Division of Music Calendar of Events

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University of Arkansas at Monticello Division of Music and SEARK Concert Association Spring 2020 Calendar of Events January 30, 2020 Jazz Band One White Hall High School Thursday Jason Smith, Director White Hall, AR February 19 - 22, 2020 Arkansas Music Conference Hot Springs Convention Center Wed. - Sat. UAM Music Faculty / UAM Students Hot Springs, AR February 26, 2020 Winter Concert Fine Arts Center Auditorium Wednesday UAM Wind Symphony/Concert Band Concert 7:30 p.m. Justin Anders, Director March 12-14, 2020 The Sound of Music. ** Fine Arts Center Auditorium Thursday - Saturday SEARK Concert Association 7:00 p.m. Saturday matinee 2:00 p.m. March 15, 2020 Senior Recital Music Building Sunday Agustin Garcia, clarinet Harris Recital Hall 3:00 p.m. 3:00 p.m. March 17, 2020 Jazz Bands II & III Spring Concert Fine Arts Center Auditorium Thursday Katrina Meggs, Director 7:30 p.m. Gary Meggs, Director March 19, 2020 Jazz Combo Concert VPAC - Band Thursday Drake Hudspeth, G.A, Director 7:00 p.m. April 3, 2020 Spring Music Theatre Production Fine Arts Center Auditorium Friday Spring Opera Scenes 7:30 p.m. Kent Skinner, Director Paul Becker, Pianist April 2-4, 2020 Jazz Band One 2020 Bill Evans Jazz Festival Thursday - Saturday Jason Smith, Director Southeastern Louisiana University Hammond, LA April 9, 2020 Senior Recital VPAC - Band Thursday Gary David Rodriguez, percussion 7:00 p.m. April 11, 2020 Senior Recital Fine Arts Center Saturday Jazmyn Taylor, trumpet Spencer Gallery 3:00 p.m. April 14, 2020 Senior Recital Music Building Tuesday Nicholas Rice, alto saxophone Harris Recital Hall 6:30 p.m. April 16, 2020 Senior Recital VPAC – Band Thursday Bradley Brassfield, guitar 7:30 p.m. April 17, 2020 Jeremy Davis Gibson University Center Friday and the Fabulous Equinox Orchestra 7:00 p.m. UAM Jazz Band One, Jason Smith, Director SEARK Concert Association April 18, 2020 Senior Recital Music Building Saturday Brooke Moorehouse, alto saxophone Harris Recital Hall 3:00 p.m. April 19, 2020 Senior Recital Music Building Sunday Clayton Plott, trombone Harris Recital Hall 3:00 p.m. April 21, 2020 Wind Symphony Fine Arts Center Auditorium Tuesday Justin Anders, Director 7:30p.m. April 24, 2020 Beethoven’s Mass in C Major and** Calvary Baptist Church Friday Vaughan William’s Serenade to Music and Five Mystical Songs 5700 Cantrell Rd. Scott Bearden, baritone Little Rock, AR. UAM Concert Choir 7:30 p.m. Arkansas Choral Society Arkansas Symphony Orchestra Kent Skinner, Conductor April 26, 2020 Senior Recital Music Building Sunday Juan Garcia, piano Harris Recital Hall 3:00 p.m. *For Tickets contact the UAM Music Office @ 870-460-1060 **For Tickets contact the Arkansas Choral Society @ 870-723-7838 *** SEARK Admission will be charged. UAM students free with I.D. and complimentary advance ticket. For reservations, call 460-1060. All other events are FREE of charge. .

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|||GET||| the Merchant of Venice 2Nd Edition
THE MERCHANT OF VENICE 2ND EDITION DOWNLOAD FREE William Shakespeare | 9780451526809 | | | | | Harcourt Shakespeare The Merchant of Venice This The Merchant of Venice 2nd edition which featured a masque was popular, and was acted for the next forty years. If you prick us, do we not bleed? Antonio agrees, but since he is cash-poor — his ships and merchandise are busy at sea to Tripolisthe IndiesMexico and England — he promises to cover a bond if Bassanio can find a lender, so Bassanio turns to the Jewish moneylender Shylock and names Antonio as the loan's guarantor. The depiction of Jews in literature throughout the centuries bears the close imprint of Shylock. Bassanio and Gratiano leave for Venice, with money from Portia, to save Antonio's life by offering the money to Shylock. Sheva, the Benevolent. The earliest performance of which a record has survived was held at the court of King James in the spring offollowed by a second performance a few days later, but there is no record of any The Merchant of Venice 2nd edition performances in the 17th century. Similar to Rosencrantz and Guildenstern Are Deadthe play occurs in the gaps between scenes of the canonical The Merchant of VeniceThe Merchant of Venice 2nd edition the characters gradually recognizing how conflicts over assimilation and anti-Semitism recur throughout past, present, and future. At Belmont, Bassanio receives a letter telling him that Antonio has been unable to repay the loan from Shylock. If a Christian wrong a Jew, what should his sufferance be by Christian example? The Duke then threatens to recant his pardon of Shylock's life unless he accepts these conditions.
