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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG 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 Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style. -
Catalogue Auteur De Jean Rivier
JEAN RIVIER Gérard Billaudot Éditeur MAI 2001 Jean RIVIER Catalogue des œuvres Catalogue of works Werkverzeichnis Catalogo de obras Gérard Billaudot Éditeur 14 rue de l’Echiquier - 75010 PARIS - FRANCE Tél. : (33) 01.47.70.14.46 - Télécopie : (33) 01.45.23.22.54 E-mail : [email protected] JEAN RIVIER (1896-1987) Né à Villemonble, en 1896, le 21 juillet, Jean Rivier nous a quitté le 6 novembre 1986. Être humain de qualité, il fut un compositeur dont l’œuvre marque la vie musicale de notre siècle. Comme sa famille aussi bien que ses élèves ou ses proches, tous ceux qui l’ont approché savent qu’il a toujours mené sa vie de la même manière sur tous les plans : harmonie, générosité, sin - cérité, tendresse, pudeur, professionnalisme. La musique a rempli sa vie, a été sa vie, et comme il le disait : “Je n’aurai rien pu faire d’autre”, au point qu’à la veille de nous quitter, il nous a dit encore “avoir des notes plein la tête”. Homme vrai, plein de fougue, d’autres fois avec un “océan d’enthousiasme”, il savait aussi être d’une grande sensibilité. Dans un siècle où certains cherchent leur voie, Jean Rivier a trouvé sa destinée, la musique. Il est remarquable d’ailleurs de voir à quel point il a été respecté et appuyé dans cette décision par sa famille qui, pourtant, évoluait dans des milieux différents (immobilier, pharmaceutique). Déjà sensibilisé à la musique par des proches dès son plus jeune âge, Jean Rivier “vibrait”, vivait avec force quand il composait ou jouait d’un instrument ; son piano était son incomparable compagnon, même s’il jouait d’autres instruments. -
The Darius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994
Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 1994 The aD rius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit oy u? Let us know! Recommended Citation Darius Milhaud Society, "The aD rius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994" (1994). Darius Milhaud Society Newsletters. 18. https://engagedscholarship.csuohio.edu/milhaud_newsletters/18 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. This digital edition was prepared by MSL Academic Endeavors, the imprint of the Michael Schwartz Library at Cleveland State University. THE DARIUS M ILHAUD S 0 C IETY NEWSLETTER Cleveland, Ohio Spring/Summer/Fall 1994 Vol. 10, Nos. 1, 2 and 3 Wlte11 I began to be interested in polytonal certainly favored. In searching at tf1e piano, 1 had lwrmo11y, it was a long time after I had left t 17 e always been struck by the fact that a polytonnl 1Iarmo11y class upon the advice of my teacher Xavier harmony is much more subtle i11 sweetness and a great Leroux . ... I was finishing my studies of counterpoint, den/ more powerful in pungency than a tonal and in 1915, I was in the composition class of Widor combination . -
An Historical and Stylistic Examination of Charles Chaynes' Concerto
AN HISTORICAL AND STYLISTIC EXAMINATION OF CHARLES CHAYNES’ CONCERTO POUR TROMPETTE AND DEUXIÈME CONCERTO POUR TROMPETTE, WITH AN INTERVIEW OF THE COMPOSER Marc Allen Reed, B.M.E., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2007 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Reed, Marc Allen, An historical and stylistic examination of Charles Chaynes’ Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer. Doctor of Musical Arts (Performance), August 2007, 59 pp., 46 examples, bibliography, 32 titles. Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes’ music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes’ exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet’s young modern repertoire. Lack of understanding of Chaynes’ trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes’ Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes’ contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. -
FRENCH CONCERTOS from the 19Th Century to the Present A
