Volume 147, Issue 11 (The Sentinel, 1911

Total Page:16

File Type:pdf, Size:1020Kb

Volume 147, Issue 11 (The Sentinel, 1911 June 12, 1947 25 WORDS AND MUSIC kovsky, too, found pleasure in this form; (Continued from Page 21) of the Serenade in C-Major he said, * * * This is a symphonic suite adapted by the distinguished composer and critic BLITZSTEIN SYMPHONY: THE from the score of the motion picture AIRBORNE. New York City Sym- that was produced by Pare Lorentz. phony Orchestra, Leonard Bernstein, The scope of the music is suggested by conductor. RCA-Victor Chorale, Rob- its sub-titles - "Drought," "Desola- ert Shaw, narrator and Choral director; tion," "Blues," and "Cattle." Its story Charles Holland, tenor; Walter Scheff, depicts the tragic evolution of the great baritone; Leonard Bernstein at the American plains from grasslands to piano. RCA-Victor Album M or DM- wheatfields to drought and dust-bowl. 1117. Seven 12-inch records. $7.85. It has been said frequently that the Commissioned by the United States measure of a nation's maturity is the Army Eighth Air Force (to whom it extent to which its customs and tradi- is dedicated) in England, and composed tions find expression in the art of the in London during 1943-44, the "Air- people. In this country the past decade borne Symphony" is really a symphonic has witnessed an increasing amount of work dealing with the history of human Americana rep'resented in music, and flight. It is composed of 12 more or "The Plow That Broke the Plains" is less independent sections, and is scored one of the most significant contribu- for a narrator (referred to in the work tions to date. as "Monitor"), soloists, male chorus and a large orchestra, as well as a wind machine used to heighten the dramatic MOZART: QUARTET No. 2 in E- effects. Flat Major for Piano and Strings (K. The various sections of the "Air- 493). George Dzell, piano, with mem- borne," in the order played, are: bers of the Budapest String Quartet. "Theory of Flight," "Ballad of History Columbia Album M-MM-669. Three and Mythology," "Kittyhawk," "The 12-inch records. $4. Airborne," "The Enemy," "Threat and The Budapest Quartet ( which re- Approach," "Ballad of the Cities," cently won the award for making the "Morning Poem," "Ballad of Hurry best chamber music album of 1946- Up," "Night Music," Ballad of the its Columbia recording of the Haydn Bombardier," and finally "Open Sky." For Your Protection Insist on Quaretet No. 30 in G-Major - ) now Collaborating in an interpretation that presents another potential prize-winner. captures provocatively all the dramatic George Szell, abandoning the conduc- impact of a brilliant score, Leonard THE "BEST" GOV'T INSPECTED tor's podium for the piano bench, makes Bernstein, as conductor, and Robert STRICTLY KOSHER FOODS his record debut as a pianist with the Shaw, as monitor and director of the members of the Budapest ensemble. This CORNED BEEF RCA-Victor Chorale, give the "Air- PASTROMA quartet, which pioneers in treating the borne Symphony" a fine performance. piano as one of the four instruments PEPPERED MEAT of a chamber music ensemble, was ROLLED BEEF BACH: BRANDENBURG CON- composed under difficult conditions SALAMI CERTOS No. 2 in F and No. 5 in D. which would have driven lesser men BOLOGNA Boston Symphony Orchestra. Serge to near-insanity. But Mozart was able WIEN Er, Koussevitzky, conductor. RCA-Victor to lose himself in his music, produc- Album M or DM-1118. Four 12-inch ing works that reflect none of his records. $4.85. worldly trials with landlords, creditors . The recording employs an orchestra and critics. The E-Flat Major opus to a with a complement of instruments ap- BE ASSURED OF MEAT AT bright-hued and sprightly composition proximating the size of the orchestra which makes tremendously exacting REASONABLE PRICES used in Bach's time. The Second Brand- demands on the virtuosity of the pianist. enburg Concerto is especially note- Only Kosher Factory on the West Side I yl i Szell meets these demands with a glow- worthy because it features an unusually With United States Gov't. Inspection. " ing performance. small D Flat brass trumpet nine inches Best: Kosher Provision Co. long and weighing 20 pounds. Popular 3527 W. ROOSEVELT RD. L-A FOR THE YOUNGSTERS in Bach's day but virtually extinct to- Columbia contributes to the