Joby Talbot's Path of Miracles

Total Page:16

File Type:pdf, Size:1020Kb

Joby Talbot's Path of Miracles Graduate Theses, Dissertations, and Problem Reports 2020 Joby Talbot’s Path of Miracles: Musical and Dramatic Analysis Joseph Stuligross West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Stuligross, Joseph, "Joby Talbot’s Path of Miracles: Musical and Dramatic Analysis" (2020). Graduate Theses, Dissertations, and Problem Reports. 7793. https://researchrepository.wvu.edu/etd/7793 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Joby Talbot’s Path of Miracles: Musical and Dramatic Analysis Joseph Stuligross Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Conducting Mitchell Arnold, D.M.A, Chair Kym Scott, D.M.A. Hope Koehler, D.M.A. Beth Royall, M.L.I.S., M.M. Andrew Kohn, Ph.D., Research Advisor Morgantown, West Virginia 2020 Keywords: Joby Talbot, Path of Miracles, Choral Music, Camino de Santiago Copyright 2020 Joseph Stuligross i ABSTRACT Joby Talbot’s Path of Miracles: Musical and Dramatic Analysis Joseph Stuligross This project investigates Joby Talbot’s choral composition Path of Miracles, focusing on interpretive insight as well as musical and extra-musical understandings related to the subject matter, the pilgrimage to Santiago de Compostela in Spain known as the Camino de Santiago. It explores the sources and methods of generating dramatic intensity and seeks to understand how the composer achieved particular dramatic effects. The project proceeds along two related modes of inquiry. The first involves musical evaluation, particularly of pitch, motive, harmony and rhythm techniques, in a somewhat traditional analysis. The second investigates the ways in which musical techniques generate the dramatic and psychological character of the moment. This approach involves understanding the texts and their background (as some are not readily comprehensible at surface level) and evaluates them in the context of particular musical passages. Specifically, this study scrutinizes the use of additive compositional techniques and seek to determine how important dramatic and emotional moments are created. Much of the composition is episodic, with musical materials determined by the dramatic requirements. As a result, form and musical structure are not a focus of this project, although there are some significant formal elements, such as multiple recurrences of the Pilgrims’ Hymn, which occur for dramatic reasons. In addition, practical questions about selecting singers and performance venue, as well as other performance-related issues that this piece presents are addressed. ii ACKNOWLEDGEMENTS I thank my research advisor, Dr. Andrew Kohn, for his tireless assistance, thoughtful and probing suggestions and patience as I worked through the many issues involved in completing this project. I have attempted, with greater and lesser success, to incorporate these ideas and observations throughout the document. I also thank the other members of my committee for their time and care in review of this document. In particular, I thank Dr. Mitchell Arnold and Dr. Kym Scott, who were instrumental at early stages of this process in helping me to evaluate and understand the implications of particular research possibilities; Dr. Hope Koehler, whose insights into the nature of singers and voices, particularly with respect to varying national schools, was helpful in understanding how performance of a piece such as the one that is the subject of this project can best be performed; and Professor Beth Royall, whose bibliographic assistance has been tremendously helpful. I am thankful to scholars Dr. Maryjane Dunn and Dr. Jessica Knauss, who helped me to navigate and understand some of the obscure textual references in Path of Miracles. Most importantly, I thank my eternal love, Deb Sadowski, for her bountiful patience and frequent encouragement as well as her direct assistance with many of the technical (and technological) requirements of this project. Her skills and generosity know no bounds. And I finally thank my three children, Clara, Ben Caroline and especially Jacob (who, in addition to solving a tricky technological issue, was incredibly good-natured and tolerant as our social- distanced household attempted to retain our joyful exuberance). iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF FIGURES ....................................................................................................................... vi CHAPTER 1: INTRODUCTION AND BACKGROUND TO POM AS A DRAMATIC WORK ......................................................................................................................................................... 1 A. Introduction ............................................................................................................................ 1 B. Statement of Topic.................................................................................................................. 2 1. Objective .............................................................................................................................. 2 2. Procedure ............................................................................................................................. 3 3. Need for Study and Review of Sources ............................................................................... 4 C. Exploration of Drama in POM ............................................................................................... 6 D. The Camino de Santiago ........................................................................................................ 9 E. The Work .............................................................................................................................. 14 CHAPTER 2: “Roncesvalles”...................................................................................................... 19 A. Pasiputput Opening .............................................................................................................. 19 B. The Pilgrims’ Hymn and the Miracle Cell ........................................................................... 21 C. The Pilgrims’ Introduction to St. James ............................................................................... 26 1. The Martyrdom of St. James ............................................................................................. 26 2. James Spreads the Gospel .................................................................................................. 32 3. Translatio of St. James ...................................................................................................... 33 4. Rediscovery of the Tomb .................................................................................................. 35 CHAPTER 3: “Burgos” ................................................................................................................ 37 A. POM’s use of Musical Blocks .............................................................................................. 37 B. Text Considerations .............................................................................................................. 48 CHAPTER 4: “Leon” ................................................................................................................... 49 A. Musical Depictions of Light ................................................................................................. 49 B. Modal Writing and Rhythmic Shifts .................................................................................... 52 C. Shifting Halo and Tertiary Harmonic Motion ...................................................................... 56 D. Arrival at E♭ Major and Return of the Canon: Transposition Technique ............................ 58 E. The Shift to Lydian Mode and Half-Step Modulation from D♭ to D Major ........................ 60 CHAPTER 5: “Santiago” ............................................................................................................. 66 iv A. Additive Techniques Build Drama ....................................................................................... 66 B. Approaching Monte de Gozo and Descent to Santiago ........................................................ 71 C. Return of the Pilgrims’ Hymn and Conclusion ...................................................................
