Notes from Mason 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Wind Symphony School of Music Illinois State University
Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-29-2012 Student Ensemble: Wind Symphony School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Student Ensemble: Wind Symphony" (2012). School of Music Programs. 611. https://ir.library.illinoisstate.edu/somp/611 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University College of Fine Arts School of Music WIND SYMPHONY Stephen K. Steele, Conductor James F. Keene, Guest Conductor Carl Schimmel, Guest Composer Thomas Giles, Concerto Winner The Illinois State University Bands dedicate this concert and future performances to Allison Christine Zak Center for the Performing Arts Sunday Afternoon April 29, 2012 3:00 p.m. This is the two hundred and fourteenth program of the 2011-2012 Season. Program Carl Schimmel Oulipian Episodes (2012) (born 1975) I. Mots-Croisés II. "Intermezzo" from Orlando III. Malakhités IV. “Laborynthus” from Suite Sérielle 94 V. “Entr’acte” from This Golden Sickle in the Field of Stars VI. Incertum, op. 74 VII. La Toupie Premiere Performance Ingolf Dahl Concerto for Alto Saxophone (1912-1970) and Wind Orchestra (1949) I. Recitative II. Adagio (Passacaglia) III. Rondo alla marcia: Allegro Thomas Giles, Concerto Competition Winner Intermission Award Ceremony Percy Grainger Lincolnshire Posy (1937) (1882-1961) I. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Elena Ulyanova – Biography
Piano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Contents: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles Biography 415-504-3654 / San Francisco Reviews & Testimonials Skype: pricerubent | marcparella Repertoire Email: Short Notice Concertos [email protected] CD/DVDs [email protected] Recordings Curriculum Vitae Website: http://www.pricerubin.com Complete artist information including video, audio Yahoo!Messenger and interviews are available at www.pricerubin.com pricerubin Elena Ulyanova – Biography Praised as "a phenomenal, gifted performer" by Roy Gillinson of the Beethoven Society of America, Elena Ulyanova is a pianist whose style runs the gamut of power, strength, and technique to a delicate, floating elegant finesse. Hailed by the Moscow Conservatory as one of their most gifted musicians, her Professor Victor Merzhanov noted that she possesses "Great virtuosity, brilliant artistic temperament, unique interpretive expression and a rich sound pallet." At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin. -
The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 Permalink https://escholarship.org/uc/item/6cz1t09s Author Veirs, Russell Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts By Russell Dewain Veirs 2013 © Copyright by Russell Dewain Veirs 2013 ABSTRACT OF THE DISSERTATION Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34 by Russell Dewain Veirs Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Gary Gray, Co-Chair Professor Douglas Masek, Co-Chair Adolf Busch, well-known as a violinist, contributed a major work to the saxophone‟s chamber repertoire in 1925 while living in Germany. This piece, Quintet, op. 34 for alto saxophone, two violins, viola, and cello, lay hidden until many decades later when it resurfaced for performance in the United States. Busch‟s use of the saxophone was advanced for the time, and his inclusion of the instrument in a quintet with strings was unique. Scattered information regarding the genesis of the piece, its advanced use of the saxophone at the time, and the discrepancies between the published score and parts all called for exploration. This study investigates the sparse history of the piece, using numerous primary and secondary sources, and offers performance suggestions so that today‟s saxophonist can deliver a performance reflecting the musical life surrounding the instrument at time of its composition. -
MMTA Winter 2004 Newsletter
MISSISSIPPI MUSIC TEACHER The official publication of the Mississippi Music Teachers Association An affiliate of Music Teachers National Association Volume 20, Issue 1 Winter, 2004 I N T H I S I S S U E @ President’s Message @ Board Reports @ Affiliate Reports @ 2003 Convention Results @ Convention Scrapbook @ News from MTNA @ Upcoming Events @ 2004 Membership Directory @ Certification News @ Our 30-Year Honoree @ MTNA Convention Information Janet Gray, Jacquelyn Thornell and Barbara Tracy enjoy posing at the 2003 Convention. I’d buy cookies from these ladies! Another admiring student in The talented studio of Jan Mesrobian. Erin Dyer with Stacy Rodgers Graham Purkerson’s studio. Great Certification News! Calling all uncertified MMTA members!!! On January 10, 2004, the MMTA Board voted to set aside $1400 to reimburse the first 10 newly certified teachers in the next two years. This is how the program will work: 1. Decide to get your certification 2. Do it before January 10, 2006 3. Submit documentation to the MMTA Executive Committee that you paid the $140 in fees If you are among the first 10 MMTA members to apply for this program, you will be reimbursed for your certification fees. Thanks to Sharon Lebsack who became aware of this program in the Arizona MTA and shared this great idea with our board! MMT Newsletter 1 President’s Message Happy New Year, and welcome to the 50th year of the Mississippi Music Teachers Association! Plans are in the making for a festive convention worthy of this milestone, and I want you to think now about your role in the proceedings. -