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RALPH VAUGHAN WILLIAMS a London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin Op.27 TAI MURRAY, Violin
RALPH VAUGHAN WILLIAMS A London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin op.27 TAI MURRAY, violin PRODUCTION USA FRANZ LISZT RALPH VAUGHAN WILLIAMS (1872-1958) A London Symphony (1912-1913, rev.1920) [42’42] (Symphony no.2, in G major) 1 | I. Lento – Allegro risoluto 13’28 2 | II. Lento 9’22 3 | III. Scherzo [Nocturne]: Allegro vivace 8’03 4 | IV. Andante con moto – Maestoso alla marcia – Allegro 11’48 Epilogue: Andante sostenuto 5 | Serenade to Music (original version, 1939) [12’33] Juliana Athayde, solo violin Singers from Mercury Opera Rochester Benton Hess, artistic director Rochester Philharmonic Orchestra Christopher Seaman, conductor Ralph and Ursula Vaughan Williams, 1957 - akg-images / ullstein bild Rochester Philharmonic Orchestra Christopher Seaman, Music Director 1998–2011 Violin 1 Juliana Athayde, Concertmaster The Caroline W. Gannett & Clayla Ward Chair* Wilfredo Degláns, Associate Concertmaster Shannon Nance, Assistant Concertmaster Perrin Yang, Tigran Vardanyan, Ellen Rathjen, William Hunt, Kenneth Langley, Lise Stoddard Jeremy Hill, An-Chi OuYang, Margaret Leenhouts, Heidi Brodwin, Ainur Zabenova Violin 2 David Brickman, Principal Daryl Perlo, Assistant Principal Patricia Sunwoo, John Sullivan, Lara Sipols, Nancy Hunt, Boris Zapesochny, Liana Koteva Kirvan Markiyan Melnychenko, Karine Stone, Chloe Fedor, Man Yui Kitty Cheung, Hee Sagong Viola Melissa Matson, Principal Michael Larco, Assistant Principal Marc Anderson, Elizabeth Seka, Olita Povero, Lisa
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Vaughan Williams a Cotswold Romance • the Death of Tintagiles
VAUGHAN WILLIAMS A Cotswold Romance • The Death of Tintagiles London Philharmonic Choir Rosa Mannion soprano London Symphony Orchestra Thomas Randle tenor Matthew Brook baritone Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Ralph Vaughan Williams (1872 – 1958) premiere recordings A Cotswold Romance* 39:34 Adapted from Hugh the Drover by Maurice Jacobson (1896 – 1976) in collaboration with the composer 1 1 The Men of Cotsall 3:47 2 2 Sweet Little Linnet 1:27 3 3 Hugh’s Song of the Road 4:06 4 4 Love at First Sight 6:05 5 5 The Best Man in England 2:22 6 6 Alone and Friendless 2:24 7 7 The Fight and its Sequel 4:48 8 8 Hugh in the Stocks 1:51 9 9 Mary Escapes 4:28 10 10 Freedom at Last 7:52 3 The Death of Tintagiles 14:48 11 Prelude. Largo – Andantino – Adagio – 5:37 12 1 Lento – 1:10 13 2 Allegro – 0:42 14 3 Lento – Andante tranquillo – Lento – 2:51 15 4 Moderato – 1:09 16 41/2 Allegro – 1:00 17 5 Lento 2:15 TT 54:34 Rosa Mannion soprano (Mary)* Thomas Randle tenor (Hugh)* Matthew Brook baritone* London Philharmonic Choir* London Symphony Orchestra Richard Hickox 4 Vaughan Williams: A Cotswold Romance / The Death of Tintagiles Vaughan Williams composed his ‘ballad-opera’ and ‘The Roadside Fire’ from the earlier Hugh the Drover, from which A Cotswold setting of Robert Louis Stevenson’s poetry in Romance is adapted, between 1910 and 1914. Songs of Travel. Writing to his librettist, the journalist Harold Hugh the Drover was first performed in Child, in 1910, he said: public on 14 July 1924 by forces of the British I have an idea for an opera written to real National Opera Company at His Majesty’s English words, with a certain amount of Theatre, London, conducted by Malcolm real English music… Sargent.