pleasure day, the trumpet is owned by Roger of the young set this week with two Voisin of the Boston Symphony, who enchanting children's albums. In J-MJ- renders the concertino part. For those 36 (two 10-inch records, $1.45),"''Gold- who like the music of Bach played as locks and the Three Bears"' is narrated it should be, Dr. Koussevitzky and NEW LAWRENCE HOTEL by David Allen with an individual per- the orchestra provide superb musical Catering to- sonality and distinct vdice for each of fare. Eloquent solo obbligatos are per- WEDDINGS MEETINGS the Thre.,Bears,-as wl1 :is for that formed by Richard Burgin, violin; famous porridge-eater,. Miss Goldilocks, George Laurent, flute; and Fernand BANQUETS PARTIES Allen also tells in another album J-MJ- Gillet, oboe. Lukas Foss plays an ad- Jake Michigan's Beautiful Panorama 37; two 10-inch records. $1.45) of "The mirable continuo. from Our Roof Garden Banquet Hall Gingerbread Boy" and his perilous ad- * * * Serving the Finest in Food ventures among ginger-bread-eating RAVEL: TROIS CHANTS HEB- olk. Both stories have been adapted RAIQUES and CHANSONS MADE- 1020 LAWRENCE AVE. LON 2100.. wit,'humor and taste by Nancy Soko- CASSES. Madeleine Grey, soprano. Vox 1off; and Curtiss Biever has contribut- Album 186. Three 10-inch records. ed diverting and original backgrounds. $3.93. * * * Mme. Grey reveals a hauntingly TCHAIKOVSKY: SERENADE INT beautiful voice in her rendition of Ra- C MINOR FOR STRING ORCHES- vel's arrangement of the ''Kaddish," TRA, Opus 48. The Philadelphia Or- "Merjerjke" ("Meirke Mein Sun"), chestra with Eugene Ormandy. Colum- "L'Enigme .Eternelle"' ("Fregt 'DiWelt bia Album 1VM-MM-677. Three 12-inch an Alta Kashe") and three songs from records. 04. Madagascar. Unfortunately, however, The Serenade was a favorite form these re-recordings from French Poly- of Mozart, who enjoyed the opportun- dor matrices ' contain an annoying ity it affords for ,melodious expression amount of surface noise which distorts ItL .-Ji aid' short, varied movements. Tchai- the renditions..
Recommended publications
  • Via Issuelab
    ROCKEFELLER ARCHIVE CENTER RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation by Michael Uy Harvard University © 2021 by Michael Uy Abstract The Rockefeller Foundation had originally left out much grantmaking to the arts during the first decades of its operations, instead devoting greater resources to efforts such as the alleviation of global hunger, the expansion of access to public libraries, or the eradication of hookworm. Its support of music prior to the 1950s had totaled less than $200,000 over four decades. After the Second World War, however, it began giving substantial funds to the arts and humanities. The Rockefeller Foundation funded projects in new music, like commissions made by the Louisville Orchestra, operas and ballets at New York’s City Center, and the work of the “creative associates” at the State University of New York at Buffalo. In total, between 1953 and 1976, the Rockefeller Foundation granted more than $40 million ($300 million in 2017) to the field of music alone. 2 RAC RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation In 1976, the Rockefeller Foundation (RF) celebrated the United States Bicentennial with a 100-record collection known as the Recorded Anthology of American Music. The editorial committee of the anthology noted that any attempt to memorialize the music of the United States, including its many different racial and ethnic communities, as well as its vast geographical diversity, would be an impossible task. Thus, the aim for the anthology was to be “comprehensive,” but not “exhaustive.” I take a similar approach with this report.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    -•-'" 8ft :: -'•• t' - ms>* '-. "*' - h.- ••• ; ''' ' : '..- - *'.-.•..'