Recommended publications
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • INSTRUMENT REGISTRATION PACKET (Band and Orchestra)
    Reading Fleming Intermediate School 2016­2017 INSTRUMENT REGISTRATION PACKET (Band and Orchestra) For Students and Parents Ms. Susan Guckin Mrs. Audrey Spies [email protected] [email protected] ​ ​ ​ Welcome to RFIS and the opportunity to learn to play a musical instrument! This packet outlines the responsibilities and policies of the instrumental music program to insure a successful year. Today your child observed an instrument demonstration to help them decide if and which instrument they would like to learn. Please take some time to discuss this opportunity with your child and the responsibilities that come along with it. Band and Orchestra is offered to all 5th and 6th grade students during the school day. Lessons take place during their TWC period. Students are not taken out of academics. If you decide to study an instrument, complete and ​ return the last page of this packet to register your child for the program by TUESDAY, 9/13. Note that students are not required to play an instrument. ​ ​ ​ INSTRUMENTS Note: Please DO NOT rent or purchase a PERCUSSION KIT until your child’s choice is confirmed. Students who choose PERCUSSION, will attend a Percussion Demo Lesson before their choice is confirmed. Instrument Choices are: BAND: Flute, Clarinet, Trumpet, Trombone, Baritone Horn and Percussion. th Important Notes: Saxophone will not be a​ vailable until 6 grade. Students who wish to play ​ ​ th​ SAXOPHONE should start on C​ LARINET in 5 grade. This year on clarinet prepares them for ​ ​ nd saxophone. Students who select percussi​ on should list a 2 choice. ​ th ORCHESTRA: Violin, Viola and Cello.
    [Show full text]
  • World Premiere of Angels' Atlas by Crystal Pite
    World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent
    [Show full text]
  • Gp 3.Qxt 7/11/16 9:01 AM Page 1
    07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S
    [Show full text]
  • Ronald Roseman: a Biographical Description and Study of His Teaching Methodology
    LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions.
    [Show full text]
  • Love and Ballet at Pacific Northwest Ballet Encore Arts Seattle
    June 2018 June 2018 Volume 31, No. 7 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Andy Fife Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. 2 PACIFIC NORTHWEST BALLET PACIFIC NORTHWEST BALLET Kent Stowell and Peter Boal June 1–10, 2018 Francia Russell Artistic Director Marion Oliver McCaw Hall Founding Artistic Directors PRINCIPALS Karel Cruz Lindsi Dec Rachel Foster Benjamin Griffiths William Lin-Yee James Moore
    [Show full text]
  • A Study of Selected Piano Toccatas in the Twentieth Century: a Performance Guide Seon Hwa Song
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Study of Selected Piano Toccatas in the Twentieth Century: A Performance Guide Seon Hwa Song Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A STUDY OF SELECTED PIANO TOCCATAS IN THE TWENTIETH CENTURY: A PERFORMANCE GUIDE By SEON HWA SONG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Seon Hwa Song defended on January 12, 2011. _________________________ Leonard Mastrogiacomo Professor Directing Treatise _________________________ Seth Beckman University Representative _________________________ Douglas Fisher Committee Member _________________________ Gregory Sauer Committee Member Approved: _________________________________ Leonard Mastrogiacomo, Professor and Coordinator of Keyboard Area _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENT Above all, I am eagerly grateful to God who let me meet precious people: great teachers, kind friends, and good mentors. With my immense admiration, I would like to express gratitude to my major professor Leonard Mastrogiacomo for his untiring encouragement and effort during my years of doctoral studies. His generosity and full support made me complete this degree. He has been a model of the ideal teacher who guides students with deep heart. Special thanks to my former teacher, Dr. Karyl Louwenaar for her inspiration and warm support. She led me in my first steps at Florida State University, and by sharing her faith in life has sustained my confidence in music.
