SASO Recordings Catalog October 18, 2016
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Song Played by the Beatles at the Cavern Club 1961-1963
PLAYLIST JUNE 10th 2012 This week’s show (and playlist) is a bit different. We will be spinning ONLY songs performed by The Beatles at The Cavern Club between the years 1961-1963. Hope ya dig it! Next Sunday (Fathers Day) Three hours of ALL McCartney music (with & without the Beatles) HOUR 1 SONG PLAYED BY THE BEATLES AT THE CAVERN CLUB 1961-1963 A Taste Of Honey (Paul) – PLEASE PLEASE ME 1963 Ain't She Sweet (John) – ANTHOLOGY 1 1994 Anna (John) – PLEASE PLEASE ME Baby It's You (John) – ANTHOLOGY 1 1994 Besame Mucho (Paul) – ANTHOLOGY 1Boys (Ringo) 2.14 Voice BREAK Chains (George) – PLEASE PLEASE ME Clarabella (Paul) – LIVE AT THE BBC 1995 Don't Ever Change (George/Paul) – LIVE AT THE BBC Glad All Over (George) – LIVE AT THE BBC Hello Little Girl (John) – ANTHOLOGY 1 RINGO - Hey Baby (Ringo) ROTOGRAVURE 1976 2.41 Voice BREAK Hippy Hippy Shake (Paul) – LIVE AT THE BBC Honeymoon Song (Paul) – LIVE AT THE BBC I Call Your Name (John) PAST MASTERS ----------------- I Forgot To Remember To Forget (George) – LIVE AT THE BBC I'm Gonna Sit Right Down And Cry (John)– LIVE AT THE BBC Johnny B.Goode (John) – LIVE AT THE BBC Kansas City (Paul) – LIVE AT THE BBC Keep Your Hands Off My Baby (John) – LIVE AT THE BBC Lend Me Your Comb (John) – ANTHOLOGY 1 Like Dreamers Do (Paul) – ANTHOLOGY 1 2.33 Voice BREAK Long Tall Sally (Paul) ) – ANTHOLOGY 1 Love Of The Loved (Paul) Decca TAPES 1962 Lucille (Paul) Wings Glasgow LIVE 1979 Matchbox (Paul `93) SOUNDCHECK Memphis (John) Decca TAPES Money (John) – Sweden RADIO 1 LIVE 1963 Mr. -
Atto Secondo
ATTO SECONDO SCENA PRIMA Sipario chiuso Descrizione della scena La presidentessa di una importante società di marketing, con appoggi rilevanti a livello politico, parla al telefono con il direttore di un'importante rete televisiva. E' seduta davanti alla sua scrivania. Indossa una base nera, una giacca avvitata e un cappello a tesa larga con un foulard annodato intorno alla tesa Personaggi: attrice Attitudini: recitazione Sottofondo musicale da decidere LUCI A GIORNO Apertura sipario Presidentessa (Parla al telefono)Sì, ciao… va bene dai, basta smancerie… ascoltami bene, devo chiederti il solito favore… Va bene, va bene… lo so che sei contento di farmi un favore… ma basta!… cos’è questo rumore, che fai scodinzoli? Allora, questo favore… sì, certo, è un onore per te ma… zitto!… Sì, va bene, sono la migliore di tutte. Allora… ho qui una lista di nomi, di scocciatori che vogliono calcare le scene: teatro... televisione… vedi tu!Attori? Ma che ne so! Sono amici di amici, parenti stretti e lontani, cugini di zii di secondo grado eccetera… Allora (guardando una lista di nomi che ha in mano)segnati questi nomi: Repetti Gianfranco e Fabri Federica. Vorrebbero fare i carabinieri in una fiction… Quale fiction? Non so, quante ce n’è sui carabinieri? Dieci, venti? Ne basta una… Appuntati o marescialli? Ma che caspita ne so! Dai, sono amici del ministro che mi deve dare dei finanziamenti.. Se va bene una fiction sulla guardia di finanza? Mah, non so… credo di sì… Ecco, uno finanziere e uno pompiere… Hai solo una parti da cantanti e ballerini? Va bene dai, fa lo stesso. -
1Guitar PDF Songs Index
Material on Guitar Website Reference Beginning Guitar Music Guitar Cover Beginning Chords Fingerpicking Bass Runs for Guitar Guitar Christmas Song List Guitar Care Guitar PDF Song Index 1/4/2017 Good Reader Web Downloads to Goodreader How to Use Goodreader Downloading Files to the iPad from iTunes Saving Your Internet Passwords Corrected Guitar and PDF 509 Songs 1/4/2017 A Bushel and a Peck Bad Moon Rising A White Sport Coat Ballad of Davy Crockett All I Ask of You Ballad of Green Berets All My Ex’s Live in Texas Battle Hymn of Aging All My Lovin’ Be Our Guest All My Trials Beautiful Brown Eyes Always On My Mind Because