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Tokyo String Quartet
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Tokyo String Quartet PETER OUNDJIAN, Violinist KAZUHIDE ISOMURA, Violist KIKUEI IKEDA, Violinist SADAO HARADA, Cellist THURSDAY EVENING, SEPTEMBER 29, 1988, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN A Program Celebrating Rackham's 50th Anniversary Quartet in B-flat major, Op. 18, No. 6 .......................... BEETHOVEN Allegro con brio Adagio ma non troppo Scherzo La Malinconia: adagio, allegretto quasi allegro Quartet No. 3 ................................................... BARTOK Prima parte: moderate Seconda parte: allegro Ricapitulazione della prima parte: moderate Coda: allegro molto (in one continuous movement) INTERMISSION Quartet in D minor, D. 810 ("Death and the Maiden") .............. SCHUBERT Allegro Andante con moto (variations) Scherzo: allegro molto Presto John D'Arms, Dean of the Graduate School, invites all concertgoers to join him in the lobby after the concert for a champagne toast to the 50th birthday of the Rackham Building. The Tokyo String Quartet appears by arrangement with /CM Artists, Ltd., New York. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Second Concert of the 110th Season Special Concert PROGRAM NOTES Quartet in B-flat major, Op. 18, No. 6 .............. LUDWIG VAN BEETHOVEN (1770-1827) Beethoven's Opus 18 consists of six string quartets that were written mostly in 1799, though they were not published until 1801. This was a successful and contented period for the young composer, who was not yet troubled by any signs of his impending tragic deafness and was achieving a respected reputation as a pianist and composer in musical and aristocratic circles in Vienna. A composer writing in this medium at that time could not fail to have been constantly aware of the great masterpieces of eighteenth-century quartet literature that had been produced by Mozart and Haydn. -
Recital: Gilbert Kalish, Piano
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 10-1-1996 Recital: Gilbert Kalish, piano Gilbert Kalish Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Kalish, Gilbert, "Recital: Gilbert Kalish, piano" (1996). All Concert & Recital Programs. 7903. https://digitalcommons.ithaca.edu/music_programs/7903 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. TV\esda}:'; October 11 1996 8:15 p.m. Ford t-lall .AV\ditoriV\m Jthaca College GILBERT KALISH is among the most revered musicians active today. Equally adept as solo pianist, collaborative artist, and educator, he exerts a profound influence on the musical community. Kalish commands an extraordinaril broad repertoire, from the 18th century to the present, and his performances have established him as a major figure in American music making. Many of this century's most prominent composers have written new works with Kalish's communicative powers in mind. His concert tours have taken him across the United States and to many of the world's music capitals and university centers. A native New Yorker and graduate of Columbia University, Kalish studied with Leonard Shure, Isabella Vengerova, and Julius Hereford. He is a founding member of the Contemporary Chamber Ensemble and pianist since 1969 for the Boston Symphony Chamber Players. He also appears as a guest artist with such distinguished ensembles as the Juilliard Quartet and the New York Woodwind Quintet. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
9'; 13 November 30, Jazz Innovations, Part 1
Lim received his fonnal. training at Indiana University, where he studied with the legendary violinist ~d teacher Josef Gingold. While at Indiana, he won First Prize in the school's Violin Concerto Competition and served on the faculty as a Visiting Lecturer. Lim later studied cham~ ber music at the Juilliard School and taught there as an assistant to the Juilliard String Quartet. No PI CI"(.. C D :::n= Lim has recorded for DreamWorks, Albany Records, CR!, Bayer GI rc... C p-:t:F I ~ 02-9resents a Faculty Recital: Records, and Aguava New Music, and appears on numerous television and film soundtracks. He has been heard on NPR programs such as