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TCNJ Orchestra Repertoire • Bach
TCNJ Orchestra Repertoire • Bach - Brandenburg No. 1 • Bach - Brandenburg No. 3 for Strings • Bach: Brandenburg Concerto No.5 • Barber: 1st Essay for Orchestra • Bartók - Magyar Képek (Hungarian Pictures) • Bartók - Roumanian Dances • Beethoven: Symphony No. 5 • Beethoven: Symphony No.6 (Pastorale) • Beethoven - Coriolanus • Beethoven - Egmont • Beethoven - Fidelio • Beethoven - Piano Concerto No. 3 in C Minor • Beethoven - The Ruins of Athens • Beethoven: Choral Fantasie • Beethoven: Leonora No.3 • Beethoven: Violin Concerto in D • Bernstein - Candide • Bernstein - Symphonic Dances from West Side Story • Bizet - Carmen Suites 1 & 2 • Bizet - Jeux d'Enfants • Britten - Soirées Musicales Op. 9 • Bruch Violin Concerto No.1 in E minor Op.26 • Castelnuovo Tedesco - Concerto in D (Guitar) • Chabrier - Espana • Chabrier: Habanera • Chaminade - Concertino for Flute and Orchestra • Copland - Billy the Kid • Copland - Rodeo • Creston - Accordion Concerto • De Falla - Scenes and Dances from the "Three Cornered Hat" • Debussy - Petite Suite • Debussy - Prélude á l'après midi d'un Faune • Delius - The Walk to the Paradise Garden • Dvořák - Symphony No. 8 in G • Dvořák – Piano Quintet, Op. 81 • Dvořák: Symphony No.9 (From the New World) • Elgar: Cello Concerto in E minor • Elgar-Nimrod from 'The Enigma Variations' • Fauré - Bergamaster Suite • Fauré - Prelude from Pelleas and Melisande • Gershwin - Rhapsody in Blue • Gershwin: Cuban Overture • Ginestera - Danza del Trigo from "Estancia" • Glazunov-Violin Concerto in A Minor • Glinka - Russlan and Ludmilla • Gounod - Faust - Ballet Music • Grieg - Notturno from 'Lyric Suite' Op. 54 No. 3 • Grieg - Piano Concerto in A Minor Op 6 • Grieg - Triumphal March from "Sigurd Jorsalfar" • Haas- Sieben Klangräume • Haydn - Symphony No. 49 in F minor • Humperdink-Hansel and Gretel (Prelude) • Ives - The Unanswered question • Ives: Central Park in the Dark • Khachaturian: "Masquerade" Suite • Kodaly: Hary Janos • Lalo - Scherzo in D minor • Lalo: Le Roi d'Ys • Lecuona - Spanish Dances • Leighton – Festive • Mahler – Symphony No.
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A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
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Serenade to Music a Child of Our Time
THE RHODES MASTERSINGERS CHORALE AND THE MEMPHIS SYMPHONY ORCHESTRA WILLIAM SKOOG, CONDUCTOR Serenade to Music Ralph Vaughan Williams A Child of Our Time Michael Tippett Kyrie (from Memorial) René Clausen NOVEMBER 2, 2012, 7:30 P.M. GERMANTOWN UNITED METHODIST CHURCH PROGRAM Serenade to Music Ralph Vaughan Williams 1872-1958 Soloists: Sandra Franks, Kimberly Milburn, David Schnell, Matthew Hayner How sweet the moonlight sleeps upon this bank! Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony. Look how the floor of heaven Is thick inlaid with patines of bright gold: There‘s not the smallest orb that thou behold‘st But in his motion like an angel sings, Still quiring to the young-ey‘d cherubins; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Come, ho! And wake Diana with a hymn: With sweetest touches pierce your mistress‘ ear, And draw her home with music. I am never merry when I hear sweet music. The reason is, your spirits are attentive: . The man that hath no music in himself, Nor is not mov‘d with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are as dull as night, And his affections dark as Erebus; Let no such man be trusted. Music! Hark! . It is your music of the house. Methinks it sounds much sweeter than by day. Silence bestows that virtue on it .
