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Constellations Persichetti @ 100 and Music From
2015/16 Season: Constellations Persichetti @ 100 and Music from the Generation He Inspired 31ST SEASON 17 & 18 October, 2015 Curtis Institute of Music Philadelphia, PA Introduction: Vincent Persichetti @ 100 Vincent Persichetti was one of the most widely respected musicians of his generation. A prolific composer, brilliant educator and lecturer, and prodigious pianist, he composed more than 150 works in virtu- ally all genres and for virtually all performing media, while serving for 40 years on the faculty of the Juilliard School, many of them as chairman of the composition department. During his lifetime Persichetti influenced the musical lives of thou- sands of people from all walks of life, and his name came to signify a comprehensive musicianship virtually unparalleled among American composers. Countless young pianists were nurtured on his sonatinas and the Little Piano Book, while many other young instrumental students first experienced serious contemporary music through his works for band; church choirs turned to his Hymns and Respons- es for the Church Year as an inexhaustible resource, while many young composers have found his classic textbook Twentieth Century Harmony to be an indispensable tool; among professional soloists and conductors his sonatas, concertos, and symphonies stood among the masterworks of American music. Throughout his life Persichetti encouraged healthy, creative participation in music at all levels of proficiency, while shunning dogmas that advocated one composition- al approach at the expense of others. He was beloved and admired as a teacher, and was in great demand as a lecturer, using his comprehensive knowledge of the repertoire, extraordinary gift for improvisation, awe-inspiring piano technique, and mischievous wit to captivate audiences. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-10-2012 Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest Ithaca College Choir Lawrence Doebler Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choir and Doebler, Lawrence, "Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest" (2012). All Concert & Recital Programs. 4058. https://digitalcommons.ithaca.edu/music_programs/4058 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. THE THIRTY-FOURTH ANNUAL ITHACA COLLEGE CHORAL COMPOSITION CONTEST Sponsored jointly by Ithaca College and Roger Dean Publishing Company Ford Hall Saturday November 10th, 2012 7:00 pm ITHACA COLLEGE THIRTY-FOURTH ANNUAL CHORAL COMPOSITION CONTEST AND FESTIVAL Sponsored jointly by Ithaca College and Roger Dean Publishing Company Professor Lawrence Doebler founded the Choral Composition Festival in 1979 to encourage the creation and performance of new choral music and to establish the Ithaca College Choral Series. Six scores were chosen for performance this evening from entries submitted from around the world. The piece …to balance myself upon a broken world (September, 1918) (Amy Lowell) by Paul Carey was commissioned by Ithaca College and -
KPFA Folio
KPFAFOLIO July 1%9 FM94.1 Ibnfcmt. vacaimt lit KPFA July Folio page 1 acDcfton, «r thcConfcquencct of Qo'^irrrin^ Troops .n h popuroui STt^tr^laTCd Town, taken f ., A KPFA 94.1 FM Listener Supported Radio 2207 Shattuck Avenue Berkeley, California 94704 -mil: Im Tel: (415) 848-6767 ^^^i station Manager Al Silbowitz Administrative Assistant . Marion Timofei Bookkeeper Erna Heims Assistant Bookkeeper .... Mariori Jansen Program Director . Elsa Knight Thompson Promotion Assistant Tom Green i Jean Jean Molyneaux News Director Lincoln Bergman Public Affairs Program Producer Denny Smithson Public Affairs Secretary .... Bobbie Harms Acting Drama & Literature Director Eleanor Sully Children's Programming Director Anne Hedley SKoAfS g«Lt>eHi'o»i Chief Engineer Ned Seagoon [ Engineering Assistants . Hercules Grytpype- thyne, Count Jim Moriarty Senior Production Assistant . Joe Agos . TVt^Hi ttoopj a*c4_ t'-vo-i-to-LS, Production Assistants . Bob Bergstresser Dana Cannon Traffic Clerk Janice Legnitto Subscription Lady Marcia Bartlett »,vJi u/fUyi^elM*^ e«j M"^ K/c> Receptionist Mildred Cheatham FOLIO Secretary Barbara Margolies ^k- »76I i^t^-c«4>v i-'},ooPi M.aAci.«<< The KPFA Folio Pt-lO«tO Hm.lr<^*'rSuLCjCJt4^\f*JL ' ' "a^ cLcC, u>*A C**t". JblooA. July, 1969 Volume20, No. 7 ®1969 Pacifica Foundation All Rights Reserved The KPFA FOLIO is published monthly and is dislributed free as a service to the subscribers of this listener-support- ed station. The FOLIO provides a detailed schedule of J^rx, Ojt-I itl- K«.A^ +Tajy4;^, UCfA programs broadcast A limited edition is published in braille. »J Dates after program listings indicate a repeat broadcast KPFA IS a non-commercial, educational radio station which broadcasts with 59.000 watts at 94 1 MH ly^onday through Fnday Broadcasting begins at 7:00 am, and on V livi tV.t«< weekends and holidays at 8 00 am Programming usually iV AA cUa«.>5 -rtvMUo WeJc. -