Performance Today and All Things Considered. Lim currently lives in Seattle with his wife, violist Melia Watras. He performs on a violin MELIA WATRAS, VIOLA made by Tomaso Balestrieri in Cremona, Italy in 1774. with 2005~2006 UPCOMING EVENTS Kimberly Russ, piano Information for events listed below is available at www.music. washington. edu Michael Jinsoo Lim, violin and the School ofMusic Events Hotline (206-685-8384). Ticketsfor events listed in Brechemin Auditorium (Music Building) and Walker Ames Room (Kane Hall) go on sale at the door thirty minutes before the •• performance~ Tickets for events in Meany Theater and Meany Studio Theater are available from the UW Arts Ticket Office, 206:543-4880, and at November 8, 2005 7:30 PM Meany THeater the box office thirty minutes before the performance. To request disability accommodation. contact the Disability Services Office at least ten days in advance at 206-543-6450 (voice); 206-543-6452 (lTY); 685-7264 (FAX); or [email protected] (E-mail). -
An Arthur Berger
AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962. -
Journal of the American Viola Society Volume 14 No. 2, 1998
JOURNAL ofthe AfrfERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOI.A SOCIETY Association for the Promotion ofViola Performance and Research Vol. 14 No.2 1998 FEATURES 19 The Violin Making School of America Interview of Peter Paul Prier By David Dalton Viola Pedagogy: The Art and Value of Warming-Up By Christine Rutledge Music Insert: "Invocation for Violin and Viola" by Robert Mann AVS Chapters OFFICERS Peter Slowik President School of Music Northwestern University Evanston, IL 60201 (847) 491-3826 [email protected] William Preucil Vice President 317 Windsor Dr. Iowa City, IA 52245 Catherine Forbes Secretary 1128 Woodland Dr. Arlington, TX 76012 Ellen Rose Treasurer 2807 Lawtherwood Pl. Dallas, TX 75214 Thomas Tafton Past President 7511 Parkwoods Dr. Stockton, CA 95207 BOARD Victoria Chiang Donna Lively Clark Paul Coletti Ralph Fielding Pamela Goldsmith Lisa Hirschmugl John Graham Jerzy Kosmala Jeffrey Irvine Karen Ritscher Christine Rutledge Pamela Ryan Juliet White-Smith EDITOR, JAVS David Dalton Brigham Young University Provo, UT 84602 PAST PRESIDENTS Myron Rosenblum (1971-1981) Maurice W. Riley (1981-1986) David Dalton (1986-1990) Alan de Veritch (1990-1994) HONORARY PRESIDENT William Primrose ~Section of the International£ Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. ]AVSwelcomes letters and articles from its readers. Editorial Office: School of Music Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Ben Dunford Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] ]AVS appears three times yearly. -
CCMA Coleman Competition (1947-2015)
THE COLEMAN COMPETITION The Coleman Board of Directors on April 8, 1946 approved a Los Angeles City College. Three winning groups performed at motion from the executive committee that Coleman should launch the Winners Concert. Alice Coleman Batchelder served as one of a contest for young ensemble players “for the purpose of fostering the judges of the inaugural competition, and wrote in the program: interest in chamber music playing among the young musicians of “The results of our first chamber music Southern California.” Mrs. William Arthur Clark, the chair of the competition have so far exceeded our most inaugural competition, noted that “So far as we are aware, this is sanguine plans that there seems little doubt the first effort that has been made in this country to stimulate, that we will make it an annual event each through public competition, small ensemble chamber music season. When we think that over fifty performance by young people.” players participated in the competition, that Notices for the First Annual Chamber Music Competition went out the groups to which they belonged came to local newspapers in October, announcing that it would be held from widely scattered areas of Southern in Culbertson Hall on the Caltech campus on April 19, 1947. A California and that each ensemble Winners Concert would take place on May 11 at the Pasadena participating gave untold hours to rehearsal Playhouse as part of Pasadena’s Twelfth Annual Spring Music we realize what a wonderful stimulus to Festival sponsored by the Civic Music Association, the Board of chamber music performance and interest it Education, and the Pasadena City Board of Directors. -
