DOCSLIB.ORG

Natalie Haas Cello Fiddling Workshop & Celtic Fiddling Jam Sessions February 25-26, 2012 Atlanta, Georgia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Natalie Haas Cello Fiddling Workshop & Celtic Fiddling Jam Sessions February 25-26, 2012 Atlanta, Georgia Natalie Haas Cello Fiddling Workshop & Celtic Fiddling Jam Sessions February 25-26, 2012 Atlanta, Georgia Cellist Natalie Haas is giving a two-day workshop for Atlanta area cellists on February 25-26. At the workshop, cellists will have the opportunity to learn traditional Celtic music by ear and learn about executing riffs on the cello and improvising. There will be jam sessions each evening opened to the public. For more information, please contact Marla Majett at 404-694-0661 or email: [email protected]. About Natalie Haas Vibrant young cellist Natalie Haas is a seasoned performer, recording artist, and teacher. She has joined master Scottish fiddler Alasdair Fraser for festival and concert appearances in Scotland, Spain, France, and throughout the U.S., including Celtic Connections Festival in Glasgow, Scotland, the Festival Interceltique de Lorient in France, and the Smithsonian Folklife Festival in Washington, D.C. "People may be familiar with the gorgeous, melodic cello sound," says Fraser, "but they're surprised to learn that the cello used to comprise the rhythm section in Scottish dance bands. Natalie Haas unleashes textures and deep, powerful rhythms that drive fiddle tunes." A graduate of the Juilliard School in New York City, Natalie discovered the cello at age nine. In addition to having extensive classical music training, she is accomplished in a broad array of fiddle genres. Her musical journey found purpose when she fell in love with Celtic music at the Valley of the Moon Scottish Fiddling School at age 11. Inspired and encouraged by director Fraser, she began to investigate the cello's potential for rhythmic accompaniment to fiddle tunes. Her and Fraser's duo release, Fire & Grace, was awarded the Best Album of the Year in the Scots Trad Music Awards 2004. A California native, Natalie has also toured extensively with Mark O'Connor as a member of his Appalachia Waltz Trio. The trio released a live CD, Crossing Bridges, to rave reviews in November 2004. She and O'Connor premiered his double concerto for violin and cello, "For The Heroes," with the Grand Rapids, East Texas, and San Diego Symphonies. Natalie has also performed and recorded with fiddler Natalie MacMaster and Irish super-group Solas. She teaches privately, in a workshop setting, and at various fiddle camps. Workshop Participants will be placed in groups according to their playing ability. Everything will be taught by rote rather than with sheet music. The classes are divided into three levels. Level I is for cellists who only feel comfortable playing in first position. Level 2 is for cellists with some shifting ability and can execute different types of bowing including slurs. Level 3 is for cellists who can play proficiently in all of the neck positions on the cello. Participants also have the opportunity to schedule private sessions with Natalie Haas on a first come, first serve basis. To schedule an individual lesson, please contact the workshop organizer, Marla Majett, by February 22. Jam Sessions The jam sessions are for local area fiddlers and friends and families of the workshop participants. This is an excellent way for the workshop participants to gain a better understanding of the sound and style of Celtic music. The participants will also have the opportunity to try out their new skill in the final jam session on Sunday, February 26. The jam sessions are free and open to the public. If you are interested in attending either jam sessions, please contact Marla Majett at [email protected]. Cost The fee for the workshop is $60 per person. The fee covers the cost of both days of the workshop. To register for the workshop, please contact Marla Majett either at mcmajett @me.com or call 404-694-0661. Schedule Saturday, February 25 10:45-12:00 Level 3 Session 12:45-2:00 Level 2 Session 2:15-3:30 Level 1 Session 7:00 Jam Session featuring local area fiddlers and Natalie Haas Sunday, February 26 12:45-2:00 Level 2 Session 2:15-3:30 Level 1 Session 3:45-5:00 Level 3 Session 5:00-6:00 Jam Session for participants and local fiddlers Location The workshop will be held at the Telephone Factory Lofts, Unit 305 on 828 Ralph McGill Boulevard, Atlanta, Georgia. .
