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EW Hollywood Orchestra Opus Edition User Manual
USER MANUAL 1.0.6 < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION INFORMATION The information in this document is subject to change without notice and does not represent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2021. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] For technical support for products: http://www.soundsonline.com/Support < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION CREDITS PRODUCERS Doug Rogers, Nick Phoenix, Thomas Bergersen SOUND ENGINEER Shawn Murphy ENGINEERING ASSISTANCE Jeremy Miller, Ken Sluiter, Bo Bodnar PRODUCTION COORDINATORS Doug Rogers, Blake Rogers, Rhys Moody PROGRAMMING / SOUND DESIGN Justin Harris, Jason Coffman, Doug Rogers, Nick Phoenix SCRIPTING Wolfgang Schneider, Thomas Bergersen, Klaus Voltmer, Patrick Stinson -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
The "Lobgesang." a Comparison of the Original and Revised Scores Author(S): Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol
The "Lobgesang." A Comparison of the Original and Revised Scores Author(s): Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 29, No. 545 (Jul. 1, 1888), pp. 393-396 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3360757 Accessed: 06-02-2016 19:10 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 202.28.191.34 on Sat, 06 Feb 2016 19:10:08 UTC All use subject to JSTOR Terms and Conditions 1888. THE MUSICAL TIMES.-JuLY I, 393 (November 18, 1840) to Carl Klingemann in terms as THE MUSICAL TIMES thus:-- AND SINGING-CLASS CIRCULAR, " My ' Hymn of Praise' is to be performedat the end of this month for the benefit of old invalided 1888. JULY I, musicians. I am determined,however, that it shall not be produced in the imperfect form in which, THE " LOBGESANG." owing to my illness, it was given in Birmingham, so A COMPARISON OF THE ORIGINAL AND REVISED that makes me work hard. -
Flute Oboe Clarinet Basson Saxophone Trumpet French Horn
PROGRAM ECMS High School Wind Ensemble Personnel Tribute to Grainger, arr. Ragsdale Percy Aldridge Grainger Flute Trombone Andrew Bronco arr. Chalon Ragsdale Mary Ehrlinger Zachary Canning I. Country Gardens Alena Scott Tyler Dawe II. My Dark-Haired Maid Camryn Wlostowski III. The Gypsy’s Wedding Day Shaun Fitzgerald Justin Karnisky Oboe Michael McKenzie Claire Houston Aidan Ross Concertino Cécile Chaminade Samuel Stringer ed. Wilkins Alena Scott, flute soloist Clarinet Euphonium Sean Devlin Melissa Cannan Cole Karnisky Greg Lewandowski Peter Odhiambo Chuck Linn Graham His Yu Justyn Loney-Newman Jupiter Hymn Gustav Holst Rainna Frombgen arr. Lindsay Bronnenkant Tuba Lindsay Bronnenkant, conductor Basson Ziv Rapoport Briana Rafferty Ethan Smith Henry Stringer String Bass Saint and the City Jacob de Haan Saxophone Samuel Bowley Isabel Goldstein Samantha Kotz Gabriel Williams Percussion Cameron Connioto Angels Will Come Quincy Hilliard Trumpet Jared Emerson Evan Preston Tyler Hancock Felix Schneider Gabriel Foster Moving at the Speed of Sound Mark Lortz Wu Ryu Sean Watson French Horn Russian Sailors Dance Reinhold Glière Angelique Brewington arr. Anthony Susi SUMMER@EASTMAN June 20 – August 28, 2021 Join us for another summer of exceptional music making at Eastman, with special guest artists, Community Music School and collegiate faculty, and Summer Session program participants! Events are either free and open to the public or ticketed. Tickets are $10 (free for U/R or student ID holders) and are available at the door one hour before the concert start time. For more information about Summer@Eastman, please visit: www.esm.rochester.edu/summer ECMS High School Wind Ensemble Participant Concert July 23, 2021 11:00 a.m. -