•••• lS*-sJ BERKSHIRE MUSIC CENTER see ERICH LEINSDORF, Director Contemporary JMusic Presented under the Auspices of the Fromm zMusic Foundation at TANGLEWOOD 1963 SEMINAR in Contemporary Music Seven sessions will be given on successive Friday afternoons (at 3:15) in the Chamber Music Hall. Four of these will precede the four Fromm Fellows' Concerts, and will consist of a re- hearsal and lecture by the Host of the following Monday Fromm Concert. July 12 AARON COPLAND July 19 GUNTHER SCHULLER July 26 I Twentieth Century Piano Music PAUL JACOBS August 2 YANNIS XENAKIS j August 9 Twentieth Century Choral Music ALFRED NASH PATTERSON & LORNA COOKE de VARON August 16 I LUKAS FOSS August 23 Round Table Discussion of Contemporary Music Yannis Xenakis, Gunther Schuller and lukas foss Composers 9 Forums There will be four Composers' Forums in the Chamber Music Hall: Wednesday, July 24 at 4:00 ] Thursday, August 1 at 8:00 Wednesday, August 7 at 4:00 Thursday, August 15 at 8:00 FROMM FELLOWS' CONCERTS Theatre-Concert Hall Four Monday Evenings at 8:00 'Programs JULY 15 AUGUST 5 AARON COPLAND, Host YANNIS XENAKIS, Host Varese Octandre (1924) Boulez ...Improvisations sur Mallarme, Copland Sextet (1937) No. 2 Chavez Soli (1933) Philippot ...Variations Schoenberg String Quartet No. 2, Op. 10 Mdcbe .. ..Canzone II (1908) Brown, E ...Pentathis Stravinsky Ragtime for Eleven Instruments Marie, E... Polygraphie-Polyphonique (1918) J. Ballif,C ...Double Trio, 35, Nos. 2 and 3 Milhaud... L'Enlevement d'Europe — Op. Xenakis Achorripsis Opera minute (1927) JULY 22 AUGUST 19 GUNTHER SCHULLER, Host LUKAS FOSS, Host Ives Chromatimelodtune Paz .Dedalus, 1950 Schoenberg Herzgewacb.se Goehr...
    [Show full text]
  • Sept172015 Rousseau.Pdf
    In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Thursday Sept. 17, 2015 at 7:30 pm Bengtson Auditorium, Russell Hall Eugene Rousseau has performed across North America and on five continents since his Carnegie Hall debut. The legendary saxophonist Sonata (1937) . Bernhard Heiden Marcel Mule described Rousseau as "a brilliant saxophonist and Allego (1910-2000) distinguished artist," and critics the world over have echoed Mule's praise. Vivace Rousseau's artistry has inspired many "firsts." He gave the first solo Cehuai Zhang, alto saxophone saxophone recitals in Paris, Berlin, Vienna, London and Amsterdam. He has Robin Guy, piano given a yearly master course at the prestigious Mozarteum in Salzburg during 1991-2001, marking the first time that the saxophone was included at that institution. He has premiered numerous works written for him, including the Partita by Juan Orrego-Salas (with the Haydn Trio of Vienna), Fantasia (1983) . Claude T. Smith Jindřich Feld's Sonata for alto saxophone and piano, and Concerto for (1932-1987) saxophones and orchestra, Bernhard Heiden's Fantasia Concertante for alto saxophone and winds, Hear Again in Memory, by Frederick Fox, Don Gage Schmitt, alto saxophone Freund's Skyscrapings for alto saxophone and piano, and Concertos by Robin Guy, piano Libby Larsen, Claude Baker, and David DeBoor Canfield.
    [Show full text]
  • Program Book Final 1-16-15.Pdf
    4 5 7 BUFFALO PHILHARMONIC ORCHESTRA TABLE OF CONTENTS | JANUARY 24 – FEBRUARY 15, 2015 BPO Board of Trustees/BPO Foundation Board of Directors 11 BPO Musician Roster 15 Happy Birthday Mozart! 17 M&T Bank Classics Series January 24 & 25 Alan Parsons Live Project 25 BPO Rocks January 30 Ben Vereen 27 BPO Pops January 31 Russian Diversion 29 M&T Bank Classics Series February 7 & 8 Steve Lippia and Sinatra 35 BPO Pops February 13 & 14 A Very Beary Valentine 39 BPO Kids February 15 Corporate Sponsorships 41 Spotlight on Sponsor 42 Meet a Musician 44 Annual Fund 47 Patron Information 57 CONTACT VoIP phone service powered by BPO Administrative Offices (716) 885-0331 Development Office (716) 885-0331 Ext. 420 BPO Administrative Fax Line (716) 885-9372 Subscription Sales Office (716) 885-9371 Box Office (716) 885-5000 Group Sales Office (716) 885-5001 Box Office Fax Line (716) 885-5064 Kleinhans Music Hall (716) 883-3560 Buffalo Philharmonic Orchestra | 499 Franklin Street, Buffalo, NY 14202 www.bpo.org | [email protected] Kleinhan's Music Hall | 3 Symphony Circle, Buffalo, NY 14201 www.kleinhansbuffalo.org 9 MESSAGE FROM BOARD CHAIR Dear Patrons, Last month witnessed an especially proud moment for the Buffalo Philharmonic Orchestra: the release of its “Built For Buffalo” CD. For several years, we’ve presented pieces commissioned by the best modern composers for our talented musicians, continuing the BPO’s tradition of contributing to classical music’s future. In 1946, the BPO made the premiere recording of the Shostakovich Leningrad Symphony. Music director Lukas Foss was also a renowned composer who regularly programmed world premieres of the works of himself and his contemporaries.