Load more

Recommended publications
  • Margaret Madsen
    Sunday, May 14, 2017 • 9:00 p.m ​ Margaret Madsen Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Sunday, May 14, 2017 • 9:00 p.m. ​ DePaul Recital Hall Margaret Madsen, cello Senior Recital SeungWha Baek, piano PROGRAM Mark O’Connor (b. 1961); arr. Mark O’Connor Appalachia Waltz (1993) Hans Werner Henze (1926-2012) Serenade (1949) Adagio rubato Poco Allegretto Pastorale Andante con moto, rubato Vivace Tango Allegro marciale Allegretto Menuett Jean Sibelius (1865-1957) Theme and Variations for Solo Cello (1887) Intermission Samuel Barber (1910-1981) Cello Sonata, Op. 6 (1932) Adagio ma non troppo Adagio Allegro appassionato SeungWha Baek, piano Margaret Madsen • May 14, 2017 Program Johannes Brahms (1833-1897); arr. Alfred Piatti Hungarian Dances (1869) I. Allegro molto III. Allegretto V. Allegro; Vivace; Allegro SeungWha Baek, piano P.D.Q. Bach (1807-1742) Suite No. 2 for Cello All by Its Lonesome, S. 1b (1991) Preludio Molto Importanto Bourrée Molto Schmaltzando Sarabanda In Modo Lullabyo Menuetto Allegretto Gigue-o-lo Margaret Madsen is from the studio of Stephen Balderston. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Margaret Madsen • May 14, 2017 PROGRAM NOTES Mark O’Connor (b. 1961) Appalachia Waltz Duration: 4 minutes Besides recently becoming infamous for condemning the world-renowned late pedagogue Shinichi Suzuki as a fraud, Mark O’Connor is also known as an award-winning violinist, composer, and teacher. Despite growing up in Seattle, Washington, O’Connor always had a passion for Appalachian fiddling and folk tunes, winning competitions in fiddling, guitar, and mandolin as a teen and young adult.
    [Show full text]
  • ESO Highnotes November 2020
    HighNotes is brought to you by the Evanston Symphony Orchestra for the senior members of our community who must of necessity isolate more because of COVID-!9. The current pandemic has also affected all of us here at the ESO, and we understand full well the frustration of not being able to visit with family and friends or sing in soul-renewing choirs or do simple, familiar things like choosing this apple instead of that one at the grocery store. We of course miss making music together, which is especially difficult because Musical Notes and Activities for Seniors this fall marks the ESO’s 75th anniversary – our Diamond Jubilee. While we had a fabulous season of programs planned, we haven’t from the Evanston Symphony Orchestra been able to perform in a live concert since February so have had to push the hold button on all live performances for the time being. th However, we’re making plans to celebrate our long, lively, award- Happy 75 Anniversary, ESO! 2 winning history in the spring. Until then, we’ll continue to bring you music and musical activities in these issues of HighNotes – or for Aaron Copland An American Voice 4 as long as the City of Evanston asks us to do so! O’Connor Appalachian Waltz 6 HighNotes always has articles on a specific musical theme plus a variety of puzzles and some really bad jokes and puns. For this issue we’re focusing on “Americana,” which seems appropriate for Gershwin Porgy and Bess 7 November, when we come together as a country to exercise our constitutional right and duty to vote for candidates of our choice Bernstein West Side Story 8 and then to gather with our family and friends for Thanksgiving and completely spoil a magnificent meal by arguing about politics… ☺ Tate Music of Native Americans 9 But no politics here, thank you! “Bygones” features things that were big in our childhoods, but have now all but disappeared.
    [Show full text]
  • Edgar Meyer Biography by IMG Artists - IMG Artists Imgartists.Com
    Edgar Meyer Biography by IMG Artists - IMG Artists imgartists.com Edgar Meyer In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “...the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002. As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of “The Best of Edgar Meyer”. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album. As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world.
    [Show full text]
  • Multimedia-Catalog.Pdf
    Title Author Summary Year Format 1000 Years of Hmong History 51 minutes long Video Africa's Animal Oasis National Geographic 1992 Video African Music samite and Sona Audio Diabate Cassette African Story Magic Family Home Video a young boys magical journey to the woundrous roots of 1992 Video African folklore African Wildlife National Geographic 1986 Video Amazing Panda Adventure, The Family Entertainment 1996 Video Amazon: The Invisible People Dean Jeffereys & Doug Ferguson went t o Ecuador in 1986 to work with 1998 Video Michael Balson indigenous people. He has helped tribes secure and demark their ancestral land and saved more than a million hectares of pristine rainforest in reserves and National Parks. As a "barefoot diplomat" he has worked between governments, oil companies, the military and the people of the Amazon. He has been imprisoned and received death threats. The story of his work and the invisible people of the Amazon. Ambient Egypt Douglas Irvine New music from ancient Egyptian instrument replicas and 1998 CD surviving instrument specimens. American Indian Traditional Music American Indian Traditional Music Audio Cassette American Promise Video Act 6-9 American Promise Video Acts 1-5 American Promise, The Video Acts 6- 9 American Promise, The Video Acts 1 - 5 Amistad Steven Speilberg 1998 Video Among Friends: Viewing a Asian Art Museum 1996 Video Chinese Handscroll Education Dept. Among Friends: Viewing a Asian Art Museum 1996 Video Chinese Handscroll Among Friends: Viewing a Asian Art Museum 1996 Video Chinese Handscroll Education Dept. An American Tail Steven Spielberg 1987 Video Ancient Americas, The: Art From Edward James Olmos 1993 Audio sacred Landscapes Cassette Anne Frank: The Missing Chapter Melissa Muller ...a new biography of Anne Frank that include several 1998 Video stunning new revelations in the famous story of Anne Frank.
