Steve Davislim, Tenor

Total Page：16

File Type：pdf, Size：1020Kb

BALMER & DIXON MANAGEMENT AG Kreuzstrasse 82, CH 8032 Zürich, Tel: 0041 43 244 86 44, Fax: 0041 43 244 86 49, [email protected] Steve Davislim, Tenor Diskography-Excerpts: Vierne, Chausson: Turbulent Heart: Orchestral songs Orchestra Queensland, Guillaume Tourniaire conductor Melba MR 301123 Mozart: Requiem, Munich Philharmonic Orchestra / Christian Thielemann, conductor Deutsche Grammophon 875318 Tippett: A Child of Our Time, London Symphony Orchestra / Sir Colin Davis, conductor LSO 0670 Holliger: Schneewittchen, Zurich Opera Orchestra / Heinz Holliger, conductor ECM 465287 Weber: Oberon, Orchestre Révolutionnaire et Romantique / John Eliot Gardiner, conductor Philips 028947565635 Handel: Rodelinda, Il Complesso Barocco / Alan Curtis, conductor Archiv Produktion 000449202 Haydn: Die Schöpfung, Balthasar-Neumann Ensemble, Thomas Hengelbrock, conductor Deutsche Harmonia Mundi Frank Martin: Le vin herbé, Scharoun Ensemble / Daniel Reuss, conductor Harmonia Mundi HMC9019035.36 Handel: Lotario, Il Complesso Barocco / Alan Curtis, conductor Deutsche Harmonia Mundi 58797 Beethoven: Christus am Ölberge, Op. 85, New Berlin Chamber Orchestra / Christoph Spering, conductor Opus 111 Records Johannes Brahms: Rinaldo, Op. 50, Dresdner Philharmonie, Michel Plasson conductor EMI 1833 1807 R. Strauss: Seduction: Orchestral Songs for tenor State Orchestra of Victoria / Simone Young, conductor Melba MR 301108 F. Schubert: Die Winterreise, Anthony Romaniuk Piano Melba MR 301119 Beethoven: 9 Symphonies Tonhalle Orchestra Zurich / David Zinman, conductor Arte Nova 65410 Bach: Cantatas BWV 34, 59, 74, 172, English Baroque Soloists, Monteverdi Choir / John Eliot Gardiner, conductor Archiv Produktion 463584 Karol Szymanowski: Symph. No.3 Song of the Night, Opus 27 Wiener Philharmoniker, Pierre Boulez, conductor Deutsche Grammophon 289 477 8771 6 Schumann: Manfred, Musiques Suisses Records Rossini: Petite Messe solennelle, Harmonia Mundi 901724 Bach: Cantatas Vol. 25, John Eliot Gardiner, conductor Soli Deo Gloria 144 Wolfgang Amadeus Mozart IDOMENEO Idomeneo Steve Davislim Daniel Harding La Scala 2005 CA619 2CD stereo Bach: Cantatas BWV 82, 83, 125, 200, English Baroque Soloists, Monteverdi Choir / John Eliot Gardiner, conductor Archiv Produktion 463585 Liste: Masonic Cantata Guild 7184 Kayser: Goethe Lieder, Chamber Music Guild GUI 7163 Bertoni: Orfeo, Aargauer Symphonie-Orchester, Räto Tschupp, conductor, Jecklin Records Beethoven: Symphony No. 9, Zurich Tonhalle Orchestra, David Zinman, conductor Arte Nova 654110 Mozart: Requiem, New Berlin Chamber Orchestra, Christoph Spering, conductor, Arte Nova 654110 Brahms: Choral Works and German Requiem EMI Classics DVD Berg: Lulu, Zurich Opera house/Franz Welser Möst, conductor TDK DVUS-OPLULU DVD Puccini: Turandot, Vienna State Opera, Valery Gergiev, conductor TDK OPTURSFR Kontakt: Rudolf Balmer [email protected] 2015 .

