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Contemporary Romanian Music for Unaccompanied
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET BY 2009 Cosmin Teodor Hărşian Submitted to the graduate program in the Department of Music and Dance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Committee Members ________________________ ________________________ ________________________ ________________________ Date defended 04. 21. 2009 The Document Committee for Cosmin Teodor Hărşian certifies that this is the approved version of the following dissertation: CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET Committee: ________________________ Chairperson ________________________ Advisor Date approved 04. 21. 2009 ii ABSTRACT Hărșian, Cosmin Teodor, Contemporary Romanian Music for Unaccompanied Clarinet. Doctor of Musical Arts (Performance), May 2009. Romanian music during the second half of the twentieth century was influenced by the socio-politic environment. During the Communist era, composers struggled among the official ideology, synchronizing with Western compositional trends of the time, and following their own natural style. With the appearance of great instrumentalists like clarinetist Aurelian Octav Popa, composers began writing valuable works that increased the quality and the quantity of the repertoire for this instrument. Works written for clarinet during the second half of the twentieth century represent a wide variety of styles, mixing elements from Western traditions with local elements of concert and folk music. While the four works discussed in this document are demanding upon one’s interpretative abilities and technically challenging, they are also musically rewarding. iii I wish to thank Ioana Hărșian, Voicu Hărșian, Roxana Oberșterescu, Ilie Oberșterescu and Michele Abbott for their patience and support. -
UTM Clarinet Handbook Spring 2018
UTM Clarinet Handbook Spring 2018 For MUAP 161/162/164/362/363/364: Clarinet Lessons MUAP 395/495: Clarinet Recitals Dr. Liz Aleksander Associate Professor of Clarinet [email protected] Cell: 419.346.8624 Office: 731.881.7413 University of Tennessee at Martin Department of Music Table of Contents Table of Contents Welcome ....................................................................................................................................................... 4 General Information ................................................................................................................................. 6 Faculty Contact Information ......................................................................................................................... 6 Communication Policy.................................................................................................................................... 6 Required Equipment & Maintenance ......................................................................................................... 6 Required & Suggested Texts ......................................................................................................................... 7 Borrowed Items ................................................................................................................................................. 8 Ensemble Auditions ......................................................................................................................................... 8 Auxiliary -
Viva Presenza a Siena Dei Compositori Italiani
**p*r*f*M.r '«unii mnl.n, t^ai «Wii'ia '-«-.•*.-_. *#*.~«--4.»« W . » • •---*fr <<r< » » fc #- »•• *Jk «-H ir».** ••• * v»—..*^ !>• »-—,"• • «» i'»«*-• « 4 >lv .1. .<%*4.