2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland
2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland PRESENTER & COMPOSER BIOS updated April 24, 2015 Adams, Bill J. Bill J. is a belting masterclass presenter and Art Song specialist who serves as the Coordinator of Performing Arts and associate professor at Nova Southeastern University in Fort Lauderdale FL. He is also a principal investigator for Music Counts: A Specialized Treatment Program for Children with Autism. New York credits include: The Rape of the Lock (Ariel), The Bartered Bride (VaŠek), Die ZauberflÖte (Monostatos), Madama Butterfly (Goro). Regional credits include: The Most Happy Fella (Ciccio) with William Michals, Cannibal: the Musical (Loutzenheiser), A View from the Bridge (Mike), Albert Herring (Mayor), Assassins (Zangara), The Coronation of Poppea (Arnalta), Falstaff (Dr. Cajus), Manon (Guillot), and One Flew Over the Cuckoo’s Nest (Cheswick). Adams, Daniel C. Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He currently serves as the College Music Society Board Member for Composition and previously as South Central Chapter President. Adams is the composer of numerous published musical compositions and the author of many articles, encyclopedia entries and reviews on various music- related topics. His most recent article, “Indeterminate Passages as Temporal and Spatial Components of Three Selected Compositions for Snare Drum Ensemble” was published in the Fall 2013 issue of the Journal of the National Association of Wind and Percussion Instructors. -
GUEST ARTIST RECITAL the Mann Quartet Robert Mann, Violin Peter
GUEST ARTIST RECITAL The Mann Quartet Robert Mann, violin Peter Winograd, violin Nicholas Mann, viola David Geber, cello Wednesday, March 13, 2013 8:00 p.m. Lillian H. Duncan Recital Hall PROGRAM Clarinet Quintet in A Major, op. 146 Max Reger Moderato ed amabile (1873-1916) Vivace Largo Poco allegretto Michael Webster, clarinet Dover String Quartet Bryan Lee, violin Joel Link, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello INTERMISSION Serenade No. 1 in D Major, op. 11 Johannes Brahms Allegro molto (1833-1897) Scherzo: Allegro non troppo (arr. Chris Nex) Adagio non troppo Menuetto I; Menuetto II Scherzo: Allegro Rondo: Allegro Leone Buyse, flute Robert Atherholt, oboe Michael Webster, clarinet Benjamin Kamins, bassoon Matthew Berliner, horn Eric Halen, violin Kenneth Goldsmith, violin Sheldon Person, viola Jesse Christeson, cello Ian Hallas, double bass The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking of photographs and use of recording equipment are prohibited. PROGRAM NOTES Clarinet Quintet in A Major, Op. 146 . Max Reger Composers often leave a final work unfinished, but Max Reger was able to complete his clarinet quintet in December, 1915, make corrections and final refinements in April, 1916, and submit it to his publisher on May 1. He died of a sudden heart attack ten days later, May 11. Reger enclosed this note to the publisher: “Do not be alarmed at the length of the enclosed manuscript; this work really will not require appreciably more printed pages than, for example, Brahms’s Clarinet Quintet.” There is no doubt that he was think- ing of it as an homage to Brahms and also to Mozart, whose clarinet quintet shares with Reger’s the key of A major and a theme and variations as a finale. -
A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals
A GREAT WAVE IN THE EVOLUTION OF THE MODERN CELLIST: DIRAN ALEXANIAN AND MAURICE EISENBERG, TWO MASTER CELLO PEDAGOGUES FROM THE LEGACY OF PABLO CASALS by Oskar Falta B.Mus., Robert Schumann Hochschule, 2014 M.Mus., Royal Academy of Music, 2016 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Orchestral Instrument) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2019 © Oskar Falta, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals submitted by Oskar Falta in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Orchestral Instrument Examining Committee: Eric Wilson, Music Co-supervisor Claudio Vellutini, Music Co-supervisor Michael Zeitlin, English Languages and Literatures University Examiner Corey Hamm, Music University Examiner Jasper Wood, Music Supervisory Committee Member ii Abstract Pablo Casals (1876-1973) ranks amongst the most influential figures in the history of the violoncello. Casals never held a permanent teaching position, neither did he commit his teaching philosophy to paper. This thesis examines three selected aspects of expressive tools: intonation, vibrato, and portamento – as interpreted by Casals – and defines how they are reflected in methods of two cellists with first-hand access to Casals's knowledge: Diran Alexanian (1881-1954) and Maurice Eisenberg (1900-1972). The first chapter presents two extensive biographical accounts of these authors. -
Boston Symphony Orchestra Concert Programs, Summer, 1984, Tanglewood
m~ p. - . i j- fjffii V .*& - "lli s -» «*: W . mr jrr~r *hi W **VtitH°** "Bk . Less than a mile from Tanglewood . White Pines offers all of the carefree convenience of condominium living in truly luxurious contemporary in- White teriors. The White Pines buildings, four-season swimming pool, Har-Tru tennis courts and private beach on Stockbridge Bowl are all set in the Pines magnificence of a traditional French Provincial country estate. $180,000 country estate and up. Our model is open seven days a week. condominiums at Stockbridge P. O. Box 949 Dept. T Hawthorne St. Stockbridge MA 01262 (413)637-1140 or Reinholt Realty. Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Third Season, 1983-84 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. Michael H. Davis Thomas D. Perry, Jr. David B. Arnold, Jr. Archie C. Epps III William J. Poorvu J.R Barger Mrs. John H. Fitzpatrick Irving W. Rabb Mrs. John M. Bradley Mrs. John L. Grandin Mrs. George R. Rowland Mrs. Norman L. Cahners E. James Morton Mrs. George Lee Sargent George H.A. Clowes, Jr. David G. Mugar William A. Selke Mrs. Lewis S. Dabney Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Abram T. Collier, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. -
___CURRENT CV, Laura Elise Schwendinger CURRENT CV 2015
Laura Elise Schwendinger Professor of Composition Artistic Director, Contemporary Chamber Ensemble University of Wisconsin-Madison School of Music Main Office Phone: 608-263-1900; Fax: 608-262-8876 3561 Humanities, 455 North Park Street; Madison, WI 53706-1483 [email protected]; http://www.lauraschwendinger.com EDUCATION 1993 Ph.D. in Music, University of California at Berkeley Field of Study: Composition. Dissertation: Chamber Concerto. Advisor: Andrew Imbrie 1987 M.A., University of California at Berkeley. 1985 B.M., Boston Conservatory of Music. Composition major. 1981 San Francisco Conservatory of Music. Composition major. Principal teachers: Andrew Imbrie, Olly Wilson, John Thow, Larry Bell, John Adams. Additional studies with: Milton Babbitt, Martin Bresnick, Paul Chihara, Jacob Druckman, Donald Erb, Richard Felciano, Donald Martino, George Perle, Bernard Rands, Gunther Schuller, Joan Tower and Chinary Ung. HONORS, FELLOWSHIPS AND AWARDED COMMISSIONS March 2015 Artist Fellowship Residency MacDowell Colony for June/ July 2015 Feb. 2015 Artist Fellowship Residency, Tyrone Guthrie Center (for Summer 2016) Sept. 2014 League of American Orchestras and New Music USA and announce New Partnerships residency for Laura Schwendinger and the Richmond Symphony Orchestra. http://artsbeat.blogs.nytimes.com/2014/10/22/pairing-composers-and-orchestras-with-an-eye-on-younger- audiences/ http://www.americanorchestras.org/images/stories/press_releases/MusicAliveNewPartnershipsrelease.pdf Sept. 2014 Koussevitzky Music Foundation Commission from the Serge Koussevitzky Music Foundation in the Library of Congress, for the Chameleon Arts Ensemble of Boston. June 2014 Artist Fellowship Residency, Oberpfälzer Künstlerhaus, Schwandorf Germany July 2014 Artist Fellowship Residency, Yaddo Corp.; also in 2013, 2011, 2010, 2008, 2007, 2005 (Wait fellowship), 1996 August 2014 Artist Fellowship Residency, VCCA Auvillar, France Spring 2014 A Roger Shapiro Foundation grant, for CD.