    [Show full text]
  • A Summer of Concerts Live on WFMT
    A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android.
    [Show full text]
  • YO-YO MA Cellist
    YO-YO MA Cellist Yo-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Mr. Ma strives to foster connections that stimulate the imagination and reinforce our humanity. Mr. Ma maintains a balance between engagements as a soloist with orchestras, recital and chamber music activities, and collaborations with a wide circle of artists and institutions. With partners from around the world and across disciplines, Mr. Ma creates programs that stretch the boundaries of genre and tradition to explore music-making as a means not only to share and express meaning, but also as a model for the cultural collaboration he considers essential to a strong society. Expanding upon this belief, in 1998 Mr. Ma established Silkroad, a collective of artists from around the world who create music that engages their many traditions. In addition to presenting performances in venues from Suntory Hall to the Hollywood Bowl, Silkroad collaborates with museums and universities to develop training programs for teachers, musicians, and learners of all ages. Silkroad has commissioned more than 100 new works from composers and arrangers around the globe, and released seven albums, most recently a collection of music recorded for The Vietnam War, a documentary film from Ken Burns and Lynn Novick. Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma seeks to expand the classical cello repertoire, frequently performing lesser-known music of the 20th century and commissions of new concertos and recital pieces.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]
  • 74TH SEASON of CONCERTS December 6, 2015 • National Gallery of Art Photo by Deanna Rose
    74TH SEASON OF CONCERTS december 6, 2015 • national gallery of art Photo by Deanna Rose 2 • National Gallery of Art PROGRAM 3:30 • West Building, West Garden Court Mark O’Connor, fiddle Cia Cherryholmes, banjo and vocals Forrest O’Connor, mandolin and vocals Kate Lee, violin and vocals Maggie O’Connor, fiddle Joe Smart, guitar Michael Rinne, bass An Appalachian Christmas The program will be announced from the stage. 74th Season • 3 The Musicians Mark O’Connor started his musical career as a prodigy, apprenticing with folk fiddler extraordinaire, Benny Thomasson, and Stéphane Grappelli, the genius of the jazz fiddle. Mark quickly developed into a master, composing such instant classics as “Appalachia Waltz,” leading the New York Times to call his rise “one of the most spectacular journeys in recent American music,” and the Los Angeles Times to describe him as “one of the most talented and imaginative artists working in music — any music — today.” O’Connor has won two Grammy awards, seven national fiddle titles, two national guitar titles, one world mandolin title, and six Musician of the Year awards from the Country Music Association. He has played on more than five hundred albums, recording with Paul Simon, James Taylor, and Dolly Parton, not to mention his sensational collaborations with Yo-Yo Ma, Chris Thile, Bela Fleck, and Edgar Meyer. The touring musicians with Mark O’Connor are substantial artists in their own right. Singer and fiddler Carrie Rodriguez has toured extensively with Bill Frisel; Cia Cherryholmes was the lead singer and banjoist in the hit bluegrass band Cherryholmes; singer and man- dolinist Forrest O’Connor is touring with his group Wisewater; Joe Smart is a two-time National Flatpick Guitar Champion; violinist Maggie O’Connor tours regularly with her husband Mark O’Connor, performing violin duos; and bassist Michael Rinne regularly performs with Rodney Crowell.
    [Show full text]
  • Mark O'connor's Fiddle Concerto Texas-Style Fiddling, Classical Violin, and American String Playing by Beth Youngblood a Resea
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Mark O'Connor's Fiddle Concerto Texas-Style Fiddling, Classical Violin, and American String Playing by Beth Youngblood A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2016 by the Graduate Supervisory Committee: Danwen Jiang, Chair Katherine McLin Kay Norton ARIZONA STATE UNIVERSITY December 2016 ABSTRACT Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece.