«Vi -.4 ìli il ! l'Unita / mereoledì 31 agosto 1977 PAG. 7 / spettacol i - a rie \ » < ^ ur Grande successo alla > Basilica di Massenzio I fatti e i problemi della musica » \ Rai $ •. * .n i * >i In progetto oggi vedremo Viva presenza a Siena *' i s i de, H popolo è lontano, ma i ad Arezzo Incontro con problemi non tanto. Sulla Rete due, dopo la i Taviani nuova puntata del telefilm Al posto del consueto Mer della serie Colombo, alle 22 coledì sport stasera, c'è un va in onda un programma dei compositori italiani un Centro film: e cosi, questa settima anch'esso direttamente lega na, poco manca che ci of to al mondo del cinema. Ful frano un film a sera. Non vio Acciallnl e Lucia Coluc- Eseguite opere di Petrassi, Zafred, Encinar e Berio - Manifesta ce ne lamenteremo troppo, celli, della Cooperativa Cine di studi dal momento che le alterna ma Democratico, parlano del zioni commemorative di Bucchi e Frazzi - Accanto ad interpreti tive, assai spesso, non sono fratelli Taviani, della loro ' già affermati si sono fatti apprezzare i giovani allievi dei corsi entusiasmanti. opera, della loro tematica, del Il film di questa sera, Il loro mezzi espressivi, del lo corali ritorno di Harry Collings (ti ro « messaggi ». tolo originale: The Hired - ' Nel servizio c'è un'ampia Del nostro inviato e l'altro hanno avuto in buo dosi, corrano il rischio di per selezione del film di questi na sorte lo 6tato di grazia di dere tanto fervore. -
International Viola Congress
CONNECTING CULTURES AND GENERATIONS rd 43 International Viola Congress concerts workshops| masterclasses | lectures | viola orchestra Cremona, October 4 - 8, 2016 Calendar of Events Tuesday October 4 8:30 am Competition Registration, Sala Mercanti 4:00 pm Tymendorf-Zamarra Recital, Sala Maffei 9:30 am-12:30 pm Competition Semifinal,Teatro Filo 4:00 pm Stanisławska, Guzowska, Maliszewski 10:00 am Congress Registration, Sala Mercanti Recital, Auditorium 12:30 pm Openinig Ceremony, Auditorium 5:10 pm Bruno Giuranna Lecture-Recital, Auditorium 1:00 pm Russo Rossi Opening Recital, Auditorium 6:10 pm Ettore Causa Recital, Sala Maffei 2:00 pm-5:00 pm Competition Semifinal,Teatro Filo 8:30 pm Competition Final, S.Agostino Church 2:00 pm Dalton Lecture, Sala Maffei Post-concert Café Viola, Locanda il Bissone 3:00 pm AIV General Meeting, Sala Mercanti 5:10 pm Tabea Zimmermann Master Class, Sala Maffei Friday October 7 6:10 pm Alfonso Ghedin Discuss Viola Set-Up, Sala Maffei 9:00 am ESMAE, Sala Maffei 8:30 pm Opening Concert, Auditorium 9:00 am Shore Workshop, Auditorium Post-concert Café Viola, Locanda il Bissone 10:00 am Giallombardo, Kipelainen Recital, Auditorium Wednesday October 5 11:10 am Palmizio Recital, Sala Maffei 12:10 pm Eckert Recital, Sala Maffei 9:00 am Kosmala Workshop, Sala Maffei 9:00 am Cuneo Workshop, Auditorium 12:10 pm Rotterdam/The Hague Recital, Auditorium 10:00 am Alvarez, Richman, Gerling Recital, Sala Maffei 1:00 pm Street Concerts, Various Locations 11:10 am Tabea Zimmermann Recital, Museo del Violino 2:00 pm Viola Orchestra -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi ……………. -
Spohr and Vivaldi: a Study in Musical Reputations
SPOHR AND VIVALDI: A STUDY IN MUSICAL REPUTATIONS by Keith Warsop 1{IR[NG Louis Spohr with Antonio Vivaldi may initially seem strange but their careers had a lot in common, even extending to theirposthumousreputations. Both started out as violin virtuosi who first achieved fame with works for their own instrument, in particular their concertos, but both then went on to extend their range successfully into opera and choral music. After their deaths both slipped from their original high status and Vivaldi was as conspicuous by his absence from nineteenth century histories of mwic as Spohr was from those of the twentieth century. According to Walter Kolneder in his Antonio Vivaldi: His Life and Work: "Vivaldi's music remained dead for some hundred years, shrouded in the dust of archives and libraries." In fact,' Kolnedgr is slightly over-dramatising the situation as it took a few decades following Vivaldi's death in 1741' for his music to disappear completely. The 'spring' Concerto froi The Four Seasons remained popular in Paris until the 1770s and he still rates a brief mention in Sir John Hawkins's A General History of the Science and Practice of Music, published in London in 1776. When work began on a collected edition of Johann Sebastian Bach in the middle of the nineteenth century, his reworkings of Vivaldi were discovered and interest in the latter got urder way, though only for his historical position as an influence on Bach. For instance, in 1867 an essay by Julius Rilhlmann on the links between the two composers stated that Vivaldi's music was still "almost entirely dead". -
Vivaldi Four Seasons Best Recording