of You Am I That Easy to Forget Beep Beep Amanda - bass runs Beer for My Horses + tab Amazing Grace - D Begin the Beguine A America the Beautiful Besame Mucho American Pie Beyond the Reef Amor Big Rock Candy Mountain And I Love Her Blame It On Bossa Nova And I Love You So Blowin’ in the Wind Annie’s Song Blue Bayou April Love Blue Eyes Crying in the Rain - D, C Aquarius Blue Blue Skies Are You Lonesome Tonight Blueberry Hill Around the World in 80 Days Born to Lose As Tears Go By Both Sides Now Ashokan Farewell Breaking Up Is Hard to Do Autumn Leaves Bridge Over Troubled Water Bring Me Sunshine Moon Baby Blue D, A Bright Lights Big City Back Home Again Bus Stop Bad, Bad Leroy Brown By the Time I Get to Phoenix Bye Bye Love Dream A Little Dream of Me Edelweiss Cab Driver Eight Days A Week Can’t Help Falling El Condor Pasa + tab Can’t Smile Without You Elvira D, C, A Careless Love Enjoy Yourself Charade Eres Tu Chinese Happy -
Wolfgang Amadeus Mozart
Saturday, September 8 1979 Arts Guild Fair, Central Park, Northfield Overture to the Magic Flute (Wolfgang Amadeus Mozart) Finlandia (Jean Sibelius) London Suite (Eric Coates) Country Gardens (Percy Grainger) Berceuse and FInale- Firebird (Igor Stravinsky) Dance Rhythms (Wallingford Riegger) Simple Gifts (Aaron Copland) Hoedown (Aaron Copland) August 23, 1986 Carleton College Concert Hall Carneval Overture (Antonin Dvorak) Valse Triste (Jan Sibelius) Konzertstuck for Four Horns and Orchestra Wedding Day at Troldhaugen (Edvard Grieg) Highlights from Showboat (Jerome Kern/Oscar Hammerstein) Why Do I Love You? Can’t Help Lovin Dat Man You Are Love - soloist- Myrna Johnson The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) August 28, 1986 Fairbault Junior High Auditorium- 7:30 pm Carneval Overture (Antonin Dvorak) Valse Triste (jan Sibelius) Konzertstuck for Four Horns and Orchestra Prelude to Act III of Lohengrin First Movement from Violin Concerto no. 3 in G, K216 (W.A. mozart) The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) Saturday, May 14, 1994 United Methodist Church, Northfield- 2:30pm Northfield Cello Choir (Directed by Stephen Peckley): Pilgrim’s Chorus (Richard Wagner) Sarabande and Two Gavottes (J.S. Bach) Red Rose Rag (Traditional) Suite for Strings in Olden Style from Holberg’s Time, Op.40 (Edvard Grieg) Prelude: Allegro Vivace Sarabande: Andante Rigaudon: Allegro Con Brio Geraldine Casper- violin solo Paul Tarabek- viola solo Concerto in D Major for Cello and Orchestra (Josef Haydn) -
University of Oklahoma
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 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. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities. -
Brass Chamber Music Library
B12.2c - Two Trombones 1 Locke One Dozen Duets 2 Lassus Two Fantasias 3 Hidas Intro & Fughetta 4 Bach/Miller Brass Duet Notebook B12.2f - Mixed Duets 1 Bach Invention #3 101.00 2 Bach Invention #13 101.00 B12.3a - Trumpet Trios 1 James Six Fanfares 300.00 Editions Marc Reift 2 arr Lichmann Trumpet Sonatas 300.00 manu 3 Nehlybel Musica Festiva 300.00 manu 4 arr Stewart Intrada 300.00 manu 5 Britten Fanfare St Edmundsbury 3000.00 Everyone reads score. 6 Kaisershot Tableau Royale 3000.00 8th Note 7 Kaisershot Solemnis Elegiac 3000.00 8th Note 8 Kaisershot Three and three quarters 3000.00 8th Note 9 Kaisershot Triplet Trove 3000.00 8th Note B12.3b - Horn Trios 1 Schneider 18 Trios 030.00 International 2 Wurm 30 trios 030.00 King 3 Nehlybel Musica Festiva 030.00 Cim 4 Shaw Tripperies 030.00 Hornists Nest 5 Walshe Divertimento #2 030.00 Hornists Nest 6 Various 30 selected works 030.00 Belwinn Mills 7 Stich 20 horn trios 030.00 Edition KW 8 Shaw Bach Trios 030.00 Hornists Nest 9 Mozart 3 Mozart Trios 030.00 8th Note # Kaisershot Three and three quarters 030.00 8th Note ## Kaisershot Marche Heroique 030.00 8th Note B12.3c - 3 Trombones 1 Byrd/Horton Carman's Whistle 003.00 Cim 2 Nehlybel Musica Festiva 003.00 Cim 3 Shaw Tripperies 003.00 Hornists Nest 4 Solomon Three Tableaux 003.00 Southern 5 arr Sauer Music fm the Renaissance 003.00 WIM 6 Hidas Interludio 003.00 Edito Musica Budapest 7 arr Christiansen 3 Chorale Preludes 003.00 No Score 8 arr Ostrander Suite for 3 Tbns 003.00 Edition Musicus 9 Kaisershot Marche Heroique 003.00 8th Note 8/22/17 -