Copy Link

Recommended publications

A Systematic Dismantling: Heinz Holliger's
A Systematic Dismantling: Heinz Holliger’s Streichquartett (1973) Kevin Davis “In particular, the String Quartet is an extreme example of a music of effects rather than of 'ideas' in any conventional sense. The result, beginning with frantic high harmonics and ending, some twenty-six and a half minutes later, with the barely perceptible breathing of the players, is music whose expression is always utterly clear and direct, but which seems mechanical in its apparent rejection of the kind of relationships between significant detail and overall shape and perspective through which most music communicates.” – Arnold Whitall, Gramophone, August 1981 Heinz Holliger’s Streichquartett (1973) is a landmark work. It challenges the listener and performer alike, posing many questions and giving only tentative answers. While still obeying the basic rules and conventions of string quartet discourse and notation, it methodically strips away the artifice of performance, working from the inside out. It comes into being in a furious flurry of activity. Organic processes play themselves out to exhaustion, reaching termination less through the end of a compositional process than through something like a loss of entropy; musical form attempts to assert itself and is subsumed in the welter of activity; technique and the instruments themselves become deformed, barely able to retain their identity, threatening to become only the wood and metal from which they are made. Eventually exhaustion is reached, both on the part of composer and, one must assume, on the part of the players. Then something mysterious happens: first, after this inexorable, almost ritualistic revealing of the instrument, then, finally, the body of the performer, which has been residing underneath the sounds all along, emerges.
[Show full text]
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New
[Show full text]
Mahler's Klagende Lied
Mahler’s Klagende Lied SIMONE YOUNG’S VISIONS OF VIENNA 4 – 7 DECEMBER SYDNEY OPERA HOUSE CONCERT DIARY FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. Ben Folds Nicholas Buc conductor Scheherazade Symphony Hour Wed 11 Mar, 7pm HYPNOTIC AND SUBLIME Thu 12 Mar, 7pm DEBUSSY Prelude to the Afternoon of a Faun Tea & Symphony RIMSKY-KORSAKOV Scheherazade Fri 13 Mar, 11am Alexander Shelley conductor Sydney Town Hall Debussy, Mozart and Rimsky-Korsakov Emirates Metro Series Fri 13 Mar, 8pm SENSE AND SENSUALITY Sydney Town Hall DEBUSSY Prelude to the Afternoon of a Faun MOZART Sinfonia Concertante, K.364 RIMSKY-KORSAKOV Scheherazade Alexander Shelley conductor Harry Bennetts violin Tobias Breider viola Abercrombie & Kent Beethoven Missa Solemnis Masters Series MUSIC OF INSPIRATION Wed 18 Mar, 8pm BEETHOVEN Missa Solemnis Fri 20 Mar, 8pm Sat 21 Mar, 8pm Donald Runnicles conductor Siobhan Stagg soprano Sydney Town Hall Vasilisa Berzhanskaya mezzo-soprano Samuel Sakker tenor Derek Welton bass Sydney Philharmonia Choirs Cats 240x150.indd 1 2/9/19 16:40 WELCOME Welcome to the Abercrombie & Kent Masters Series.
[Show full text]
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften.
[Show full text]
Current Review
Current Review Robert Schumann: Complete Symphonic Works aud 21.450 EAN: 4022143214508 4022143214508 Gramophone (Philip Clark - 2015.03.17) Music that grapples with demons and is never wholly at ease, even when wings bless the darkness with glimpses of light—when you’re Robert Schumann, angels are terrifying too. The symphonic models are clear and we hear the ghostly spectre of Haydn, Mozart, Beethoven, Brahms and Mendelssohn—but no one has told Schumann’s material that it needs to conform, and the music cannot help but spill over any frame its composer attempts to place around it. The first movement of his Symphony No 1 reaches an apparent cathartic end-point as a solo flute line marked dolce reconciles grinding harmonic and structural inner tensions. Time to stop this madness. But then brass, percussion and trilling woodwinds unleash a stampeding burlesque march. Baleful chromatic inclines smudge the harmony, like Offenbach or Sousa turned on their dark side, and such instability derives from the restlessness of Schumann’s mind, you think, rather than being an overtly conceptual compositional strategy. The free jazz of the Second Symphony’s sostenuto assai prologue, C major credentials asserted by having the strings play anything but, as the brass sustain pure C major triads; in the Third Symphony, that extra movement that sneaks in before the finale, a cobwebby and gothic reimagining of the grounding contrapuntal principles of Renaissance music and Bach; and the audacious cyclic structure of the Fourth Symphony, each movement played attacca and dovetailing into the next. This music of demons and angels grapples also with angles—to take on structure, awkward punctuation, Schumann pushing form, his personal mission being to remould the symphony.
