes Mozart’s “Allemande” from the unfinished Suite in C, K. 399 and the Piano Sonata in F, K. 570. Due to Paul Galbraith’s touring schedule, we were unable to speak to him by telephone, although he graciously agreed to answer some questions via e-mail. Mike Telin: Why did you choose these specific pieces? Paul Galbraith: This program came about through an open invitation from the National Gallery of Art in Washington DC. They had asked for Bach/Mozart programs to be submitted by musicians for their approval, with a view to presenting a program consisting solely of those two composers. I submitted a group of pieces which was a kind of idealized program, showing links between Bach and Mozart, and presenting as a centre- piece a very demanding transcription of Mozart's K. 570 piano sonata. In fact, I hadn’t yet learnt it when I sent the program to Washington, but as I was fairly convinced they wouldn't select a guitarist for such an event, I must admit I wasn’t overly concerned. -
DARREN Final Lecture Document D3
Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models Item Type text; Electronic Dissertation Authors Bastian, Darren Bruce Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 22:36:15 Link to Item http://hdl.handle.net/10150/194020 BACH TRANSCRIPTION FOR MARIMBA: CREATING AN AUTHENTIC PERFORMANCE EDITION OF JOHANN SEBASTIAN BACH’S SONATA NO. 1 FOR VIOLIN SOLO, BWV 1001, AND SONATA NO. 2: GRAVE, BWV 1003, USING GUITAR AND LUTE TRANSCRIPTIONS AS MODELS by Darren Bruce Bastian ____________________ Copyright © Darren Bruce Bastian 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Darren Bastian entitled Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach’s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using -
2000-2001 the Lynn University Philharmonia
The Lynn University Philharmonia Arthur Weisberg, conductbr with special guest Ray Still, oboe and Phillip Evans, piano Paul Green, clarinet Mark Hetzler, trombone Ying Huang, piano Claudio Jaffe, cello Gregory Miller, french horn Johanne Perron, cello Roberta Rust, piano Sergiu Schwartz, violin Arthur Weisberg, bassoon Laura Wilcox, viola 7:30 p.m. November 10, 2000 Spanish River Church PROGRAM Concerto for 3 Keyboards and Orchestra ........... J. S. Bach Allegro (1685-1750) AJagio AUegro Roberta Rwt, piano Phillip Evans, piano Ymg Huang, piano Adagio & Allegro Moho ................................... M. Haydn (for french horn, trombone, iind orchestra) ( 1737-1806) Gregory Miller, french horn Mark Hetzler, trombone Sinfonia Concertante for winds and orchestra .... W. A. Mozart A//egro (1756-1791) AJagio Antlantino con varizioni Ray Still, guest oboist Paul Green, clarinet Arthur Weisberg, bassoon Gregory Miller, french horn INTERMISSION Concerto for Two Cellos ................................... D. Ott Andante tspressivo Andante cantabile Alkgro con brio Johanne Perron, cello Claudio Jaffe, cello Sinfonia Concertante for strings and orchestra .... W. A. Mozart Allegro matstoso (1756-1791) Andante Presto Scrgiu Schwartz, violin laura Wilcox, viola ARTHUR WEISBERG Conductor I Bassoon Arthur Weisberg is considered to be among the world's leading bassoonists. He has played with the Houston, Baltimore, and Cleveland Orchestras, as well as with the Symphony of the Air and the New York Woodwind Quimet. As a music director, Mr. Weisberg has worked with the New Chamber Orchestra of Westchester, Orchestra da Camera (of Long Island, New York}, Contemporary Chamber Ensemble, Orchestra of rhe 20th Century, Stony Brook Symphony, Iceland Symphony, and Ensemble 21. With these various ensembles, he has toured around the world, performing over 100 world premieres and making numerous recordings. -
The Poulenc Trio