The Romantic Trumpet Part Two
110 HISTORIC BRASS SOCIETY JOURNAL THE ROMANTIC TRUMPET PART TWO Edward H. Tarr Continued from Historic Brass Society Journal, volume 5 (1993), pages 213-61. The two-part series is an expansion of an article written for Performance Practice Encyclopedia. We thank Roland Jackson, editor of this forthcoming reference work, for permission to we this material in HBSJ. For a Conclusion to Part One, containinga list oferrata, please see followingthe endnotes for the current installment. Summary of Part One In Part One, the author first attempted to show the various types of trumpets, cornets, and flugelhorns, both natural and chromaticized, that existed before the advent of valves, together with their literature. Before there were valved trumpets, for example, natural trumpets, etc., were made chromatic by the technique of hand-stopping or by being fitted with slides or keys. He then showed how the first valved brass instruments—in particular trumpets, and to a lesser extent, comets—were accepted into musical circles. Introduction to Part Two In Part Two, it is the author's aim to raise the flag on a forgotten figure in brass history— one who was reponsible not only for the development ofboth the Vienna valve and the rotary valve, but also for the creation of the first solo compositions for the newly invented valved trumpet: Josef Kail (1795-1871), the first professor of valved trumpet at the Prague Conservatory (served 1826-1867). For this reason, the central part of this study will be devoted to works hitherto unknown, written for the trumpet (and to a lesser extent the cornet, flugelhom, horn, and trombone) during his time. -
Hilbert Circle Theatre
HILBERTCIRCLETHEATRE KRZYSZTOFURBAŃSKI MUSIC DIRECTOR | JACKEVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. proto ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community. -
9914396.PDF (12.18Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Vivaldi's Four Seasons
Vivaldi's Four Seasons Paul Dyer AO Artistic Director 2019 Australian Brandenburg Orchestra SYDNEY PROGRAM City Recital Hall Telemann Concerto for 4 Violins in G major, TWV 40:201 Friday 1 November 7:00PM Directed by Matthew Bruce, Baroque violin Saturday 2 November 2:00PM Telemann Ouverture-Suite in C major, Water Music, TWV 55:C3 (Matinee) Directed by Ben Dollman, Baroque violin Saturday 2 November 7:00PM i Ouverture Wednesday 6 November 7:00PM ii Sarabande. Die schlafende Thetis (The sleeping Thetis) Wednesday 13 November 7:00PM iii Bourée. Die erwachende Thetis (Thetis awakening) Friday 15 November 7:00PM iv Loure. Der verliebte Neptunus (Neptune in love) Parramatta (Riverside Theatres) v Gavotte. Die spielenden Najaden (Playing Naiads) Monday 4 November 7:00pm vi Harlequinade. Der scherzenden Tritonen (The joking Triton) vii Der stürmende Aeolus (The stormy Aeolus) MELBOURNE viii Menuet. Der angenehme Zephir (The pleasant Zephir) Melbourne Recital Centre ix Gigue. Ebbe und Fluth (Ebb and Flow) Saturday 9 November 7:00PM x Canarie. Die lustigen Bots Leute (The merry Boat People) Sunday 10 November 5:00PM Interval Vivaldi Le Quattro Stagioni (The Four Seasons), Op. 8 No. 1-4 Solo Baroque violin, Shaun Lee-Chen Concerto No. 1 La primavera (Spring), RV 269 i Allegro ii Largo iii Allegro Concerto No. 2 L’estate (Summer), RV 315 i Allegro non molto–Allegro ii Adagio–Presto–Adagio iii Presto Concerto No. 3 L’autunno (Autumn), RV 293 i Allegro ii Adagio molto iii Allegro Concerto No. 4 L’inverno (Winter), RV 297 i Allegro non molto ii Largo iii Allegro CHAIRMAN’S 11 Proudly supporting our guest artists. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word.