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AN ANALYSIS of “SEVEN LAST WORDS from the CROSS” (1993) by JAMES MACMILLAN by HERNHO PARK DISSERTATION Submitted in Partial
AN ANALYSIS OF “SEVEN LAST WORDS FROM THE CROSS” (1993) BY JAMES MACMILLAN BY HERNHO PARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Barrington Coleman, Chair Professor Carlos Carrillo, Director of Research Professor Michael Silvers Professor Fred Stoltzfus ABSTRACT James MacMillan is one of the most well-known and successful living composers as well as an internationally active conductor. His musical language is influenced by his Scottish heritage, the Catholic faith, and traditional Celtic folk music, blended with Scandinavian and European composers including Olivier Messiaen (1908-1992), Alfred Schnittke (1943-1998), and Igor Stravinsky (1882-1971). His cantata for choir and strings Seven Last Words from the Cross, was commissioned by BBC (British Broadcasting Corporation) television, composed in 1993, and premiered in 1994 by Cappella Nova and the BT (British Telecom) Scottish Ensemble. While this piece is widely admired as one of his best achievements by choral conductors and choirs, it is rarely performed, perhaps due to its high level of difficulty for both the string players and singers. The purpose of this dissertation is to present an analysis of the Seven Last Words from the Cross by James MacMillan aimed to benefit choral conductors rather than audiences. Very little has been written about MacMillan's choral works. My hope is to establish a foundation on which future scholars may expand and explore other choral works by MacMillan. -
Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role. -
Jordan Alfredson, Bassoon Brenda Brent, Piano
Kennesaw State University College of the Arts School of Music presents Senior Recital Jordan Alfredson, bassoon Brenda Brent, piano Saturday, April 19, 2014 2:00 p.m. Music Building Recital Hall One Hundred Tenth Concert of the 2013-14 Concert Season Program GORDON JACOB (1895-1984) Concerto for Bassoon I. Allegro II. Adagio III. Allegro giocoso GABBIER NOËL-GALLON (1891-1966) Récit et Allegro WILLSON OSBORNE (1906-1979) Study for Bassoon (original 1952 version) JOHANN BAPTIST WANHAL (1739-1813) Concerto for Two Bassoons I. Allegro Moderato Shelby Jones, bassoon FRANCIS POULENC (1899-1963) Trio for Oboe, Bassoon, and Piano I. Presto II. Andante III. Rondo Alejandro Sifuentes, oboe This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Alfredson studies bassoon with Laura Najarian. Program Notes Concerto for Bassoon GORDON JACOB (1895-1984) This reduction of Gordon Jacob’s Concerto for Bassoon, Strings and Percussion consists of three movements in which Jacob takes full advantage of the bassoon’s potential for comedy, while also exploring its more lyrical side. The cheerful first movement begins with a scale that is progressively taken apart and put back to- gether. A middle interlude creates a slightly heavier mood while the soloist takes up a more melancholy theme. But, after a period of quickening, the cheerful opening theme returns. In the second movement, the piano provides an ethereal accompa- niment of a gentle, plaintive melody played by the bassoon. The third movement is an exciting presentation of the bassoon's technical abilities. A slower middle section again displays Jacob’s more emotional side. -
Sound out Loud Ensemble New Arts Venture Challenge Grant Proposal
Sound Out Loud Ensemble New Arts Venture Challenge Grant Proposal April 5, 2016 Satoko Hayami DMA Candidate in Collaborative Piano, School of Music Executive Summary History and Makeup of Sound Out Loud Sound Out Loud (SOL) is a new music ensemble that recently launched in Madison. SOL is comprised of 7 forwardlooking, classically trained musicians, which includes 2 pianists, 1 percussionist, 1 flutist, 1 clarinetist, 1 violinist and 1 cellist. The group is lead by pianists Satoko Hayami and Kyle Johnson, a percussionist Garrett Mendelow. Mission SOL’s mission is to create a growing circle of musicians and audiences to share the excitement of the innovative, contemporary language of newly/recently composed classical music through a series of creative concerts and presentations primarily in the city of Madison. SOL also commissions works of young upcoming composers to enrich the repertoire of the genre. SOL believes that progressive new classical music expands the audience’s existing perspectives of music, and therefore further enhances their appreciation toward music in general. SOL also understands that new music’s relatable contemporary language helps the audience reconnect with conventional classical music, as inherited by contemporary classical music. Through commitment to contemporary classical music, SOL’s hope is to cultivate a sense of freedom toward classical music as well as toward other aspects of life, without the limitation of a conventional concept of music. Method SOL thrives to present highenergy performances of dynamic programs which are intellectually and emotionally inspirational for a wide array of audiences (including both classical music lovers and non classical music lovers). -
Mariinsky Orchestra
CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal -
1 Requirements for the Call to Establish the Oboe/Cor Anglais
Requirements for the call to establish the oboe/cor anglais substitution pool for the Barcelona Symphony Orchestra 1- Purpose of the call The purpose of this call is the creation of a substitution pool, with the category of Senior Professor of Music (Tutti) in the specialty of oboe/cor anglais, to be hired in the mode of temporary employment, based on the needs of the Consorci de L’Auditori i l’Orquestra in the department of the Barcelona Symphony Orchestra (hereinafter OBC). The incorporation of temporary work personnel shall be limited to the circumstances established in the regulations, in line with the general principle of hiring staff at L'Auditori by means of passing through selective processes and whenever there are reasons for the maintenance of essential services, specifically: Temporary replacement of the appointees; Increase in staff for artistic needs for the temporary execution of programmes; The incorporations in any case must be made in accordance with the conditions stemming from the budgetary regulations. The incorporation of temporary work personnel shall be governed by the labour relations of a special nature for artists in public performances provided for in the Workers’ Statute and regulated by Royal Decree 1435/1985. The remuneration and the working hours shall be that agreed upon in the collective bargaining agreement. 2- Requirements for participation All requirements must be met by the deadline for submission of applications and must be maintained for as long as the employment relationship with the Consorci de l’Auditori i l’Orquestra should last. - Be at least 16 years of age and not exceed the age established for forced retirement. -
Mozart in the Jungle
UC San Diego UC San Diego Electronic Theses and Dissertations Title Avatars of the Work Ethic: The Figure of the Classical Musician in Discourses of Work Permalink https://escholarship.org/uc/item/71g9n4gd Author Sim, Yi Hong Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SAN DIEGO Avatars of the Work Ethic: The Figure of the Classical Musician in Discourses of Work A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Communication by Yi Hong Sim Committee in charge: Professor Robert Horwitz, Chair Professor Akosua Boatema Boateng Professor Amy Cimini Professor Nancy Guy Professor Daniel Hallin Professor Stefan Tanaka 2019 The Dissertation of Yi Hong Sim is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego 2019 iii EPIGRAPH On one side, the artist is kept to the level of the workingman, of the animal, of the creature whose sole affair is to get something to eat and somewhere to sleep. This is through necessity. On the other side, he is exalted to the height of beings who have no concern but with the excellence of their work, which they were born and divinely authorized to do. William Dean Howells, A Traveler from Altruria (1894) iv TABLE OF CONTENTS Signature Page ...................................................................................................................... -
Ewert Dmus Essay Final
Liturgy as Mediation in James MacMillan’s Búsqueda and Cantos Sagrados by Benjamin Charles Ewert A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music University of Alberta © Benjamin Charles Ewert, 2020 Abstract In the late 1980s and early 1990s, Scottish composer James MacMillan wrote a series of pieces using the poetic texts of persecuted peoples in Latin America and liturgical and other sacred texts of the Christian faith. Though Búsqueda and Cantos Sagrados were composed in two distinct genres, MacMillan built a framework of response to political repression in both by using liturgy and sacred texts as the scaffolding. These early compositions mark the commencement of an important period for MacMillan. During this time, he establishes himself as a modernist drawing on the traditional roots of his Catholic faith and cultural roots of his Scottish heritage. MacMillan amplifies the plight of persecuted peoples using sacred themes juxtaposed against secular events and texts. His symbiotic approach would eventually lead to his recognition as an internationally established composer with The Confession of Isobel Gowdie, Veni, veni Immanuel, and Seven Last Words. The manner in which MacMillan blends media (means of communication), particularly poetry (secular) and liturgy (sacred), using a stratified approach that often places two diametrically opposed themes in close proximity, allows for an enrichment of meaning and a mediated space in which an attempt is undertaken to reconcile complex issues of pain, loss, hope, and forgiveness. This essay examines the method by which MacMillan establishes such a framework in Búsqueda and Cantos Sagrados and argues that in the merging of diverse forms of media, meaning is deepened and enriched to the greater success of the mediation. -
Furman Alumni News Furman University