THE POULENC TRIO Vladimir Lande, oboe 2:30 PM, October 11, 2009 Faye Spanos Concert Hall Irena Kaplan, piano In cooperation with Pacific’s Bryan Young, bassoon Conservatory of Music Trio Pathétique in D Minor Mikhail Glinka Allegro moderato (1804–1857) Scherzo: Vivacissimo—Trio: Meno mosso Largo Allegro con spirito—Alla breve, ma moderato Fantaisie Concertante Gioachino Rossini sur des Thèmes de “L’Italiana in Algeri” (1792–1868) (Arr. Charles Triébert & Eugene Jancourt) Romance, Op. 97a Dmitri Shostakovich (from the filmscore of “The Gadfly”) (1906–1975) A Spin Through Moscow Shostakovich (from the suite from the operetta “Moscow, Cheryomushki,” Op. 105) –intermission– Trio for Piano, Oboe and Bassoon Francis Poulenc Presto: Lento—Presto (1899–1963) Andante Rondo: Très vif Jaunty André Previn (from Trio for Oboe, Bassoon and Piano) (b. 1929) Oblivion Astor Piazzolla (from the filmscore of Pirandello’s play “Enrico IV”) (1921–1992) Otoño Porteño Piazzolla (from Las Cuatro estaciónes porteñas (The Four Seasons of Buenos Aires)) The Poulenc Trio appears by arrangement with Lisa Sapinkopf Artists www.chambermuse.com Artists Pianist Irina Kaplan is a graduate of the piece based on tunes from Rossini’s “An Hailed by the Washington Post for its St. Petersburg Conservatory in Russia. Italian Girl in Algiers,” which he wrote when “intriguing and beautifully played program . Winner of the Baltimore Chamber Music only 21 in either 18 or 27 days depending . convincing elegance . [and] near- Award and the Montpelier Recital Compe- on whom you believe1. The opera’s theme is effortless lightness and grace," the Poulenc tition, Irina has appeared in series including simple: be careful what you wish for! Bored Trio brings together three uniquely gifted the Yale Gordon Concert Series, the with his harem, ruler Mustafà seeks a new virtuosos. -
LA GUITARRA BRAHMS Spyros Kaniaris Resumen El Presente Trabajo Examina Las Características De Una Nueva Guitarra Clásica De 8 Cuerdas Denominada Como Guitarra Brahms
1 marzo 2017 número 4 LA GUITARRA BRAHMS Spyros Kaniaris Resumen El presente trabajo examina las características de una nueva guitarra clásica de 8 cuerdas denominada como guitarra Brahms. Su forma de afinación es novedosa y permite nuevas posibilidades técnicas y sonoras, facilitando digitaciones que sería imposible realizarlas en otro tipo de guitarras clásicas de 6 o de más cuerdas. De tal forma se abre un nuevo camino para poder realizar nuevas transcripciones de música sobre todo de la época barroca y así enriquecer el repertorio de la guitarra con obras de alta calidad. El instrumento se diseñó el 1994 por el lutier David Rubio que utilizó la forma de los trastes del instrumento renacentista orfárion para conseguir, por primera vez, añadir una cuerda todavía más aguda en la guitarra. La guitarra Brahms ha sido presentada discográficamente por el guitarrista Paul Galbraith pero hasta ahora no se ha publicado ninguna partitura de obras originales o transcritas para este instrumento. El autor del artículo pretende dar el primer paso de documentar el repertorio para la guitarra Brahms, aportando una nueva transcripción completa de la sonata I Op.2 de Antonio Vivaldi, originalmente para violín y continuo, una obra en 4 movimientos. Palabras clave: Guitarra Brahms, guitarra de 8 cuerdas, orfarion, David Rubio, Paul Galbraith 2 número 4 marzo 2017 Resum El present treball examina les característiques d'una nova guitarra clàssica de 8 cordes denominada com a guitarra Brahms. La seua forma d'afinació és molt innovadora i ofereix noves possibilitats tècniques i sonores, facilitant digitacions que seria impossible realitzar-les en un altre tipus de guitarres clàssiques de 6 o de més cordes. -
The Santa Fe Chamber Music Festival Heads Into the Final Week of Its
MEDIA CONTACTS: Julie Rodriguez, Santa Fe Chamber Music Festival Artistic Services Manager 505-983-2075, Ext. 112; [email protected] Marc Neikrug, Artistic Director Alexis Kerschner Tappan: 505-933-9258; [email protected] Festival graphics, images available: http://bit.ly/2mgEAyS See page 7 for a chronological list of all Weeks 5 and 6 concerts. A complete list of performers and repertoire, as well as a chronological list of all Festival concerts, can be found on the Santa Fe Chamber Music Festival website. The Santa Fe Chamber Music Festival heads into the final week of its 2017 season Sunday, August 13–Monday, August 21, and presents a powerhouse lineup that includes three performances by Artist-in-Residence David Daniels in his Festival debut, as well as debuts by the Anderson & Roe Piano Duo, violinist and conductor John Storgårds, and iconic actor Wallace Shawn in Stravinsky’s musical theater