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The Merchant of Venice
Shakespeare The Merchant of Venice SYNOPSIS The Merchant of Venice Antonio, the merchant of Venice, lends three thousand ducats to his friend Bassanio to help him woo the wealthy and beautiful Portia of Belmont, an estate some way away from Venice. Because Antonio's money is invested in ships bringing cargoes back to Venice, Antonio borrows the money from Shylock, a Jewish moneylender. The Jews have been badly treated by the Italians, and Antonio has criticized Shylock in the past for his high rates of interest. Shylock agrees to lend, however, under the strange condition that if Antonio fails to repay the loan, Shylock can take a pound of his flesh instead. Bassanio's friend Lorenzo runs away with Shylock's daughter Jessica, and Jessica also steals some of her father's money. Portia's father has arranged in his will that Portia will marry whoever chooses the right one of three caskets made of gold, silver and lead. Wealthy suitors from Morocco and Aragon fail, but Bassanio chooses the right, lead, casket. His friend Gratiano marries Portia's companion Nerissa at the same time. News arrives that Antonio's ships have all been lost. The court, under the Duke, must decide whether Shylock can take his pound of flesh. After all that has happened, Shylock insists on it. Without telling their husbands, Portia and Bassanio appear before the court as (male) lawyers, and after establishing that the agreement is correct, they point out that it does not mention blood, so no blood must be spilt. When Shylock now claims money instead, Portia points out that the punishment for attempting to kill a Venetian is death.
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Ralph Vaughan Williams' Long Journey out Of
Philip Beidler Ralph Vaughan Williams’ Long Journey Out of War ied some,” intones the narrator of Pound’s Hugh Selwyn Mauberly, “pro patria, / non ‘dulce’ non ‘et décor’ . / walked-eye deep in hell / believing in old men’s lies, then unbelieving / came home, home to a “Dlie, home to many deceits, / home to old lies and new infamy.” Thus reads one of the most celebrated post-World War I anthems for doomed youth. (The latter phrasing, as will be recognized, is that of the young British soldier-poet Wilfred Owen, aged 25, himself killed in Flanders a week before the German surrender) Such poetic expressions of generational protest, written by contemporaries or by slightly older figures like Pound, comprise one of the great genres of the war, and are reflected as well in a larger history of survivorship writing, Anglo-European and American: Robert Graves’s Good Bye to all That, Vera Brittain’s Testament of Youth, Erich Maria Remarque’s All Quiet on the Western Front, Ernest Hemingway’s A Farewell to Arms. “You are all a lost generation:” Hemingway claimed to have gotten the famous line—used as an epigraph to his 1925 novel of war-ruined expatriates in Paris, The Sun Also Rises—from a conversation with Gertrude Stein, who in turn is said to have heard it originally it from a French garage-owner, complaining of the curious anomie of a young mechanic assistant who had survived the war. Thus in life and art alike, the experience of fighting and dying young became a signature motif of World War I on the western front and elsewhere, as did frequently also that of perhaps surviving the war but in the process returning home too physically or psychologically damaged to resume anything resembling the patterns of peacetime existence.
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Defining the Contralto Voice Through the Repertoire of Ralph Vaughan
DEFINING THE CONTRALTO VOICE THROUGH THE REPERTOIRE OF RALPH VAUGHAN WILLIAMS Sarah M. Daniels, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Jeffrey Snider, Major Professor Stephen F. Austin, Committee Member Paula Homer, Committee Member Stephen F. Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Daniels, Sarah M. Defining the Contralto Voice through the Repertoire of Ralph Vaughan Williams. Doctor of Musical Arts (Performance), May 2014, 41 pp., 32 musical examples, bibliography, 62 titles. At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice.
