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Keyboard Music
Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
The Sleeping Beauty Untouchable Swan Lake In
THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY -
Liebeslieder-Walzer Et Lieder Choisis Johannes Brahms
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Jeudi 5 février Johannes Brahms | Liebeslieder-Walzer et lieder choisis Jeudi 5 février | Dans le cadre du cycle Le temps de la danse Du samedi 31 janvier au vendredi 6 février 2009 et lieder choisis Liebeslieder-Walzer Liebeslieder-Walzer Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Johannes Brahms | Johannes Brahms Cycle Le temps de la danse La valse, la bourrée… : toutes les danses dictent leur rythme. Elles donnent le ton et le temps à ceux qui s’y accordent. De la danse traditionnelle thaïe aux Ländler de Brahms, les pulsations d’une chorégraphie réelle ou rêvée emportent la musique et les corps dans leurs tournoiements. Le khon, théâtre traditionnel thaï apparu voici mille ans dans les cours royales d’Ayutthaya, s’imposa rapidement comme le divertissement privilégié des rois. Il met en scène des personnages masqués, richement costumés de brocarts de soie, qui exécutent des danses très codifiées, accompagnées par des musiciens, des chanteurs et des narrateurs. La très forte puissance évocatrice de cet art pictural vivant permet d’entrer en contact avec le monde invisible, de donner âme aux croyances magiques… Et aussi de fonder l’identité de la communauté, de la rassembler sur des temps forts. Le programme imaginé par Jordi Savall sous le titre de Ludi Musici : L’esprit de la danse participe du même paradoxe, pas dansés qui font à la fois la distinction et la communion des corps : il présente un répertoire composite, qui rassemble deux siècles de musiques dansées (de 1450 à 1650) en Europe occidentale, en Asie occidentale et en Amérique latine. -
SATIE Gymnopédies
1000 YEARS OF CLASSICAL MUSIC SATIE Gymnopédies VOLUME 74 | THE MODERN ERA FAST FACTS • Erik Satie is famous for his deeply eccentric nature, which extended to his dress (at one point he bought seven identical velvet suits and then, for more than ten years, wore nothing else), his eating habits (he claimed to eat only white food: ‘eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, SATIE chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white Gymnopédies varieties), cotton salad, and certain kinds of fish, without their skin’), and the instructions he gave to those performing his music: his scores are full of enigmatic notes such as ‘Light as an egg’, ‘Open your head’, ERIK SATIE 1866–1925 ‘Work it out yourself’ and ‘Don’t eat too much’. Trois Gymnopédies [9’44] 1 No. 1: Lent et douloureux (Slow and full of suffering) 3’37 • His sharp wit, irreverence and refusal to do as expected led him to reject the big, lush Romantic 2 No. 2: Lent et triste (Slow and sad) 3’06 tradition of composers like Wagner, and turn instead to shorter, simpler pieces in which melody was 3 No. 3: Lent et grave (Slow and solemn) 2’54 the central element. 4 Je te veux (I Want You) 5’17 • Satie broke new ground in many different musical ways. His familiarity with the world of cabaret (he [7’16] Trois Gnossiennes supported himself for several years by working as a pianist at Le Chat Noir and other Montmartre 5 No. -
Arthur Kleiner, Who Has Been Composing, Arranging and Playing the Piano Accompani
he Museum of Modern Art i^ No. 32 |l West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart FOR IMMEDIATE RELEASE Tuesday, March 28, 1967 Arthur Kleiner, who has been composing, arranging and playing the piano accompani ments for silent films at The Museum of Modern Art for 28 years, is retiring the first of April, Rene d'Hamonoourt. Director of the Museum, announced today. As Music Director of the Department of Film since 1939, and probably the world's only full- time silent movie pianist, Mr. Kleiner has sought out long-lost scores for innumerable early films, researched films for which the scores could not be found in order to com pose the appropriate music, and written scores when none existed. Born in Vienna, Austria, Mr. Kleiner studied piano, organ and theory at the Vienna Music Academy from 191ii to 1921. From then until 1928 he was an accompanist- composer for major dance companies touring throughout Europe and a professor at Max Reinhardt's Seminar for Actors in Vienna, where he also composed scores for numerous plays. He conducted A Midsummer Night's Dream for Reinhardt during the Salzburg Festival of 1933- After arriving in the United States in 1938, his first job was playing piano accompaniment for choreographer George Balanchine, as well as for Agnes de Mille and the Ballet Theatre. In 1939 when he was approached by Iris Barry, first Curator of the Museum's Department of Film, to play for the Museum's screenings, she asked him if he could play ragtime. -
Piano Works Uspud • Le Fils Des Étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works