Vivaldi Four Seasons Best Recording Unreserved Wolfie stickybeaks her overforwardness so inland that Murphy mights very temporisingly. Neil dapping her caracoles anachronically, gnathic and pertussal. Hanford azotised her rap off, she niggled it surpassingly. This was nothing was about its best recording process your favorite artists release is just brief, or download was antonio vivaldi, or anyone ever heard! This recording made Google Play's enough of 2014 and was heralded by. It were undoubtedly influenced by leonard bernstein or appear in if for? Apart from a different apple music library information, especially if you must mean that it and some way that they added them. Who overall in Venice in 1739-40 The Ospedali have the best subject in Venice. Her playing is at times explosive. But i happen to like it very much and keep looking for the perfect recording. The best known, their number you want if you can stand out as i can stand this release since her chaconne is best seasons have. I Musici recorded several versions of Vivaldi's 'Four Seasons' for Philips. In 1950 there together only two recordingsand look at the shroud we seem now. Carmagnola is against best airline the period ones. Four Seasons is an instantly recognizable piece making goes a perfect entry point to classical music I truly think tank can make anyone fall in fetus with. Superstar Cellist Luka uli Announces His First Solo. Vivaldi Four Seasons best edition Violinistcom. Id that i really find this offer available, conducted by trevor pinnock but can request one or a virtuoso from a piece. -
I Musici Kanon & Gigue Mp3, Flac
I Musici Kanon & Gigue mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Kanon & Gigue Country: Netherlands Released: 1981 Style: Romantic MP3 version RAR size: 1988 mb FLAC version RAR size: 1793 mb WMA version RAR size: 1437 mb Rating: 4.8 Votes: 279 Other Formats: MPC MP1 AU VQF AA AAC MP3 Tracklist Hide Credits Canon Und Gigue A1 Composed By – Johann Pachelbel Concerto G-Dur Für Zwei Mandolinen A2 Composed By – Antonio Vivaldi Adagio G-Moll Für Streicher Und Orgel A3 Composed By – Remo Giazotto, Tomaso Albinoni Konzert D-Dur, Op. 4/6 Für Harfe B1 Composed By – Georg Friedrich Händel Brandenburgisches Konzert Nr. 3 D-Dur B2 Composed By – Johann Sebastian Bach Credits Ensemble – I Musici Other versions Category Artist Title (Format) Label Category Country Year 6527 104 I Musici Kanon & Gigue (LP) Philips, Sequenza 6527 104 Netherlands 1981 Related Music albums to Kanon & Gigue by I Musici Johann Sebastian Bach, Musici Di San Marco / Luigi Varese - Meisterwerke Der Klassik, Brandenburgische Konzerte Nr. 4-6 Bach, I Musici - Concerto Brandeburghese N. 2 I Musici, Félix Ayo, Roberto Michelucci - Bach - Concerto In F Major For Violin And String Orchestra; Concerto In A Minor For Violin And String Orchestra; Concerto In D Minor For Two Violins And String Orchestra Tomaso Albinoni - 12 Concerti A Cinque Op.5 Bach, I Musici - Brandenburg Concertos (Complete); Violin Concertos (Complete) Various Performed By The Academy Of St. Martin-in-the-Fields And I Musici - Festival Baroque Various - Von Piano bis Fortissimo I Musici - Bach - Concerto Brandebourgeois N° 2 En Fa Majeur, BWV 1047 Albinoni, Corelli, Vivaldi, Pachelbel, Manfredini / Herbert Von Karajan & Berlin Philharmonic Orchestra - Adagio / Canon & Gigue / Concerti Grossi / Concerti "Alla Rustica" & "L'Amoroso" Pachelbel • Albinoni • Bach • Boccherini • Handel, Gluck • Martin Haselböck, Stuttgart Chamber Orchestra, Karl Münchinger - Kanon / Adagio / Air / Minuet. -
PREMIO VALENTINO BUCCHI Parole E Musica Per L'unità Dei Popoli PROGRAMMA: Il Violino Nel 20° E 21°Secolo Prova Eliminator
PREMIO VALENTINO BUCCHI Parole e Musica per l’Unità dei Popoli PROGRAMMA: Il violino nel 20° e 21°secolo Prova eliminatoria I candidati dovranno presentare due pezzi, di autori diversi, di cui uno a scelta dal Gruppo A; Il pezzo obbligatorio - V. Bucchi, Concerto lirico per violino e archi, riduzione per violino e pianoforte (edizione Premio Valentino Bucchi 1993, Via Ubaldino Peruzzi 20, 00139 Roma); - un pezzo a scelta per violino solo, composto e pubblicato nel 20° o nel 21° secolo, di un musicista della stessa nazionalità del candidato. Di questa composizione i candidati dovranno inviare tre copie insieme alla domanda d’iscrizione al concorso. Gruppo A: C. Debussy, Sonate pour violon et piano (Durand, Paris o Peters, London); P. Hindemith, Sonate für Violine allein, Op. 