    [Show full text]
  • Print/Download This Article (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLVI, Issue 1 Fall 2016 Now He Walks in Beauty: An American Choral Icon Malcolm J. Merriweather, Brooklyn College, CUNY 2016 was a particularly poignant year of loss for the music world. In pop music, the world bid farewell to ground-breaking artists like David Bowie, Prince, and George Michael. On 12 July 2016 the world of choral music lost a great luminary with the death of Gregg Smith. During the second half of the twentieth century, Smith set the standard for professional choirs when he established the Gregg Smith Singers and was widely admired for his contributions to the field of contemporary choral composition through interpretation, commis- sioning, and recording. Gregg Smith was born on 21 Au- gust 1931 in Chicago, Illinois to Myr- tle and Howard Smith. He earned a B.A. in music and an M.A. in com- position from the University of Cali- fornia at Los Angeles. His primary composition teachers were Lukas Foss and Leonard Stein, and his conduct- ing and ensemble mentors were Raymond Moreman and Fritz Zweig. Throughout his career, Smith served on the faculties at Ithaca College, the State University of New York at Stony Brook, Peabody Conservatory, Columbia University, and Manhattan School of Music. In 1955, he founded the Gregg Gregg Smith, 1931–2016 Smith Singers in Los Angeles. At the Contemporary Music Festival in Darmstadt, Smith and his singers were featured in Time (September, 1961, 73) after a successful performance of music by Schoenberg, Krenek, and Ives.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • Judith Lang Zaimont
    Full Biography for Conductor Harold Rosenbaum Website -- http://www.haroldrosenbaum.com/ Harold Rosenbaum is one of the most accomplished, versatile, and critically‐acclaimed choral conductors of our time. He is the 2014 recipient of the Ditson Conductor’s Award, established by Columbia University to honor conductors for their support of American music. Past winners include Leonard Bernstein, James Levine, Alan Gilbert, Eugene Ormandy, Robert Spano, and Robert Shaw. Mr. Rosenbaum was the 2010 recipient of ASCAP’s Victor Herbert Award “in recognition of his contribution to the choral repertory and his service to American composers and their music,” and the 2008 recipient of the American Composer Alliance’s Laurel Leaf Award, previously given to such legends as the Juilliard String Quartet, Leopold Stokowski, and George Szell, in recognition of “distinguished achievement in fostering and encouraging the performance of new American works.” Mr. Rosenbaum is the founder and director of the Harold Rosenbaum Choral Conducting Institute which sponsors 3 and 5-day workshops at New York’s Columbia University, the University at Buffalo, and Long Island’s Adelphi University. He recently founded Virtuoso Choral Recordings (http://www.virtuosochoralrecordings.com), a cooperative venture to allow composers to have their choral works recorded at a reasonable cost. Recently Mr. Rosenbaum created ChoralFest USA – A Celebration of the Diversity of Choral Music in America (http://www.choralfestusa.org). This free marathon concert, held at Symphony Space in NYC each June, features a dozen or more choirs performing centuries of American music in diverse styles. A tireless advocate for contemporary composers, and for American composers in particular, Mr.