Furman Magazine Volume 49 Article 25 Issue 4 Winter 2007 1-1-2007 Furman Alumni News Furman University Follow this and additional works at: https://scholarexchange.furman.edu/furman-magazine Recommended Citation University, Furman (2007) "Furman Alumni News," Furman Magazine: Vol. 49 : Iss. 4 , Article 25. Available at: https://scholarexchange.furman.edu/furman-magazine/vol49/iss4/25 This Regular Feature is made available online by Journals, part of the Furman University Scholar Exchange (FUSE). It has been accepted for inclusion in Furman Magazine by an authorized FUSE administrator. For terms of use, please refer to the FUSE Institutional Repository Guidelines. For more information, please contact [email protected]. ALUMNI IN POLITICAL SPOTLIGHT BRING ATTENTION TO ALMA MATER . .................. ........... .. It's always a point of pride when I see had served in Congress from 1998 to alumni making their marks. From music 2004, when he lost in a bid for a fourth to medicine to teaching to literature term to Republican Mike Sodrel. The whatever the profession, members of the 2006 election marked their third close Furman fa mily consistently help to better race - Hill had edged Sodrel in 2002 - the world. In doing so, they bring great and this time the Furman alumnus rode honor to alma mater. the wave of disenchantment with In recent months, three alumni who Republican leadership back into office. are no strangers to readers of university Hill is part of the "Blue Dog publications have earned extensive Mike McConnell Mark Sanford Baron Hill Coalition," a group of conservative-to attention in the political arena. moderate Democrats who, according The new year had barely begun before the Sanford, who was kind enough to invite the to their Web site, strive "to bridge the gap between announcement came that President Bush had named Furman Singers to perform at both of his inaugurations, ideological extremes." Perhaps he and his colleagues retired Vice Adm. -
3 – 6 October 2019 a Meeting Place for Music
A meeting place for music 3 – 6 October 2019 thecumnocktryst.com 2 Book online at thecumnocktryst.com Welcome to The Cumnock Tryst 2019 Welcome to the sixth Cumnock Tryst. It has Our Saturday night guest is the operatic been profoundly exciting to watch the Festival soprano Danielle de Niese, one of the most mature and grow these last few years. I have magnetic presences in classical music and a wonderful musical memories of our visiting major international star. We expect the tickets performers Nicola Benedetti, Colin Currie, for this concert (and the others too) to go very John Kenny and his carnyx, Westminster quickly. Be swift off your mark when they go Cathedral Choir, Ian Bostridge, the Kings’ on sale! Another great musical legend with Singers and The Sixteen. us this year will be Barbara Dickson, one of This year we welcome Mr McFall’s Scotland’s most popular and versatile singers, Chamber as our Artists in Residence and they covering everything from pop to folk and will take part in events on all four days of music theatre. the Festival. They will be joined by the great The sixth Tryst is a huge cause for Scottish choir Cappella Nova in the opening celebration. Join us in Cumnock in October for concert in new music by Michael Murray, one of our most diverse Festivals so far. the local composer who impressed so much Sir James MacMillan CBE a few years ago with his guitar concerto. Founder and Artistic Director Cappella Nova have their own concert on the Friday night when they present a fascinating programme of early Scottish music which will The Festival’s name, The Cumnock Tryst, was give us a glimpse into liturgical life here just inspired by a piece of music James MacMillan before and just after the Reformation. -
Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary -
James Macmillan Organ Works
JAMES MACMILLAN ORGAN WORKS STEPHEN FARR James MacMillan (b.1959) Organ Works 1. Kenga e Krushqve (2018) * [4:30] Stephen Farr organ 2. Gaudeamus in loci pace (1998) [6:11] The Rieger Organ of St Giles’ Cathedral, Edinburgh (1992) St Andrews’ Suite (2013) 3. One [2:12] 4. Two [3:28] 5. Three [2:25] 6. Offertorium (1986) [4:42] 7. Le Tombeau de Georges Rouault (2003) [14:09] 8. White Note Paraphrase (1994) [2:11] 9. Meditaon (2010) * [6:18] 10. Wedding Introit (1983) [2:52] 11. Toccata (2019) * [7:47] Total playing me [56:50] *world premiere recording James MacMillan: Organ Works variaons’ for organ and orchestra A Scotch Besary from 2004 – the organ has been a James MacMillan’s composions for key part of the sounds and colours that organ represent a small, but steadily MacMillan draws on to realise his increasing body of work that covers composional ambions. almost the enrety of the composer’s career to date, from experiments with Perhaps one of the most personal musical Scosh tradional music in the early gis MacMillan has given to his family in 1980s through to substanal virtuosic recent years is Kenga e Krushqve wrien fantasias from his sixeth year. Though for his son’s wedding in August 2018. As the pieces for solo organ are only a slight, the bride-to-be was Albanian, MacMillan but colourful strand of MacMillan’s arsc turned to this famous folksong from her fabric, they are some of his most personal homeland which is associated with and inmate creaons, oen wrien as weddings (the tle roughly translates as wedding gis for family, friends and for ‘Song of the In-Laws’) for the recessional the composer’s own bride on their at the end of the Nupal Mass.