    [Show full text]
  • Alvin Ailey American Dance Theater Launches 23-City North American Tour with Nearly 90 Performances: February 4 – May 11
    ALVIN AILEY AMERICAN DANCE THEATER LAUNCHES 23-CITY NORTH AMERICAN TOUR WITH NEARLY 90 PERFORMANCES: FEBRUARY 4 – MAY 11 Tour Repertory Features 2013-14 Season Premieres and New Productions from a Wide Range of Choreographic Voices as Artistic Director Robert Battle Continues to Expand Diverse Repertory and Gives Ailey’s Extraordinary Dancers New Ways to Inspire Season World Premieres LIFT by In-Demand Choreographer Aszure Barton and Four Corners by Celebrated Dance Maker Ronald K. Brown Company Premiere of Chroma Marks First Time a Work by the Multi Award-Winning British Choreographer Wayne McGregor Appears in Repertory and Modern Dance Innovator Bill T. Jones’ Joyful Tour-De-Force D-Man in the Waters (Part I) Celebrates the Resilience of the Human Spirit 25th Season Since the Passing of Legendary Founder Features Ailey/Ellington Program with New Productions of Alvin Ailey’s The River and Pas de Duke Set to Duke Ellington’s Music Announcement of 2014 15-Performance Engagement at Lincoln Center’s David H. Koch Theater June 11 – 22 NEW YORK – February 4, 2014 — Alvin Ailey American Dance Theater, beloved as one of the world’s most popular dance companies, will travel coast to coast on a 23-city North American tour with almost 90 performances from February 4th through May 11th, following a record-breaking season launch at New York City Center where Ailey is the Principal Dance Company and its performances are a year-end tradition. In addition, today Artistic Director Robert Battle announced that the Company would return to Lincoln Center’s David H. Koch Theater from June 11th to 22nd for a 15-performance engagement.
    [Show full text]
  • Program Notes
    YELLOW EARTH PROGRAM NOTES Quanta was commissioned by China’s Quanta (2012) Blow It Up, Start Again National Centre for the Performing Arts for the Sebastian Currier (b. 1959) “Composing China” project. It was premiered (2011) [United States Premiere] on March 17, 2013, in Beijing with the National Jonathan Newman (b. 1972) Centre for the Performing Arts Orchestra, When I first came to China with a group of my conducted by Kristjan Jarvi. If the system isn’t working anymore, then do colleagues, I was often asked, “how is China what Guy Fawkes tried and go anarchist: blow it Not recorded different from the United States?” Implicit in all up, and start again. the question is that it is indeed very different, —Jonathan Newman and of course in many ways it is. But touching The Color Yellow: down in Beijing from New York, one cannot help Concerto for Sheng (2007) Blow It Up, Start Again was commissioned but note the many similarities. Sure, when one by the Chicago Youth Symphony Orchestras visits the treasures of the past, the Forbidden Huang Ruo (b. 1976) and premiered on May 13, 2012, at Chicago City, the Temple of Heaven, one encounters [West Coast Premiere] Symphony Center, conducted by Allen Tinkham. difference. But that is to travel far back in time. The more modern the context the more similar Sheng, the Chinese mouth organ and a Not recorded we seem. The grid structure, the materials used thousand-year-old traditional instrument, is for roads, the design of traffic lights, the more often referred to as the ancestor of the Western Chroma (2007) modern architectural structures—all have close organ.
    [Show full text]
  • Download Program Notes
    Piano Concerto No. 3 in D minor, Op. 30 Sergei Rachmaninoff s a youngster, Sergei Rachmaninoff en- He composed four piano concertos over A rolled on scholarship at the St. Petersburg the course of his career and was the solo- Conservatory, but he proved so indifferent ist at the premiere of each. A pendant to a student that the school threatened to cur- these is a fifth, ever-popular work for piano tail its support. At that point his cousin, and orchestra, the Rhapsody on a Theme the pianist Aleksandr Ziloti, stepped in to of Paganini (1934). Of the bunch the plush provide a measure of discipline that Rach- Second Concerto and the knuckle-bust- maninoff’s parents and professors had not ing Third, along with the Rhapsody, have managed to instill. He swept his promising staked indelible places in the repertoire. but unfocused kinsman off to the prepara- The Third, in fact, has earned a reputation tory division of the Moscow Conservatory as one of the most technically daunting of and enrolled him in the piano studio of the all the standard piano concertos, and pia- famously strict Nikolai Zverev. It did the nists have often cited it as a sort of Everest trick, and gradually Rachmaninoff started they feel compelled to vanquish, no matter making good on his talent. Soon he trans- the colossal effort required. Rachmaninoff ferred to the senior division of the Conserva- himself maintained that his Third Concer- tory, into Ziloti’s own piano studio. to was “more comfortable” to play than his By the time he graduated, in 1892, Rach- Second.