piece L’Histoire du Soldat (The Soldier’s Tale). The Festival also presents a solo recital by pianist Inon Barnatan and the New Mexico premiere of a Festival co-commission by Pulitzer Prize–winning composer William Bolcom, plus the return of oboist Liang Wang and the Dover Quartet. • Countertenor David Daniels makes his Festival debut as this season’s Artist-in-Residence performing works by Hahn, Steven Mark Kohn, Vivaldi, and Handel. • The Anderson & Roe Piano Duo also makes their Festival debut performing pieces by Rachmaninoff and Bartók, plus their own arrangements of three tangos by Piazzolla. • Doug Fitch directs a fully staged production of Stravinsky’s musical theater piece L’Histoire du Soldat (The Soldier’s Tale) narrated by Wallace Shawn in his Festival debut and conducted by John Storgårds. -
Norfolk Chamber Music Festival Also Has an Generous and Committed Support of This Summer’S Season
Welcome To The Festival Welcome to another concerts that explore different aspects of this theme, I hope that season of “Music you come away intrigued, curious, and excited to learn and hear Among Friends” more. Professor Paul Berry returns to give his popular pre-concert at the Norfolk lectures, where he will add depth and context to the theme Chamber Music of the summer and also to the specific works on each Friday Festival. Norfolk is a evening concert. special place, where the beauty of the This summer we welcome violinist Martin Beaver, pianist Gilbert natural surroundings Kalish, and singer Janna Baty back to Norfolk. You will enjoy combines with the our resident ensemble the Brentano Quartet in the first two sounds of music to weeks of July, while the Miró Quartet returns for the last two create something truly weeks in July. Familiar returning artists include Ani Kavafian, magical. I’m pleased Melissa Reardon, Raman Ramakrishnan, David Shifrin, William that you are here Purvis, Allan Dean, Frank Morelli, and many others. Making to share in this their Norfolk debuts are pianist Wendy Chen and oboist special experience. James Austin Smith. In addition to I and the Faculty, Staff, and Fellows are most grateful to Dean the concerts that Blocker, the Yale School of Music, the Ellen Battell Stoeckel we put on every Trust, the donors, patrons, volunteers, and friends for their summer, the Norfolk Chamber Music Festival also has an generous and committed support of this summer’s season. educational component, in which we train the most promising Without the help of so many dedicated contributors, this festival instrumentalists from around the world in the art of chamber would not be possible. -
A Feminist Analysis Of
A Feminist Analysis of Francis Poulenc’s Sonata for Oboe and Piano A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music 2006 by Margaret Jean Grant B.M, University of Georgia, 1977 M.F.A., University of Georgia, 1979 M.M., Florida State University, 1986 ABSTRACT Francis Poulenc’s final work, his Sonata for oboe and piano, is one of the standard works in the oboe repertoire. However, this beloved sonata presents many puzzles and challenges for the thoughtful performer. This thesis came about because of those puzzles and challenges. One of the most exciting and innovative directions in music scholarship has come from the feminist movement and its many influences on the way scholars look at, talk about, listen to, and perform music. Feminist music theory steps outside the bounds of traditional techniques, seeking ways to offer new kinds of music analysis that may have more value to a wider audience. This thesis begins with an overview of feminist waves, terms, and philosophies before moving to how feminism has influenced music scholarship. The second chapter explores feminist music theory, citing examples of analysis from important feminist music scholars and drawing conclusions about the nature and work of feminist music theory. The third chapter presents an analysis of Poulenc’s oboe sonata, drawing primarily upon feminist techniques but not neglecting traditional theoretical systems when appropriate. The analysis begins by discussing Poulenc’s contextuality, personal life, and musical style, and then proceeds to deconstruct the music.