Senior Recital: Xu Xiao, Viola
Senior Recital: Xu Xiao, Viola 20th April, Friday, 6pm, Conservatory Concert Hall _______________________________________________________ JOHANNES BRAHMS (1833-1897) Brahms' Sonata For cello and piano No. 1 in E minor, Op. 38 ( Viola Transcription) l. Allegro non troppo ll. Allegretto quasi Minuetto lll. Allegro INTERMISSION (10’) PAUL HINDEMITH (1895-1963) Der Schwanendreher l. "Zwischen Berg und tiefem Tal" ll. "Nun laube, Lindlein, laube!“ lll. “Seid ihr nicht der schwanendreher” Program Notes: Johannes Brahms (1833-1897) Brahms' Sonata No. 1 in E minor, Op. 38 is the first of two sonatas for piano and cello. It was begun in 1862 during Brahms' stay in the mountain village of Bad Munster am Stein-Ebernburg, where he wrote the first two movements and an Adagio movement, which was later dropped. After the existing finale was added in 1865, Brahms dedicated the completed sonata to his friend Josef Gansbacher, an amateur cellist and professor at the Singing Akademie in Vienna. The deep sonorities and the haunting melodies of the Allegro non troppo create a mood throughout the movement that is melancholic and sometimes wistful. The opening theme is a beautiful melody which rises from the depths of the cello's low E, soars for a few moments, then wanders its way back down the G and C strings to give way to the piano entrance. Brahms uses chromaticism to charm in the Allegretto quasi Minuetto. Chromatic melodies in F-sharp minor and A major sweep through the cello line, creating appropriately edgy dissonances on the strong beats of the measure. Sighing figures played three times in succession make up the only asymmetrical phrases in the entire piece. -
School Ofmusic
SHEPHERD SCHOOL CHAMBER ORCHESTRA r LARRY RACHLEFF, music director JAMES DUNHAM, viola Saturday, September 27, 2003 8:00 p.m. Stude Concert Hall RICE UNNERSITY School~ ofMusic f PROGRAM .. • • Suite No. 2 for Small Orchestra Igor Stravinsky y , Marche (1882-1971) Valse Polka Galop Der Schwanendreher Paul Hindemith Zwischen Berg und tiefem Tal. (1895-1963) Langsam - Maf]ig bewegt, mit Kraft Nun laube, Lindlein, laube. Sehr ruhig - Fugato Variationen: Seid ihr nicht der Schwanendreher? Maf]ig schnell James Dunham, soloist ... INTERMISSION Symphony No.] in C Major, Op. 21 Ludwig van Beethoven Adagio molto - Allegro con brio (1770-1827) ,. Andante cantabile con moto Menuetto. Allegro molto e vivace Finale. Allegro molto e vivace The reverberative acoustics of Stude Concert Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Double Bass (cont.) Trumpet r Maureen Nelson, Andrew Stalker Ryan Gardner concertmaster Carl Lindquist i Brittany Boulding Flute James McClarty Jacqueline Metz Michael Gordon Christopher Scanlon Eden MacAdam-Somer Andrea Kaplan Zebediah Upton Tereza Stanis/av Elizabeth Landon Virginie Gagne Trombone Piccolo Michael Clayville Violin lI Michael Gordon Steven Parker , Martin Shultz, Andrea Kaplan l principal Tuba Maria Evola Oboe Aubrey Ferguson • Angela Millner Erik Behr Jeremy Blanden Nicholas Masterson Harp Turi Hoiseth Sheila McNally Megan Levin Nilvfei Sonja -
Early Music Influences in Paul Hindemith's Compositions for the Viola Domenico L