    [Show full text]
  • Pilgrimage and Postminimalism in Joby Talbot's Path Of
    PILGRIMAGE AND POSTMINIMALISM IN JOBY TALBOT’S PATH OF MIRACLES by JOY ELIZABETH MEADE Under the Direction of DANIEL BARA ABSTRACT Joby Talbot’s Path of Miracles is a seventy-minute a cappella choral masterwork that portrays the experience of a pilgrim traveling the Camino de Santiago. Composed in 2005 on commission from Nigel Short for his professional choir Tenebrae, Path of Miracles is a modern- day soundtrack of this enduring pilgrimage. This paper examines Path of Miracles from three perspectives: as a representation of pilgrimage, as a reflection of the sacred and secular aspects of the Camino de Santiago, and as an example of a postminimalism in a choral work. Chapter 2 studies Path of Miracles as a musical depiction of common pilgrimage experiences as explained by anthropologists. Modern pilgrimage scholarship examines a person’s motivation to take a pilgrimage, his or her separation from daily life and social status, the re-shaping of a pilgrim’s identity along the journey, the physical effect of constant walking on the mind and body, and the re-entrance of the pilgrim into society. Path of Miracles represents these stages of pilgrimage musically. Additionally, Chapter 2 demonstrates how Path of Miracles is a modern-day, musical depiction of the French route, and this chapter will explore how the piece serves as a musical guidebook, depicting the landscape, cathedrals, cultures, people and sounds found on the Camino Frances. Chapter 3 examines the sacred and secular musical elements found in Path of Miracles, and how these elements portray the dichotomy of religious and non-religious aspects of the Camino’s history.
    [Show full text]
  • True Blue Weekend Franklin & Marshall Orchestra and Symphonic
    True Blue Weekend Franklin & Marshall Orchestra and Symphonic Wind Ensemble Brian Norcross, Senior Director of Instrumental Music and Conducting Studies Presented virtually October 28, 2020 “Fanfares of F&M” Orchestral Suite No. 1 . Johann Sebastian Bach Overture (1685-1750) College Avenue Orchestra Pod Fanfares for F&M . Christian Mechem ‘19 (b. 1997) Katie DeSimone ‘23, Euphonium Premiere Reduced Travels. Andrew Glennan ‘13 (b. 1991) Philharmonia Orchestra Pod Fanfares for F&M . Zach Fried ‘15 (b. 1992) Evan Bletz ‘23, Trumpet Premiere Arirang . Brian Norcross (b. 1958) Walnut and Chestnut Remote Pods Fanfares for F&M, Fanfare for Solo Instrument . .Andrew Glennan ‘13 Theza Friedman ‘24, Alto Saxophone Premiere Symphony No. 5 . Wililam Boyce Allegro (1711-1779) Race Street Orchestra Pod Fanfares for F&M . .Jeff Gao ‘93 (b. 1970) Jonathan Helm ‘24, Clarinet Premiere Olivia . Christian Mechem ‘19 Harrisburg Pike Orchestra Pod Fanfares for F&M . .Ralph Lehman (b. 1942) Hannah Stelben’ 23, Flute Premiere Kyrie . Jeff Gao ‘93 Duke Street Symphonic Wind Ensemble Pod Fanfares for F&M . .Arlen Clarke (b. 1954) Matthew Lamb ‘21, Viola Premiere Finlandia Fantasy . Jean Sibelius (1865-1957) Arranged Brian Norcross Walnut and Chestnut Street Remote Pods Premiere Fanfares for F&M, Fanfare for the Free Man . Kristen Lee Rosenfeld ‘02 (b.1981) Mariel Carter ‘23, Clarinet Premiere River South . Jeff Gao ‘93 Queen Street Symphonic Wind Ensemble Pod Fanfares for F&M, Heroic “Henjal Mariacki” Fanfare . .Julia Adams (Visiting Professor of Music)(b. 1965) Maya Clark ‘22, Marimba Premiere Slavonic Dance Op. 46, No. 2, Finale . Antonin Dvorak (1841-1904) Virtual Orchestra with combined pods Fanfares for F&M, Fanfare for the Return.
    [Show full text]