    [Show full text]
  • The Treasures of Fiddlers Mark and Maggie O'connor
    Friday, October 23, 7:30 PM EDT THE TREASURES OF FIDDLERS MARK AND MAGGIE O’CONNOR Moss Arts Center HomeStage Series THE TREASURES OF FIDDLERS MARK AND MAGGIE O’CONNOR Moderated by Margaret Lawrence, director of programming, Moss Arts Center; and Dylan Locke, owner, Floyd Country Store and County Sales Music, and director, Handmade Music School in Floyd, Virginia Songs to be announced during the performance Presented in partnership with the Crooked Road Biographies MARK O’CONNOR “One of the most spectacular journeys in recent American music.” —The New York Times “One of the most talented and imaginative artists working in music—any music—today.” —The Los Angeles Times “Brilliantly original.” —The Seattle Times “The audience was on its feet . They were moved by Mr. O’Connor’s journey without maps, cheering for the only musician today who can reach so deeply first into the refined, then the vernacular, giving his listeners a complex, sophisticated piece of early-21st-century classical music and then knocking them dead with the brown-dirt whine of a Texas fiddle.” —The New York Times Mark O’Connor began his creative journey at the feet of American fiddling legend Benny Thomasson and the iconic French jazz violinist Stéphane Grappelli. Now, at age 59, O’Connor has melded these influences into a new American classical music and is perpetuating his vision of an American school of string playing. O’Connor has won three Grammys and seven CMA awards, as well as several national fiddle, guitar, and mandolin champion titles. His distinguished career includes representing the United States Information Agency in cultural diplomacy to six continents and performing in front of several U.S.
    [Show full text]
  • Americana Symphony Notes
    Americana Symphony Notes I composed my first symphony as a series of variation movements of my own composition Appalachia Waltz (1993). I began the work after completing six full-length concertos for violin and orchestra, dating from 1990 to 2005. In recent years, a number of conductors asked when I would channel the new American orchestral language I had developed in my concertos into the symphony form. I began work on Americana Symphony in August 2006 and finished in June 2007. I wrote seven variations, and a partial eight variation, and have decided to include six variation movements in my final draft of the work (although I have allowed the piece to be performed in shorter version). The piece differs slightly from many variation schemes in that the subject theme is saved for the conclusion. During the piece, the listeners hear the phrases of Appalachia Waltz revealed through various treatments. Motivic, intervallic, inversion, augmentation, imitative, phrase chain development, re-harmonization and characteristic settings are some of the technical applications utilized to vary and develop the material. Each movement chips away at the theme of the original tune, and for the finale, Appalachia Waltz is played in its entirety by the orchestra. I. Brass Fanfare: Wide Open Spaces This movement is a characteristic and additive variation inspired by key phrases of Appalachia Waltz for the brass and percussion of the orchestra. This opening music sets up a distinct Americana theme. With performance descriptions like “Boldly with Valour” and “Resounding,” it musically describes the spirit of the American journey, the idealism of the frontier, the Westward expansion, and the notion that a better life may lie ahead over the next hill, or over in the next hollow.
    [Show full text]
  • Read Article
    of25 Bluegrass Years and Beyond by Charlotte Bell For many of us who gather each year for this musical bonanza, the bluegrassy vibrations we absorb from the main stage feel as if they’re not simply coming from musical instruments; they emanate from the hearts and souls of the artists whose instruments have become extensions of them. For a Festivarian, there’s nothing more inspiring than witnessing these sounds from the soul soaring out into the canyon. And for 25 festivals, we are especially fortunate to have been able to bask in the vibrations of one of the world’s unparalleled examples of musical mastery: Edgar Meyer. Born into a musical family, Edgar began his lifelong relationship set, “The Long Way Around,” that Béla says had “six million chords with the string bass at age five. “My father played bass and loved in it that nobody could fake.” Edgar says, “I believe the only chords music almost more than anything,” he says. “I identified with that. I got right were by accident.” But Béla’s overall memory of Edgar’s I cannot remember a time when I did not think of the bass as my first impromptu set in Telluride was that he blew everybody away. “I voice. The decision of whether or not to pursue music professionally knew Edgar was going to be a part of our musical world from then is secondary to the fundamental importance of music to me.” on,” says Jerry. By junior high, Edgar was playing jazz gigs with his dad—Edgar In 1985, Festival founder Fred Shellman invited Sam, Béla, Jerry on piano and his dad on bass—and had begun writing his own and Mark O’Connor to put together a “thunder jam” set.
    [Show full text]