Flute Concerto (Symphonic Tale), Op
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Andre Jolivet's Fusion: Magical Music, Conventional Lyricism, and Japanese Influences Network Ot Create Concerto Pour Flute Et Piano and Sonate Pour Flute Et Piano
UNLV Theses, Dissertations, Professional Papers, and Capstones December 2016 Andre Jolivet's Fusion: Magical Music, Conventional Lyricism, and Japanese Influences Network ot Create Concerto Pour Flute et Piano and Sonate Pour Flute et Piano Kelly A. Collier University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Education Commons, and the Music Commons Repository Citation Collier, Kelly A., "Andre Jolivet's Fusion: Magical Music, Conventional Lyricism, and Japanese Influences Network to Create Concerto Pour Flute et Piano and Sonate Pour Flute et Piano" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2856. http://dx.doi.org/10.34917/10083130 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ANDRÉ JOLIVET’S FUSION: MAGICAL MUSIC, CONVENTIONAL LYRICISM, AND JAPANESE INFLUENCES NETWORK TO CREATE CONCERTO POUR FLÛTE ET PIANO AND SONATE POUR FLÛTE ET PIANO By Kelly A. Collier Bachelor of Music University of Nevada, Las Vegas 1999 Master of Music California State University, Long Beach 2001 Master of Music University of Nevada, Las Vegas 2016 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2016 Copyright 2016 Kelly A. -
PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and -
Commemorative Concert the Suntory Music Award
Commemorative Concert of the Suntory Music Award Suntory Foundation for Arts ●Abbreviations picc Piccolo p-p Prepared piano S Soprano fl Flute org Organ Ms Mezzo-soprano A-fl Alto flute cemb Cembalo, Harpsichord A Alto fl.trv Flauto traverso, Baroque flute cimb Cimbalom T Tenor ob Oboe cel Celesta Br Baritone obd’a Oboe d’amore harm Harmonium Bs Bass e.hrn English horn, cor anglais ond.m Ondes Martenot b-sop Boy soprano cl Clarinet acc Accordion F-chor Female chorus B-cl Bass Clarinet E-k Electric Keyboard M-chor Male chorus fg Bassoon, Fagot synth Synthesizer Mix-chor Mixed chorus c.fg Contrabassoon, Contrafagot electro Electro acoustic music C-chor Children chorus rec Recorder mar Marimba n Narrator hrn Horn xylo Xylophone vo Vocal or Voice tp Trumpet vib Vibraphone cond Conductor tb Trombone h-b Handbell orch Orchestra sax Saxophone timp Timpani brass Brass ensemble euph Euphonium perc Percussion wind Wind ensemble tub Tuba hichi Hichiriki b. … Baroque … vn Violin ryu Ryuteki Elec… Electric… va Viola shaku Shakuhachi str. … String … vc Violoncello shino Shinobue ch. … Chamber… cb Contrabass shami Shamisen, Sangen ch-orch Chamber Orchestra viol Violone 17-gen Jushichi-gen-so …ens … Ensemble g Guitar 20-gen Niju-gen-so …tri … Trio hp Harp 25-gen Nijugo-gen-so …qu … Quartet banj Banjo …qt … Quintet mand Mandolin …ins … Instruments p Piano J-ins Japanese instruments ● Titles in italics : Works commissioned by the Suntory Foudation for Arts Commemorative Concert of the Suntory Music Award Awardees and concert details, commissioned works 1974 In Celebration of the 5thAnniversary of Torii Music Award Ⅰ Organ Committee of International Christian University 6 Aug. -
50Th Annual Concerto Concert
SCHOOL OF ART | COLLEGE OF MUSICAL ARTS | CREATIVE WRITING | THEATRE & FILM BOWLING GREEN STATE UNIVERSITY 50th a n n u a l c o n c e r t o concert BOWLING GREEN STATE UNIVERSITY Summer Music Institute 2017 bgsu.edu/SMI featuring the SESSION ONE - June 11-16 bowling g r e e n Double Reed Strings philharmonia SESSION TWO - June 18-23 emily freeman brown, conductor Brass Recording Vocal Arts SESSION THREE - June 25-30 Musical Theatre saturday, february 25 Saxophone 2017 REGISTRATION OPENS FEBRUARY 1ST 8:00 p.m. For more information, visit BGSU.edu/SMI kobacker hall BELONG. STAND OUT. GO FAR. CHANGING LIVES FOR THE WORLD.TM congratulations to the w i n n e r s personnel of the 2016-2 017 Violin I Bass Trombone competition in music performance Alexandria Midcalf** Nicholas R. Young* Kyle McConnell* Brandi Main** Lindsay W. Diesing James Foster Teresa