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-K LOUIS ABBIATE (1866-1933) Born in Monaco. He learned the piano, organ and cello as a child and then attended the Conservatories Turin and Paris where he studied the cello. He worked as a cellist in the Monte Carlo Orchestra and then at Milan's La Scala. He taught the cello at the St. Petersburg Conservatory for some years and after the Russian Revolution returned to Monaco and became the first director of its École Municipale de Musique. He composed orchestral, chamber, instrumental and vocal works. Concerto Italien in A major for Piano and Orchestra, Op. 96 (1922) Maurice Bousquet (piano)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Monaecencis) ECCE MUSICA CM 306 (LP) (1970s) Concerto for Cello and Orchestra in D minor, Op. 35 (1895) Elaine Magnan (cello)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Les Elfes and Le Songe d'Or) ECCE MUSICA CM 312 (LP) (1970s) Monaecencis for Piano and Orchestra, Op. 110 (1925) Maurice Bousquet (piano)/Richard Blareau /Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Concerto Italien) ECCE MUSICA CM 306 (LP) (1970s) JEAN-LOUIS AGOBET (b. 1968) Born in Blois, Loir-et-Cher, Centre. He studied composition and electronic music at the Ecole Normale de Musique in Aix-en-Provence, followed by further studies at the Conservatoire National à Rayonnement in Nice and then with Philippe Manoury at the Conservatoire de Lyon. -
FRENCH CONCERTOS from the 19Th Century to the Present
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers L-Z ÉDOUARD LALO - see separate page SERGE LANCEN (1922-2005) Born in Paris. After some initial training, he studied the piano with Marguerite Long and Lazare Lévy as well as composition with Noël Gallon and Tony Aubin at the Paris Conservatory. In 1950 he was awarded the "Prix de Rome." He composed various genres of music including chamber music, works for piano, ballet music, a chamber opera and symphonic compositions. He excelled in music for band. Among his unrecorded concertante works are his Piano Concerto (1947-51), Piano Concertino (1949), Harmonica Concerto (1954), Violin Concerto (1966), Concerto Rhapsodie for Piano and Orchestra (1974), Concerto for Violin, Double Bass and Orchestra (1985) and Harp Concerto (1988). Concerto for Double Bass and String Orchestra (1962) Yoan Goilav (double bass)/Clemens Dahinden/Winterthur String Ensemble ( + Cooqui, Montag: Extrême, Bloch: Prayer, Mortari: Duettini Concertati, Schubert: Arpeggione Sonata and Sperger: Sonata à Due) TUXEDO MUSIC TUXCD 1205 (2001) (original LP release: CLASSIC PIC (70-121) (1976) Concerto Champêtre for Harp and Wind Orchestra (1968) Joke Brethouwer (harp)/Jan Cober/Brabant Conservatory Wind Orchestra ( + Trombone Concerto and Parade Concerto) MBCD 31.1016.72 (1990) Hélène Silvie (harp)/Désiré Dondeyne/Orchestra ( + Damase: Harp Concerto, Grandjany: Aria in Classic Style and Dondeyne Quintet for Harp ad String Quartet) QUANTUM QM 7030 (2004) Concerto da Camera for Flute and Orchestra (1962) Pedro Eustache (flute)/Daniel Chabrun/Orchestre de Chambre de l'ORTF ( + Printanieres, Leclair: Violin Concerto, and Boismortier: Flute Sonata) FRENCH BROADCASTING SYSTEM IN NORTH AMERICA, Programs 619-20 (2 non-commercial LPs) (c. -
Peter Clinch
Peter Clinch Peter Clinch was born in Western Australia and began studying music at the age of nine, making his first solo appearances on clarinet and saxophone for the Australian Broadcasting Commission at a very early age. He quickly gained an outstanding reputation for his performances with opera, ballet and symphonic orchestras, as well as chamber and jazz ensembles, often as a soloist. Peter Clinch received two government grants to study in Europe, Britain and the United States. Since his return to Australia he has made numerous solo appearances, performed with orchestras and recorded works dedicated to him. A number of major compositions have been written for him. He was Senior Lecturer in Music at the Melbourne State College, and received a Doctorate in Musical Acoustics at Monash University. Dr. Clinch has been a celebrity artist for the ABC three times, and to performed regularly in Europe, Britain and USA. RHAPSODIE (Op. 92) Platti is considered a significant LES TRESTEAUX [THE for alto saxophone, harp, celesta figure in the earliest development STAGE BOARDS] and percussion of the classical sonata. Like most of for alto saxophone, flute and piano PIERRE VELLONES (1889-1939) his sonatas, this one follows the four PIERRE MAX DUBOIS (b. 1930) movement plan: Grave, Allegro, Adagio, Pierre Vellones was born in Paris. He Allegro Molto. The slow movements [1] Prologue en fanfare [2] Romantica was a doctor of medicine and a self- display surprisingly deep expressive [3] Valse vulgaire taught musician who delighted in the sections. The fast movements are full uncommon and the refined. of extended melodic ideas, coupled Pierre Max Dubois is one of the most with rhythmic vitality and an interesting prolific 20th century composers of The Rhapsodic exemplifies the vocabulary of harmonic colours. -
SAXOPHONE SYMPOSIUM Harris Theatre N