[Show full text]
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Thu, Jun 18, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:59 Handel Trio Sonata in F, Op. 2 No. 4 Heinz Holliger Wind 00341 Denon 7026 N/A Ensemble 00:14:2918:00 Brahms Variations on a Theme by Saint Louis 01966 RCA 7920 078635792027 Haydn, Op. 56a Symphony/Slatkin 00:33:29 26:06 Mozart Violin Concerto No. 4 in D, K. Stern/English Chamber 02925 Sony 66475 074646647523 218 Orchestra/Schneider 01:01:0528:17 Chadwick Aphrodite, a symphonic poem Czech State 03308 Reference 2104 030911210427 Philharmonic, Recordings Brno/Serebrier 01:30:2212:50 Rossini Overture to Semiramide Vienna 03679 Seraphim/ 69137 724356913721 Philharmonic/Sargent EMI 01:44:1214:53 Haydn Piano Sonata No. 47 in B minor Emanuel Ax 10100 Sony 53635 074645363523 Classical 02:00:3510:51 Bizet Children's Games, Op. 22 Concertgebouw/Haitink 01008 Philips 416 437 028941643728 (Jeux d'enfants) 02:12:2612:02 Wagner Die Meistersinger: Selections Chicago 05288 BMG 63301 090266330126 (for orchestra) Symphony/Reiner 02:25:2833:21 Medtner Piano Concerto No. 1 in C Tozer/London 02666 Chandos 9039 095115903926 minor, Op. 33 Philharmonic/Jarvi 03:00:1910:51 Schumann Fantasy Pieces, Op. 73 du Pre/Moore 09531 EMI 65955 724356595521 03:12:1031:22 Mendelssohn String Quintet No. 1 in A, Op. L'Archibudelli 05537 Sony 60766 074646076620 18 Classical 03:44:32 13:38 Carpenter Sea Drift Indianapolis 08678 Decca 458 157 028945845725 Symphony/Leppard 03:59:4017:01 Tubin Suite on Estonian Dances Lubotsky/Gothenburg 01654 BIS 286 N/A Symphony/Jarvi 04:17:41 02:56 Halvorsen Valse caprice Trondheim 01943 Aurora 1921 702626219212 Symphony/Ruud 6 04:21:3738:22 Beethoven Piano Concerto No.
[Show full text]
Music Director Riccardo Muti Leads Two Programs to Conclude the Chicago Symphony Orchestra's 125Th Season
For Immediate Release: Press Contacts: June 2, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] MUSIC DIRECTOR RICCARDO MUTI LEADS TWO PROGRAMS TO CONCLUDE THE CHICAGO SYMPHONY ORCHESTRA’S 125TH SEASON June 16–26, 2016 Muti Leads Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as Soloist (June 16–21) Muti Leads an All-Bruckner Program including the Symphony No. 9 and Te Deum featuring the Chicago Symphony Chorus and Soloists (June 23–26) CHICAGO—Music Director Riccardo Muti returns in June to lead the Chicago Symphony Orchestra in two programs to conclude the 125th season (June 16–26). Throughout the 2015/16 season, Muti and the Orchestra have honored the ensemble’s distinguished history with performances of works that received either their world or U.S. premieres from the CSO. The final season program includes two of these works—Bruckner’s Symphony No. 9, which was given its U.S. premiere by the CSO in 1904, and his choral masterwork, Te Deum, which was given its U.S. premiere by the CSO in 1892. Both premieres were led by the CSO’s first music director, Theodore Thomas. Muti opens his June residency with the CSO with a program (June 16–21) that includes Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as soloist. Originally composed as chamber music, Brahms later adapted his Serenade No. 1 for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement work is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements.
[Show full text]
The Bach Variations: a Philharmonic Festival March 6–April 6, 2013
FOR IMMEDIATE RELEASE February 20, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL MARCH 6–APRIL 6, 2013 PROGRAM II OF IV Alan Gilbert To Conduct Mass in B minor With Soprano Dorothea Röschmann, Mezzo-Soprano Anne Sofie von Otter, Tenor Steve Davislim, and Bass-Baritone Eric Owens with the New York Choral Artists March 13–16 The New York Philharmonic will present The Bach Variations: A Philharmonic Festival March 6–April 6, 2013. On the festival’s second orchestral program, Alan Gilbert will conduct the Philharmonic in Bach’s Mass in B minor, with soprano Dorothea Röschmann, mezzo-soprano Anne Sofie von Otter, tenor Steve Davislim, bass-baritone Eric Owens, and the New York Choral Artists, Joseph Flummerfelt, director, Wednesday, March 13, 2013, at 7:30 p.m.; Thursday, March 14 at 7:30 p.m.; Friday, March 15 at 8:00 p.m.; and Saturday, March 16 at 8:00 p.m. “The Mass in B minor is a consummate masterpiece that makes me feel humble as a musician when I hear it,” Alan Gilbert said. “Bach took a liturgical, religious starting point and made it even more universal. No matter what you believe, no matter your religious credo, or whether or not you even have a religious credo, it is impossible not to be incredibly moved by this music because it speaks from one human being directly into the heart of another. I feel very privileged to be able to touch this music.” The Bach Variations marks the first time the New York Philharmonic has presented a festival of the music of the Baroque master.