Bellamy** Adam Behrendt Jef Hlutke, bass Mary Solomon Stephen J. Wolf Morgan Decker, guest Ling Na Kao Cameron M. Morrissey Kurtis Parker Tuba Jianda Bai Flute/piccolo Diego Flores La Le Du Alaina Clarice* undergraduate - performance Nia Dewberry Samantha Tartamella Percussion/ Timpani Anna Eyink Michelle Whitmore Scott Charvet* Stephen Dubetz, clarinet Keisuke Kimura Jerin Fuller+ Elijah T omas Oboe/Cor Anglais Zachary Green+ Michelle Whitmore, flute Jana Zilova* Febe Harmon Violin II T omas Morris David Hirschfeld+ Honorable Mention: Samantha Tartamella, flute Sophia Schmitz Mayuri Yoshii Erin Reddick+ Bethany Holt Anthony Af ul Felix Reyes Zi-Ling Heah Jamie Maginnis Clarinet/Bass clarinet/ Harp graduate - performance Xiangyi Liu E-f at clarinet Michaela Natal Lindsay Watkins Lucas Gianini** Keyboard Kenneth Cox, flute Emily Topilow Hayden Giesseman Paul Shen Kyle J. -
Red Note New Music Festival Program, 2013 School of Music Illinois State University
Illinois State University ISU ReD: Research and eData Red Note New Music Festival Music 2013 Red Note New Music Festival Program, 2013 School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/rnf Part of the Music Commons Recommended Citation School of Music, "Red Note New Music Festival Program, 2013" (2013). Red Note New Music Festival. 7. https://ir.library.illinoisstate.edu/rnf/7 This Book 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 Red Note New Music Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. calendar of events SUNDAY, MARCH 3, 2013 3 PM COMPOSER PRESENTATION CENTER FOR THE PERFORMING ARTS David Kirkland Garner centennial east building, room 229 2 - 2:50 pm the illinois state university wind symphony, conducted by daniel belongia, performs music composer david kirkland garner, winner of the by scott lindroth, john mackey, and paul dooley, composition competition, presents on his music as well as marcus maroney’s “rochambeau” (winner of the red note call for scores). COMPOSER Q&A - Tony Solitro MONDAY, MARCH 4, 2013 2-4 PM Kemp Recital Hall 4 - 5:30 pm KEMP RECITAL HALL composer tony solitro discusses his vocal music and career as a composer of opera and songs chicago-based spektral quartet leads a master class for string students in the illinois state university school of music string studio. TUESDAY, MARCH 5, 2013 8 PM KEMP RECITAL HALL MONDAY, MARCH 4, 2013 8 PM KEMP RECITAL HALL illinois state university faculty members and guest pianist blair mcmillen perform works of guest composer joan tower. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt. -
DELIUS BOOKLET:Bob.Qxd 14/4/08 16:09 Page 1
DELIUS BOOKLET:bob.qxd 14/4/08 16:09 Page 1 second piece, Summer Night on the River, is equally evocative, this time suggested by the river Loing that lay at the the story of a voodoo prince sold into slavery, based on an episode in the novel The Grandissimes by the American bottom of Delius’s garden near Fontainebleau, the kind of scene that might have been painted by some of the French writer George Washington Cable. The wedding dance La Calinda was originally a dance of some violence, leading to painters that were his contemporaries. hysteria and therefore banned. In the Florida Suite and again in Koanga it lacks anything of its original character. The opera Irmelin, written between 1890 and 1892, and the first attempt by Delius at the form, had no staged Koanga, a lyric drama in a prologue and three acts, was first heard in an incomplete concert performance at St performance until 1953, when Beecham arranged its production in Oxford. The libretto, by Delius himself, deals with James’s Hall in 1899. It was first staged at Elberfeld in 1904. With a libretto by Delius and Charles F. Keary, the plot The Best of two elements, Princess Irmelin and her suitors, none of whom please her, and the swine-herd who eventually wins is set on an eighteenth century Louisiana plantation, where the slave-girl Palmyra is the object of the attentions of her heart. The Prelude, designed as an entr’acte for the later opera Koanga, makes use of four themes from Irmelin.