SATIE Piano Works Uspud • Le Fils des étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works 1 Allegro (1884) 0:21 & Tendrement (version for piano) (1902) 3:59 While the world of music composition has attracted some borrowings and stylistic fusions. Leit-motiv du ‘Panthée’ is 2 Leit-motiv du ‘Panthée’ (1891) 0:45 Le Fils des étoiles: 3 Preludes (1891) 13:34 ‘colourful characters’, from Mozart’s vulgar letters and cat the composer’s only monodic composition, written as a 3 Verset laïque et somptueux (1900) 1:27 * Act I: Prélude, ‘La Vocation’ 4:39 impressions to Peter Warlock’s ultimately fatal interest in contribution to Joséphin Péladan’s novel Panthée (in his ( witchcraft and sadism, surely the greatest eccentric of cycle La Décadence latine: éthopée). With its unpredictable 4 Fugue-valse (1906) 1:59 Act II: Prélude, ‘L’Initiation’ 3:51 ) Act III: Prélude, ‘L’Incantation’ 4:57 them all is the Parisian, Erik Satie (1866–1925). Always harmonic shifts, Verset laïque & somptueux seems to Cinq Grimaces pour Le Songe d’une nuit d’été appearing in one of seven identical suits, Satie would eat inhabit the world of Debussy’s more reflective piano works, (arr. Darius Milhaud for piano) (1915) 3:57 Sonatine bureaucratique (1917) 4:25 ¡ only white food, carried a hammer with him to defend though the same could not be said of the relatively 5 No. 1. Préambule 0:50 I. Allegro 1:08 ™ II. Andante 1:20 himself from any assailants, and even founded his own extensive and bizarre Fugue-Valse (surely the sole attempt 6 No. -
Picasso and Music FRANZ LISZT
Picasso and music FRANZ LISZT GUITARES GITANES MANUEL DE FALLA 1 | Fandango, El Malagueño 4’08 El amor brujo (ballet) (1919-25) 9 | Canción del amor dolido. Allegro 1’30 JOAQUÍN RODRIGO (1901-1999) 10 | Danza ritual del fuego. Allegro ma non troppo e pesante 5’08 11 | Canción del fuego fatuo. Vivo 1’47 Concierto de Aranjuez (1934, orch. 1939) Marina Heredia, cantaora (9 & 11) 2 | II. Adagio 12’04 Mahler Chamber Orchestra, Pablo Heras-Casado Fantasía para un gentilhombre (1954) © Chester Music Ltd / Bureau de Musique Mario Bois BMB 3 | Españoleta 5’08 Marco Socias, guitare Orquestra de Cambra Teatre Lliure, Josep Pons IGOR STRAVINSKY Pulcinella (ballet), suite d’orchestre (1922, version révisée de 1949) © Music Schott 12 | Tarantella. Toccata 2’07 Orquestra de Cambra Teatre Lliure, Josep Pons MANUEL DE FALLA (1876-1946) © Boosey and Hawkes Ltd 4 | Canción (1900), Andante mesto 2’19 5 | Serenata andaluza (1900), Allegretto 5’30 DARIUS MILHAUD (1892-1974) Javier Perianes, piano Scaramouche (transcription pour clarinette et piano) (1937) © Manuel de Falla Ediciones 13 | I. Vif 2’58 Ronald van Spaendonck, clarinette PABLO DE SARASATE (1844-1908) Alexandre Tharaud, piano 6 | Fantaisie de concert sur des thèmes de Carmen, op. 25 (c. 1883) 13’06 © Éditions Salabert Graf Mourja, violon Natalia Gous, piano CLAUDE DEBUSSY (1862-1918) IGOR STRAVINSKY (1882-1971) 14 | Masques (1903-1904), Très vif et fantasque 4’51 Alain Planès, piano Suite no 1 pour petit orchestre (1917, orch. 1925) 7 | Española 1’08 ERIK SATIE (1866-1925) Orquestra de Cambra Teatre Lliure, Josep Pons 15 | Les pantins dansent (1929) 1’41 © Chester Music Ltd Alexandre Tharaud, piano ENRIQUE GRANADOS (1867-1916) Goyescas (1913-1915) 8 | Final del Fandango 3’19 BBC Symphony Orchestra & Singers, Josep Pons © Tritó Edicions / Albert Guinovard, revision Cette sélection musicale a été librement inspirée de l’exposition “Les Musiques de Picasso” produite par le Musée de la musique - Philharmonie de Paris en 2020. -
Convert Finding Aid To
Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939. -
Table of Contents Is Interactive
Sheet TM Version 2.0 CDMusic 1 French Piano Music, Part I The Ultimate Collection Welcome to the CD Sheet Music™ edition of French Piano Music, Part I, the Ulti- mate Collection. This Table of Contents is interactive. Click on a title below to open the sheet music. The “composers” on this page and the bookmarks section on the left side of the screen navigate to sections of The Table of Contents.Once the music is open, the bookmarks become navigation aids to find section(s) of the work. Return to the Table of Contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. The FIND feature may be used to search for a particular word or phrase. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM (click on a composer to go to that section of the Table of Contents) ALKAN FRANCK RAVEL BIZET IBERT ROUSSEL CHABRIER KOECHLIN SAINT-SAËNS CHAMINADE MASSENET SATIE D’INDY MILHAUD SCHMITT DUKAS POULENC VIERNE The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 CDMusic 2 VALENTIN ALKAN IV. La Bohémienne Saltarelle, Op. 23 V. Les Confidences Prélude in B Major, from 25 Préludes, VI. Le Retour Op. 31, No. 3 Variations Chromatiques de concert Symphony, from 12 Études Nocturne in D Major I. Allegro, Op. 39, No. -
The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model, 36 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 5 1-1-2014 Copyright and Choreography: The egN ative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model Matt Kovac Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Matt Kovac, Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model, 36 Hastings Comm. & Ent. L.J. 137 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/5 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model by MATT KOVAC* Abstract Although approaches rooted in copyright law are available, choreographers tend to rely instead on contract law in order to control distribution of their work; choreographers license their ballets to dance companies via contracts which are typically negotiated on an ad hoc basis. This relatively conservative approach allows choreographers to maintain tight artistic control over subsequent reproductions of their ballets, but it comes at a cost to both the dance community and the general public. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.