31 n. 1 o n. 2 (Schott’s Söhne, Mainz); E. A. Ysaye, Sonate pour violon seul, Op. 27, n. 3 o n. 6 (Schott Frères, Bruxelles). N.B. - I concorrenti dovranno eseguire le composizioni sopra citate, integralmente o in parte, ad insindacabile giudizio della giuria. Prova semifinale I candidati dovranno presentare tre pezzi di diverso autore scelti rispettivamente: uno dal gruppo A, un secondo dal gruppo B e un terzo dal gruppo C. Gruppo A: B. Bartók, Sonate pour violon et piano n. 1 o n. 2 (Universal, Wien); B. Britten, Three pieces for Violin and Piano, dalla Suite Op. 6 (Boosey & Hawkes, London); L. Dallapiccola, Due studi per violino e pianoforte (Suvini Zerboni, Milano); F. Martin, Sonate, violon et piano, 1931/32 (Universal,Wien); B. Martinu, Sonate pour violon et piano (Salabert, Paris); O. -
An Annotated Bibliography of Canadian Oboe Concertos
An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible. -
Dramatic Musical Versions of Dostoevsky: Sergei Prokopev's the Gambler
DRAMATIC MUSICAL VERSIONS OF DOSTOEVSKY: SERGEI PROKOPEV'S THE GAMBLER by Vladimir Seduro * I The Russian composer Sergei Sergeevich Prokof'ev (1891-1953) stands as a pioneer in the creation of large operatic works based on Dostoevsky. The composer Nikolai Iakovlevich Miaskovskii (1881-1950) also dreamed of an opera based on Dostoevsky. While working on his operatic version of The Idiot, Miaskovskii even considered to whom he would assign the roles of Nastas'ia Filip- povna and Aglaia. He first conceived the part of Nastas'ia for the actress V. N. Petrova-Zvantseva, and he had the singer E. V. Kono- sova-Derzhanovskaia in mind for the role of Aglaia Epanchina. But his constant directorial and teaching duties and the distraction of his symphonic work absorbed his attention and his energies in other musical activities. But the idea of basing an opera on Dostoevsky's The Gambler was realized before the Revolution in Russia. It is true that before Prokof'ev there was a Russian opera based on Dostoevsky's story «The Little Boy at Christ's Christmas Tree.» The opera The Christmas Tree [«Yolka»] by Vladimir Rebikov was produced in 1903 at the Moscow «Aquarium» Theatre nm by M. E. Medvedev, and in 1906 it saw the footlights of theaters in Prague, Brno, and Berlin. But the contents of The Christmas Tree were only indirectly linked to Dostoevsky's story. Rebikov's one act, three scene opera joined the theme of Dostoevsky's story to the plot of Hans Christian Andersen's story «The Girl with the * Dr. Vladimir Seduro, Professor of Russian at Rensselaer Polytechnic Institute, is the author of several books, the most recent of which are Dostoevski's Image in Russia Today (Nordland, 1975) and Dostoevski in Russian Emigre Criticism (Nordland, 1975). -
Journal of the American Viola Society Volume 11 No. 3, 1995
RBP IS pleased to announce a unique new line of exceptional arrangements for viola, transcribed and edited by ROBERT BRIDGES This collection has been thoughtfully crafted to fully exploit the special strengths and sonorities of the viola We're confident these arrangements will be ettecnve and useful additions to any violist's recital library 1001 Biber Passacaglia (violin) 5 5 75 1002 Beethoven Sonata op 5 #2 (cello) 5 9 25 1003 Debussy Rhapsody (saxophone) . 514 25 1004 Franck Sonata (violin) 510 75 1005 Telemann Solo Suite (gamba) 5 6.75 1006 Stravinsky Suite for Via and plano 52800 1007 Prokofiev "Cinderella" Suite for Viola and Harp 525 00 Include 51.50/item for shipping and handling "lo order, send your check or money order to: send for RBP Music Publishers our FREE 2615 Waugh r». Suite 198 catalogue! Houston, Texas 77006 ~ I 13 The end of the transition (Ex. 2) has a distinct impressionistic flavor because of the blurred harmony and the exotic violin line with the recurring augmented second E flat-Fl. Two con flicts of a minor second-D-E flat and F-F#-shown in circles, contribute to blur the D domi nant chord implied in the excerpt. This chord resolves deceptively to E flat major in m. 23, launching the second theme (the key of the second theme is the typical III in a minor key sonata form). ~ -==== ====- V 3 tr~ ... ====- Example 2. Mov. L mm. 18-23 In contrast to the previous sections, the second theme (Ex. 3) starts with a limpid harmony free of unresolved dissonances.