The Missing Saxophone Recovered(Updated)
THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C. -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
Recorded 12–14 March 2012 at the Old Granary Studio, Beccles
Since winning first prize in the Sixth Estonian National Piano Competition in 2002, Sten Lassmann has been regularly appearing as soloist and chamber musician. Concerts and competitions have brought him all over the world, to play in some of the most prestigious venues, such as the Glenn Gould Studio in Toronto, Purcell Room in London, the Large and Small Halls of the Tchaikovsky Conservatoire in Moscow, the Giuseppe Verdi Conservatoire Concert Hall in Milan and the Forbidden City Concert Hall in Beijing. In 2003 he toured Prokofiev’s Second Concerto, and in 2010 Beethoven’s Fifth, with the Estonian National Symphony Orchestra, and in 2008 gave the Estonian premiere of James Macmillan’s Second Concerto. His solo repertoire includes works from the Baroque to the modern. Since 2008 he has been engaged on a project to make the first-ever recording of the complete piano works of Heino Eller, which was also his PhD project at the Royal Academy of Music in London. He is also a keen chamber musician, with a large repertoire of duo works for violin, cello and clarinet, piano trio and piano photo: Kaupo Kikkas photo: quintet. Sten Lassmann was born in 1982 in Tallinn into a family of musicians. He started his musical education at the Tallinn Central School of Music in 1989, studying piano with Ell Saviauk and Ira Floss, and continued at the Estonian Academy of Music and Theatre (BMus, MMus with Distinction) with Ivari Ilja. He later studied also at the Conservatoire National Supérieur de Musique et de Danse de Paris with Brigitte Engerer and at the Royal Academy of Music in London (MMus, Dip RAM, PhD) with Ian Fountain. -
Proquest Dissertations
The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
Arno Babajanian 13
Sergei Rachmaninoff 19. Variation 7: Vivace 0:27 Préludes 20. Variation 8: Adagio misterioso 0:58 1. Op. 3, No. 2 in C sharp minor - Lento 3:51 21. Variation 9: Un poco piu mosso 0:57 2. Op. 23, No. 5 in G minor - Alla marcia 3:52 22. Variation 10: Allegro scherzando 0:39 3. Op. 23, No. 6 in E flat major - Andante 3:11 23. Variation 11: Allegro vivace 0:25 4. Op. 23, No. 7 in C minor - Allegro 2:54 24. Variation 12: L’istesso tempo 0:35 5. Op. 32, No. 5 in G major - Moderato 3:07 25. Variation 13: Agitato 0:32 6. Op. 32, No. 10 in B minor - Lento 4:41 26. Intermezzo 1:19 7. Op. 32, No. 12 in G sharp minor - Allegro 2:43 27. Variation 14: Andante (come prima) 0:58 28. Variation 15: L’istesso tempo 1:18 Etudes-Tableaux 29. Variation 16: Allegro vivace 0:30 8. Op. 33, No. 6 in E flat minor - Non allegro 1:48 30. Variation 17: Meno mosso 1:05 9. Op. 39, No. 1 in C minor - Allegro agitato 3:36 31. Variation 18: Allegro con brio 0:36 10. Op. 39, No. 5 in E flat minor - Appassionato 5:04 32. Variation 19: Piu mosso. Agitato 0:32 11. Op. 39, No. 6 in A minor - Allegro 3:03 33. Variation 20: Piu mosso 0:58 34. Coda: Andante 1:31 Variations on a Theme of Corelli 12. Theme: Andante 0:57 Arno Babajanian 13. -
Harry White, Saxophone and Todd Sisley, Piano
Syracuse University SURFACE at Syracuse University Setnor School of Music - Performance Programs Setnor School of Music 10-13-2016 Around the World in 80 Minutes: Harry White, Saxophone and Todd Sisley, Piano Harry White Todd Sisley Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Around the World in 80 Minutes: Harry White, Saxophone and Todd Sisley, Piano. 10-13-2016 https://surface.syr.edu/setnor_performances/322 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE at Syracuse University. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE at Syracuse University. For more information, please contact [email protected]. Around the World in 80 Minutes Guest Artist HARRY WHITE - saxophone TODD SISLEY – piano Setnor Auditorium October 13, 2016 8:00PM Please be sure to turn off all electronic devices, and please refrain from making extraneous noise, talking, taking flash photographs, or moving about the auditorium during the performance. It is important for performers and audience members to have the best possible concert- going experience in Setnor Auditorium. Thank you. FRANCE quatre vocalises du Répertoire Moderne de Vocalises-Etudes de A.L. RUSSIA Hettich Der Traum, Op. 48, Nr. 5 SERGEI RACHMANINOW Air (1929) DARIUS MILHAUD Vocalise, Op. 34, Nr. 14 (1873-1943) (1892-1974) alla gitana (1909) PAUL DUKAS NORWAY (1865-1935) Three Songs from Op. 48 EDWARD GRIEG Lauf der Welt (1843-1907) à la mémoire d’Evelyne Brélia (1929) FRANCIS POULENC Zur Rosenzeit (1899-1963) Ein Traum Pièce en forme de Habanera (1907) MAURICE RAVEL FRANCE (1875-1937) Cinq danses exotiques (1961) JEAN FRANÇAIX I Pambiche (1912-1997) HOLLAND II Baiao La Malinconia (1948) HENK BADINGS III Mambo (1907-1987) IV Samba lenta V Merengue SPAIN USA Pequeña Czarda (1949) Pedro Itturalde Second Prelude (1926) GEORGE GERSHWIN (b.