A Performance Guide to George Rochberg's Caprice Variations For
A Performance Guide to George Rochberg’s Caprice Variations for Solo Violin by YUNG-YU LIN A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by YUNG-YU LIN 2020 A Performance Guide to George Rochberg’s Caprice Variations for Solo Violin YUNG-YU LIN Doctor of Musical Arts Faculty of Music University of Toronto 2020 Abstract The American composer George Rochberg’s Caprice Variations, composed in 1970, draws on a vast array of historical stylistic references from the Baroque to the modern musical periods. For Rochberg serialism, arguably the most influential compositional technique of the twentieth century, could no longer convey the full extent of what he wanted to express in his music. After the death of his son Paul in 1964, he determined to renew his musical language by returning to tonality, yet without abandoning a twentieth-century musical idiom. His Caprice Variations marks one of his first attempts to bring together the two polar opposite worlds of tonality and atonality. This one-and-a-half-hour-long work for solo violin is based on the theme from Paganini’s 24 Caprices for Solo Violin, Op.1, No. 24, and presents a wide range of technical challenges for the violinist. Since the piece is long, difficult to play, and now fifty years old, a performance guide to assist violinists is a useful contribution to the pedagogical literature. With a thorough analysis of the piece, and a consideration of both compositional and violin practice issues, as well as discussions with the original editor of the work and two violinists who have recorded it, ii my research will offer a complete performance guide for performers, advanced violin students, and violin teachers to assist them in achieving a deeper understanding of the work and a high level of artistic performance. -
2008 Convention Program Book
F6 Flute,HighWinds 36th Annual National Flute Association Convention August 7-10,2008 Kansas City, MO 2 nfaonline.org JIM WALKER DEPENDS ON YAMAHA. Congratulations on receiving the National Flute Association Lifetime Achievement Award ©2008 Yamaha Corporation of America. All rights reserved. www.yamaha.com nfaonline.org 3 2 Shaker Road #D107 · Shirley, MA 01464 USA www.burkart.com See us at booths 209 & 211 4 nfaonline.org Welcome to Kansas City, F6 Flute—High Winds!— the 36th annual convention of the National Flute Association our officers, board of directors, CEO Phyllis YPemberton, and her staff welcome you and are delighted that you are here. We look forward to greeting each of you! We are grateful to program chair Jonathan Patti Adams Keeble, who has spent the past two years creating this high-energy whirlwind of events for all of us to enjoy. His imaginative planning, organizational skills, and great humor through it all have been wondrous to behold. We thank him, the local volunteer committee in Kansas City, and all of the NFA’s innumerable and indefatigable volunteer committees who, with their remarkable work throughout the year, have made this convention possible. Have you ever experienced the exhibit hall at our conventions? It is an amazing F6 vortex of sights and sounds, with displays from the world’s finest flute manufacturers, music publishers, and innovators. These exhibitors are showcasing for you the latest technological marvels of our industry, and we are grateful to each of them for their participation. In the exhibit hall, you’ll also find my N’Awlins neighbors, exhibits manager extraordinaire, Jim Magee, and his assistant, Patti McCleney. -
Gerhard Samuel Collection ARS.0049
http://oac.cdlib.org/findaid/ark:/13030/kt8779s460 No online items Guide to the Gerhard Samuel Collection ARS.0049 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Gerhard Samuel ARS.0049 1 Collection ARS.0049 Descriptive Summary Title: Gerhard Samuel Collection Dates: 1940-2007 Collection number: ARS.0049 Creator: Samuel, Gerhard Collection size: 104 boxes: 695 reels ; 889 audiocassettes ; 10 DATs ; 13 phonogram discs ; 5 compact discs ; 19 CD-Rs ; 11 videocassettes ; 1 DVD-R ; 26 computer discs ; approximately 5 boxes of photographs, film, microfilm, and slides. Remainder are paper files. Repository: Archive of Recorded Sound Abstract: Papers and recordings from American conductor and composer Gerhard Samuel (1924-2008), particularly from his years conducting the Oakland Symphony, Minneapolis Symphony, and University of Cincinnati. Language of Material: Multiple languages Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Gerhard Samuel Collection, ARS-0049. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The Gerhard Samuel Collection was donated to the Stanford Archive of Recorded Sound by Erica Wilhelm in 2009. -