41ST INTERNATIONAL SAXOPHONE SYMPOSIUM Harris Theatre N de Lasi 3001 Music Theater vendors Building MTB 2013 de Lasi MTB 2018 Performing Arts Building Choral Room Concert Hall Mason Pond Paring Dec Center for the Arts Grand Tier George Mason University Fairfax, Va. Choral Room Grand Tier Harris Theatre FRIDAY 1 p.m. Free State Carnegie Mellon Mark Kraszewski Saxophone Quartet 1:30 p.m. Perry Roth Radford (RU Saxos) Matt Olson Quartet 2 p.m. Ohio State (Tethys) Colshire Winds Justin Massey Michigan State (Zaw) 2:30 p.m. Megan Ihnen & Shenandoah «Jeremy Koch Alan Theisen present Freshman (2:40 p.m.) 3 p.m. Christopher Barrick Indiana (Kanaderu) Steven Stusek 3:30 p.m. James Bunte Ohio State (Hyperion) Greg Dudzienski Trio 4 p.m. Gail Levinsky Youngstown State Kenneth Tse Julian Velasco (Onyx) 4:30 p.m. Missouri-Kansas City Shawna Pennock & Joseph Henson Stephen Page (The Mencheviks) 5 p.m. James Umble Wright State Archangels 5:30 p.m. Kenda Duo & Susquehanna (Koru) Duo Suspirium Kevin Norton FRIDAY AT A GLANCE Scan this code for the most up-to-date schedule and detailed program infomation, plus biographies of all of the performers. Or visit http://www.navyband.navy.mil/saxophone/#/schedule. MTB 2013 MTB 2018 1 p.m. Tim Powell Augusta Read Thomas 1:30 p.m. Altered Sound Duo Susan Summers 2 p.m. Performance Rick Firestone Duo 1012 Lecture/Masterclass 2:30 p.m. College Quartet Series Andrew Somerville J. Adams Briggs «Military Musician 3 p.m. Vanderbilt University Andrew Allen (Blair) 3:30 p.m. -
Transcribing Astor Piazzolla's Works to Maximize Stylistic Fidelity: an Examination of Three Saxophone Quartets with a New Transcription
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 3-2019 Transcribing Astor Piazzolla's Works to Maximize Stylistic Fidelity: An Examination of Three Saxophone Quartets with a New Transcription Sarah L. Cosano Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons, Music Performance Commons, and the Music Practice Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. TRANSCRIBING ASTOR PIAZZOLLA’S WORKS TO MAXIMIZE STYLISTIC FIDELITY: AN EXAMINATION OF THREE SAXOPHONE QUARTETS WITH A NEW TRANSCRIPTION By Sarah L. Cosano A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul Haar Lincoln, Nebraska March, 2019 TRANSCRIBING ASTOR PIAZZOLLA’S WORKS TO MAXIMIZE STYLISTIC FIDELITY: AN EXAMINATION OF THREE SAXOPHONE QUARTETS WITH A NEW TRANSCRIPTION Sarah L. Cosano, D.M.A. University of Nebraska, 2019 Advisor: Paul Haar Astor Piazzolla is recognized as a pivotal figure who drew tango music onto an international stage. His output of written compositions and recordings provide a reference for studying tango. Though Piazzolla adapted a collection of flute etudes in 1988, he did not write specifically for saxophone during his lifetime. -
Records Crystal
®CRYSTAL RECORDS 2012 COMPACT DISC CATALOG 3DKD@RDRMDVSNSGHRB@S@KNF@QDRGNVMNMSGHRO@FD See inside for these and over 270 other fabulous CDs CD662, page 15 CD769, page 13 CD272, page 12 CD251, page 10 CD823, page 4 CD221, page 19 CD839, page 22 CD949, page 7 CD970, page 7 :D@QRNE3DBNQCHMF&WBDKKDMBD “Hats off to a label that chases the new, the exciting, the overlooked, and the orphaned.” – Music Web Flute pg. 2 Horn pg. 15 Accordion, Harp, Organ, Hovhaness pg. 24 Oboe pg. 3 Trombone pg. 17 Guitar, Percussion pg. 23 Verdehr Trio pg. 6 Clarinet pg. 5 Tuba pg. 17 Woodwind Quintets pg. 10 Reicha Quintets pg. 11 Bassoon pg.7 Violin pg. 20 Brass Quintets pg. 19 Genesis CDs pg. 26 Saxophone pg. 9 Viola pg. 21 Misc. Orchestra pg. 23 Order information, Trumpet pg. 13 Cello & Bass pg. 22 Sousa Band pg. 24 see pg. 27 FREE COMPACT DISC See coupon offer on page 27 Sound Samples and New Releases at www.crystalrecords.com email: [email protected] COMPACT DISCS – Titles shown in red are new to this catalog. CDs are $16.95 each. Orders may be placed by mail, phone, fax, email, or online at www.crystalrecords. com. Order information is on page 27. Phone: 360-834-7022, email: [email protected]. FLUTE and PICCOLO CDS — LEONE BUYSE, FLUTE. Buyse was solo flute with Boston Symphony; now at Rice Univ. “Solid playing, glistening recording” Fanfare. She has six CDs: CD317: The Sky’s the Limit. Barber, Canzone (flute, piano); Dahl, Variations on a Swedish Folk Tune (flute, alto flute); John Cage, Three Pieces for Flute Duet; Martin Amlin, Sonata(flute, piano); Antoniou, Lament for Michele (solo flute); Juli Nunlist, 12 Bagatelles (solo flute); Gregory Tucker, Idle Conversation (two flutes); Vivian Fine, The Flicker (solo flute), and Emily’s Images (flute, piano), with Martin Amlin, piano; Fenwick Smith, flute & alto flute.