[Show full text]
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
[Show full text]
Sir Colin Davis Anthology Volume 1
London Symphony Orchestra LSO Live Sir Colin Davis Anthology Volume 1 Sir Colin Davis conductor Colin Lee tenor London Symphony Chorus London Symphony Orchestra Hector Berlioz (1803–1869) – Symphonie fantastique, Op 14 (1830–32) Recorded live 27 & 28 September 2000, at the Barbican, London. 1 Rêveries – Passions (Daydreams – Passions) 15’51’’ Largo – Allegro agitato e appassionato assai – Religiosamente 2 Un bal (A ball) 6’36’’ Valse. Allegro non troppo 3 Scène aux champs (Scene in the fields) 17’16’’ Adagio 4 Marche au supplice (March to the Scaffold) 7’02’’ Allegretto non troppo 5 Songe d’une nuit de sabbat (Dream of the Witches’ Sabbath) 10’31’’ Larghetto – Allegro 6 Hector Berlioz (1803–1869) – Overture: Béatrice et Bénédict, Op 27 (1862) 8’14’’ Recorded live 6 & 8 June 2000, at the Barbican, London. 7 Hector Berlioz (1803–1869) – Overture: Les francs-juges, Op 3 (1826) 12’41’’ Recorded live 27 & 28 September 2006, at the Barbican, London. Hector Berlioz (1803–1869) – Te Deum, Op 22 (1849) Recorded live 22 & 23 February 2009, at the Barbican, London. 8 i. Te Deum (Hymne) 7’23’’ 9 ii. Tibi omnes (Hymne) 9’57’’ 10 iii. Dignare (Prière) 8’04’’ 11 iv. Christe, Rex gloriae (Hymne) 5’34’’ 12 v. Te ergo quaesumus (Prière) 7’15’’ 13 vi. Judex crederis (Hymne et prière) 10’20’’ 2 Antonín Dvořák (1841–1904) – Symphony No 9 in E minor, Op 95, ‘From the New World’ (1893) Recorded live 29 & 30 September 1999, at the Barbican, London. 14 i. Adagio – Allegro molto 12’08’’ 15 ii. Largo 12’55’’ 16 iii.
[Show full text]
Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the 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 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him.
[Show full text]
The Protean Oboist: an Educational Approach to Learning Oboe Repertoire from 1960-2015
THE PROTEAN OBOIST: AN EDUCATIONAL APPROACH TO LEARNING OBOE REPERTOIRE FROM 1960-2015 by YINCHI CHANG A LECTURE-DOCUMENT PROPOSAL Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts May 2016 Lecture Document Approval Page Yinchi Chang “The Protean Oboist: An Educational Approach to Learning Oboe Repertoire from 1960- 2015,” is a lecture-document proposal prepared by Yinchi Chang in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Melissa Peña, Chair of the Examining Committee June 2016 Committee in Charge: Melissa Peña, Chair Dr. Steve Vacchi Dr. Rodney Dorsey Accepted by: Dr. Leslie Straka, Associate Dean and Director of Graduate Studies, School of Music and Dance Original approval signatures are on file with the University of Oregon Graduate School ii © 2016 Yinchi Chang iii CURRICULUM VITAE NAME OF AUTHOR: Yinchi Chang PLACE OF BIRTH: Taipei, Taiwan, R.O.C DATE OF BIRTH: April 17, 1983 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon University of Redlands University of California, Los Angeles Pasadena City College AREAS OF INTEREST: Oboe Performance Performing Arts Administration PROFESSIONAL EXPERIENCE: Marketing Assistant, UO World Music Series, Eugene, OR, 2013-2016 Operations Intern, Chamber Music@Beall, Eugene, OR, 2013-2014 Conductor’s Assistant, Astoria Music Festival, Astoria, OR 2013 Second Oboe, Redlands Symphony, Redlands, CA 2010-2012 GRANTS, AWARDS AND HONORS: Scholarship, University of Oregon, 2011-2013 Graduate Assistantship, University of Redlands, 2010-2012 Atwater Kent Full Scholarship, University of California, Los Angeles, 2005-2008 iv TABLE OF CONTENTS Introduction ........................................................................................................................
[Show full text]