Haddonfield-TPC Tip Sheet.PMD
ROSSEN MILANOV, Music Director DANIEL DORFF, Composer-In-Residence © 1997, 2000 by Symphony In C and Theodore Presser Company. Limited permission is granted to reproduce this document, without alteration, for educational use only. SUGGESTIONS FOR PREPARING ORCHESTRAL SCORES AND PARTS 1) Since conductors read a score from 3-4 feet away, it is essential to produce scores large enough to read comfortably in rehearsal and performance. If you need to print small staffs to fit the pages onto your letter-size printer, then your copies should be enlarged. It is essential that the conductor can clearly see time signatures, notes, and all other words and symbols, so plan your choice of noteheads and type sizes well. 2) Scores must be printed on both sides of the page, bound either with a plastic spiral or stapled into a book-like format. 3) Instruments need to be clearly labeled at the left margin of the score, and staves for pairs of instruments must always be clearly labeled, including indications for a2, solo, etc. Tempo markings should use metronome indications whenever possible. 4) Orchestra scores are best notated with all instruments shown in their proper transposition. In transposed scores it is important to indicate whether Clarinets are in A or Bf, whether Trumpets are in Bf or C, and to label all other transposing instruments (including the use of Horns in bass clef). If you prefer to keep your scores in concert pitch, they must be clearly marked as such. 5) It is distracting to conduct a score when every page has a different staff setup. -
Van Cott Information Services (Incorporated 1990) Offers Books
Clarinet Catalog 9a Van Cott Information Services, Inc. 02/08/08 presents Member: Clarinet Books, Music, CDs and More! International Clarinet Association This catalog includes clarinet books, CDs, videos, Music Minus One and other play-along CDs, woodwind books, and general music books. We are happy to accept Purchase Orders from University Music Departments, Libraries and Bookstores (see Ordering Informa- tion). We also have a full line of flute, saxophone, oboe, and bassoon books, videos and CDs. You may order online, by fax, or phone. To order or for the latest information visit our web site at http://www.vcisinc.com. Bindings: HB: Hard Bound, PB: Perfect Bound (paperback with square spine), SS: Saddle Stitch (paper, folded and stapled), SB: Spiral Bound (plastic or metal). Shipping: Heavy item, US Media Mail shipping charges based on weight. Free US Media Mail shipping if ordered with another item. Price and availability subject to change. C001. Altissimo Register: A Partial Approach by Paul Drushler. SHALL-u-mo Publications, SB, 30 pages. The au- Table of Contents thor's premise is that the best choices for specific fingerings Clarinet Books ....................................................................... 1 for certain passages can usually be determined with know- Single Reed Books and Videos................................................ 6 ledge of partials. Diagrams and comments on altissimo finger- ings using the fifth partial and above. Clarinet Music ....................................................................... 6 Excerpts and Parts ........................................................ 6 14.95 Master Classes .............................................................. 8 C058. The Art of Clarinet Playing by Keith Stein. Summy- Birchard, PB, 80 pages. A highly regarded introduction to the Methods ........................................................................ 8 technical aspects of clarinet playing. Subjects covered include Music ......................................................................... -
Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled -
Faculty Recital Series Amanda Sage Program