James Madison University JMU Scholarly Commons Dissertations The Graduate School Fall 2014 Early music influences in Paul Hindemith's Compositions for the Viola Domenico L. Trombetta James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Trombetta, Domenico L., "Early music influences in Paul Hindemith's Compositions for the Viola" (2014). Dissertations. 5. https://commons.lib.jmu.edu/diss201019/5 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Early Music Influences in Paul Hindemith’s Compositions for the Viola Domenico Luca Trombetta A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2014 To my wife Adelaide ii CONTENTS DEDICATION…………………………………………………………………………….ii LIST OF MUSICAL EXAMPLES……………………………………………………….iv LIST OF FIGURES………………………………………………………………………vi ABSTRACT……………………………………………………………………………..vii INTRODUCTION………………………………………………………………………...1 I. The Origins of Hindemith’s Interest in Early Music………………………………….5 II. The Influence of Bach’s D-Minor Chaconne for Solo Violin on Hindemith’s Viola Sonatas op. 11, no.5 and op. 31, no.4………………………………………………..14 III. Viola Concerto Der Schwanendreher………………………………………………..23 IV. Trauermusik for Viola and Strings…………………………………………………..35 CONCLUSION…………………………………………………………………………..42 BIBLIOGRAPHY………………………………………………………………………..45 APPENDICES…………………………………………………………………………...48 A. Musical Examples B. Figures iii Musical Examples 1a Hindemith, Solo Viola Sonata Op. 11, No. 5, movt. IV (In Form und Zeitmass einer Passacaglia), Theme…………………............................................49 1b Bach, Chaconne, Theme………………………………………………………....49 1c Hindemith, Solo Viola Sonata Op. -
Boston Symphony Orchestra Concert Programs, Season 86, 1966
(M 1^ / i (^ L, r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY <f HENRY LEE HIGGINSON th ki 12 *£?£* 1V -7 ^r^^s. /> £^*5S^ *\ W,\ S EIGHTY-SIXTH SEASON 1 966- 1 967 EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the early primitive and the later sophisticated hunting horn, its value in the use of Fanfares was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One of the first orchestral uses came in 1717 when Handel included the French horn in his score of the "Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modern symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. Wc respectfully invite your inquiry CHARLES H. WATKINS 8c CO. Richard P. Nyquist — Charles G. Carleton 0BRI0N, RUSSELL 8c CO. 147 MILK STREET BOSTON. MASSACHUSETTS Insurance of Every Description Telephone 542-1250 - (i EIGHTY-SIXTH SEASON, 1 9 6 6 1 9 7 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. -
Schumann-Masters-Report
Copyright by Scott Charles Schumann 2011 The Report Committee for Scott Charles Schumann Certifies that this is the approved version of the following report: Interpreting the Mourning Process Through Hindemith’s Trauermusik APPROVED BY SUPERVISING COMMITTEE: Supervisor: David Neumeyer James Buhler Interpreting the Mourning Process Through Hindemith’s Trauermusik by Scott Charles Schumann, B.Music Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin May 2011 Abstract Interpreting the Mourning Process Through Hindemith’s Trauermusik Scott Charles Schumann, M.Music The University of Texas at Austin, 2011 Supervisor: David Neumeyer Paul Hindemith traveled to London in 1936 intending to give the British premiere of his concerto for viola and chamber orchestra titled Der Schwanendreher on 22 January. The premiere – and much else – was put into question a few minutes before midnight on 20 January 1936, however, when King George V passed away. The next day, Hindemith worked from 11:00 A.M. – 5:00 P.M. composing Trauermusik [Music of Mourning] for solo viola and string orchestra as a tribute to the recently deceased King of England. Thus, the circumstances surrounding the compositional origin of this piece invite a discussion of mourning in both a historical and musical context. In this paper, I will touch on issues such as how mourning defines us as humans and how emotions associated with mourning can be represented in music and experienced by the listener. I will illustrate how mourning helps us to understand the meaning of Trauermusik when it was written and first performed in 1936, following the death of iv King George V. -
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.