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Paradise Remembered
Journal of the No.24 June 2002 EDITOR RVW Stephen Connock Society In this issue... Paradise Remembered RVW and Distinguished Conductors The RVW Society is delighted and wonderful times with Ralph and Ursula, honoured to be able to publish Ursula of musical evenings, of RVW premières G Conducting RVW Vaughan Williams’s autobiography and of friends long gone. Lord Paradise Remembered. The 225-page Armstrong added that the book was an by Michael Kennedy . 2 book was launched at a celebratory party ideal accompaniment to Ursula’s held at Cecil Sharp House on Saturday biography of her husband, full of insight G Glory, Pity and Anger: 23 March 2002. Over 80 of Ursula’s and affection. British Conductors in friends and family attended, including her sister Rosemary, Simona Pakenham, Ralph and Ursula the music of RVW Eva Hornstein and Michael and Joyce Ursula completed the autobiography in by William Hedley . 6 Kennedy. 1972. The early chapters of the book deal with her army life, marriage to G Malcolm Sargent, Vivid recollections Captain Michael Wood and the onset of Vaughan Williams and Lord Armstrong, son of the composer war. Her life changed totally after Sir Thomas Armstrong, congratulated meeting Ralph Vaughan Williams in the Ninth Symphony Ursula on writing an autobiography 1938. Their friendship, close artistic by Robin Barber . 8 which he found highly collaboration and subsequent marriage evocative, in 1953 are described with candour, G Stokowski and humour and affection. There are 40 Vaughan Williams illustrations from Ursula’s extensive collection, many appearing in print for by Edward Johnson . 12 the first time.
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Marshall University Music Department Presents the Spring Concert Marshall Community Symphony Alfred P
Marshall University Marshall Digital Scholar All Performances Performance Collection Spring 5-6-1969 Marshall University Music Department Presents the Spring Concert Marshall Community Symphony Alfred P. Lanegger Marshall University Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Lanegger, Alfred P., "Marshall University Music Department Presents the Spring Concert Marshall Community Symphony" (1969). All Performances. Book 158. http://mds.marshall.edu/music_perf/158 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. SPRING CONCERT MARSHALL COMMUNITY SYMPHONY Alfred P. Lanegger, Director Tuesday, May 6, 1969 Evelyn Hollberg Smith Music Hall 8:15p.m. PROGRAM The Magic Flute Overture K620 Mozart Symphony No. 5 (Reformation) Mendelssohn Andante Allegro Con fuoco Allegro Vivace Andante Allegro Maestoso Concerto in 8 Minor for Viola and Orchestra Handel Allegro Moderato Andante Ma non troppo Allegro Molto Dr. Paul Balshaw, Director Professor Alfred Lanegger, Viola Serenade to Music Vaughan-Williams Words taken from Act V Scene I of The Merchant of Venice by Shakespeare Marshall University Madrigal Singers Gold and Silver Waltz Lehar MARSHALL COMMUNITY SYMPHONY VIOLIN I OBOE Patricia Green, Concertmistress
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Symphony No. 2 the Lark Ascending Eine Kleine Nachtmusik Serenade
Friday Morning Classical Concerts Mozart and Brahms Friday, February 8, 2019 10:30am Stéphane Denève , conductor David Halen, violin Members of the St. Louis Symphony Chorus Amy Kaiser, director MOZART Eine kleine Nachtmusik VAUGHAN WILLIAMS The Lark Ascending VAUGHAN WILLIAMS Serenade to Music BRAHMS Symphony No. 2 Eine kleine Nachtmusik Serenade to Music Composer: Wolfgang Amadeus Mozart (1756-1791) Composer: Ralph Vaughan Williams (1872-1958) First performance: 1787 First performance: 1938 Run time: 20:00 Run time: 14:00 Listen on YouTube Listen on YouTube What does the title mean? — the German title translates to “little Instrumentation — In the 20th century, serenades are freely night music.” The work is also known as Mozart’s Serenade No. 13 explored adaptations to the original formal layout and instru- in G major. mentation. Serenade for Music by Vaughan Williams was composed for 16 vocal soloists and orchestra. In some parts Instrumentation — The serenade was originally written for a string of the work, the soloists sing together as a “choir,” some- quintet of two violins, viola, and cello with optional bass. However times in as many as twelve parts. Other times, soloists sing is often performed by larger string orchestras. A serenade in the alone. classical era is short collection of light pieces. You can think of a serenade as a mini symphony. Vaughan Williams and Shakespeare — The text is an adaptation from Act V, Scene 1 of The Merchant of Venice by William Shakespeare. The Lark Ascending Symphony No. 2 Composer: Ralph Vaughan Williams (1872-1958) Composer: Johannes Brahms (1833-1897) First performance: 1920 First performance: 1877 Run time: 15:00 Run time: 48:00 Listen on YouTube Listen on YouTube Inspired by the poem — The Lark Ascending is a poem by George The sounds of nature — Symphony No.
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