The D’Angelo Department of Music at Mercyhurst University presents Faculty Recital Amanda Sage, flute Elizabeth Etter, piano Walker Recital Hall Wednesday, October 7, 2020 8:00pm www.mercyhurst.edu/music PROGRAM Flute Concerto in D major “Il Gardellino”, RV 428 Antonio Vivaldi (1678-1741) I. Allegro II. Cantabile III. Allegro Sur L’eau (“On the Water”) for flute and piano Philippe Gaubert (1879-1941) Woodland Reverie for solo flute Daniel Dorff (b. 1951) Mountain Air for piccolo and piano Steven Tung and Victor Wong As the Clouds Parted for alto flute and piano Phyllis Avidan Louke (b. 1954) I. Romance II. Gallop III. Lullaby IV. Scherzo V. Finale Flight of the Bumblebee Nikolai Rimsky-Korsakov from The Tale of Tsar Saltan (1844-1908) Pie in the Face Polka from “The Great Race” Henry Mancini (1924-1994) The use of recording devices is strictly prohibited. Please turn off and stow all electronic devices. Thank you. NOTES Antonio Vivaldi (also known as the red priest) was a master of the instrumental forms and genres of his time. Among his output are nearly 500 concertos, including both solo concertos and concertos written for different numbers of soloists in a variety of combinations. He was ordained a priest in 1703, but was also well known as a violinist. He was appointed violin teacher at the Ospedale della Pieta, a home for orphaned or illegitimate girls. Most of his concerti were written for his students there. His Flute Concerto in D major, RV 428 was published in a set of six in 1728. The concerto is nicknamed “Il Gardellino” (The Goldfinch) and is meant to depict bird-song, including trills, repeated notes, and arpeggios. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-16-2013 Concert: The Thirty-Fifth Annual Ithaca College Choral Composition Ithaca College Mark Foster Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College and Foster, Mark, "Concert: The Thirty-Fifth Annual Ithaca College Choral Composition" (2013). All Concert & Recital Programs. 2610. https://digitalcommons.ithaca.edu/music_programs/2610 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. THE THIRTY-FIFTH ANNUAL ITHACA COLLEGE CHORAL COMPOSITION Sponsored jointly by Ithaca College and Mark Foster Ford Hall Saturday November 16th, 2013 7:00 pm ITHACA COLLEGE THIRTY-FOURTH ANNUAL CHORAL COMPOSITION CONTEST AND FESTIVAL Sponsored jointly by Ithaca College and Mark Foster Professor Lawrence Doebler founded the Choral Composition Festival in 1979 to encourage the creation and performance of new choral music and to establish the Ithaca College Choral Series. Six scores were chosen for performance this evening from the entries submitted from around the world. The piece Journey to Ithaca by Ithaca College Alumnus Dominick Diorio was commissioned by Ithaca College and will be premiered by the Ithaca College Choir this evening. Previously commissioned works: 1979 Vincent Persichetti Magnificat and Nunc Dimittis 1980 Samuel Adler Two Shelley Songs 1981 Karel Husa Every Day 1982 William Schuman Esses 1983 Dan Locklair Break Away 1984 Eugene Butler Eternity and Time 1985 Iain Hamilton The Convergence 1986 Ellen Taafe Zwilich Thanksgiving Song 1987 Richard Wernick The Eleventh Commandment 1988 Peter Schickele Songs I Taught My Mother 1989 Thomas Pasatieri Three Mysteries for Chorus 1990 Norman Dello Joio The Quest 1991 Augusta R. -
Daniel Concertino
Concertino for Flute and Orchestra (or Piano) Composed for Jasmine Choi’s premiere on the 2018 NFA concerto gala, Dorff’s CONCERTINO is a 10-minute showpiece full of flash and theatricality, elegantly balanced with beauty and lyricism. The work is fully suitable for flute and piano recitals, while the orchestral version is easy to program, Daniel even when rehearsal time is limited. More Flute & Piano Music DORFF by DANIEL DORFF For Elise for Flute and Piano Concertino Commissioned by flutist Cindy Anne Broz in celebration of her granddaughter Elise, Dorff’s FOR ELISE is a portrait of a delightful 3-year-old, as well as a recital piece in the slow-fast model of the French conservatory for Flute and Orchestra (or Piano) repertoire. The main body of the work is an exuberant 6/8 rondo, in which playful yet challenging episodes lead into a recurring jazz waltz. Snow Angel for Flute and Piano Solo Part with Piano This gentle 5-minute memorial was commissioned by flutist Ray-Michael Kauffman in remembrance of his mother, who was very much a snow-loving angel. Its tender dialog is preceded by three rings on a triangle played by the flutist, and it concludes with three poignant triangle strokes played by the pianist (or heard from offstage). Sonata (Spirit of the Hudson) for Bass Flute and Piano Peter Sheridan’s commission for a bass flute sonata led Dorff’s imagination straight to the Hudson River. Inspired by the instrument’s broadly streaming richness, the composer’s thoughts were drawn to the mighty Hudson, unaware that Sheridan had grown up right there on an island just off Manhattan.