    [Show full text]
  • Dreamformsbooklet.Indd 1 11/15/2017 7:54:20 PM Dreamformsbooklet.Indd 2 11/15/2017 7:54:20 PM 1
    DreamformsBooklet.indd 1 11/15/2017 7:54:20 PM DreamformsBooklet.indd 2 11/15/2017 7:54:20 PM 1. In Time’s Wake for Cello and Piano (2000) Dedicated to Elizabeth Simkin [11:26] Matt Goeke, Cello Renée Cometa Briggs, Piano 2. Spring Fever for Clarinet, Violin, Cello and Piano (2001) Dedicated to Joan Tower [13:26] Don Mokrynski, Clarinet Kurt Briggs, Violin Matt Goeke, Cello Renée Cometa Briggs, Piano 3. Fusion for Violin and Piano (2010) Dedicated to Tom Cipullo and Hedwig Brouckaert [9:10] in loving celebration of their marriage Kurt Briggs, Violin Renée Cometa Briggs, Piano Dream Forms for Violin, Cello, and Piano (2011/2016) 4. Episode I : Clairvoyant [11:59] Dedicated to Marc Peloquin 5. Episode II : Lucid (A Bronx Story) In memory of Kalief Browder [11:02] 6. Episode III : Epic (Aftermath) In loving memory of Dr. Thomas Colonna [11:24] di.vi.sion piano trio Kurt Briggs, Violin Matt Goeke, Cello Renée Cometa Briggs, Piano Total Time – 70:37 DreamformsBooklet.indd 3 11/15/2017 7:54:20 PM Statement from DAVID DEL TREDICI about a recent concert of all the works recorded: Having just come from an all Steven Burke concert (the first of, I am sure, many) I was stunned by the accumulated energy of it all. Paradoxically, this implacably-driven music projects – and achingly so – a human, tender dimension. So he has it all! We are not talking here about ‘old wine in new bottles’ but rather a fragrant, fresh vintage proffered us in tonal containments – transformed by Burkian alchemy.This encomium, then, is by way of saying that Steven Burke is without question one of the major compositional voices of his generation.
    [Show full text]
  • “A Musical Contrarian”
    faculty obituaries “A Musical Lukas Foss Contrarian” Lukas Foss, a CFA professor of music, challenged his students and his audience By Natalie Jacobson McCracken Lukas Foss, a retired College of Fine Arts professor of music and an acclaimed composer, conductor, and pianist, died on February 1. He was eighty-six. Foss began studying music at age seven in Germany and continued with prominent teachers after his family fled to Paris from Nazi Germany in 1932 and then moved to the United States. At fifteen, recommended by Gian Carlo Menotti, he entered the Curtis Institute of Music and his lifelong friendship with fellow student Leonard Bernstein began. Both went on to Tanglewood, where their faculty Fred Sway included Serge Koussevitzky (“Koussy was like my adopted father,” Foss said) “As a pianist he could define a new for players. “My work is written for and Paul Hindemith. piece, like Bernstein’s Age of Anxiety, people who can play,” he said. “They At twenty-two, Foss was the or show us a new side of an old Bach have to be damn good.” youngest composer to have a work concerto or a Mozart minuet. As a As a conductor — Foss led the premiered by the Boston Symphony composer he went everywhere, and Jerusalem Symphony, the Milwaukee Orchestra. He was the youngest to win his art is everything: serious and full Symphony, the Buffalo Philharmonic, a Guggenheim Fellowship. At thirty- of humor, derivative and original, old and the Brooklyn Philharmonic — he one, he became a full professor at and new. What it is not is predictable, offered “provocatively innovative UCLA, succeeding Arnold Schoenberg.
    [Show full text]
  • ALBAN Gerhardt ANNE-Marie Mcdermott
    THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT ANNE-MARIE MCDERMOTT Saturday, January 16, 2016 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1983 the KINDLER FOUNDATION TRUST FUND in the Library of Congress was established to honor cellist Hans Kindler, founder and first director of the National Symphony Orchestra, through concert presentations and commissioning of new works. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, January 16, 2016 — 2 pm THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT, CELLO ANNE-MARIE MCDERMOTT, PIANO • Program SAMUEL BARBER (1910-1981) Sonata for cello and piano, op. 6 (1932) Allegro ma non troppo Adagio—Presto—Adagio Allegro appassionato BENJAMIN BRITTEN (1913-1976) Sonata in C major for cello and piano, op. 65 (1960-1961) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo LUKAS FOSS (1922-2009) Capriccio (1946) iNtermission 1 LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass for cello and piano (1971) Meditation no.
    [Show full text]
  • 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.
    [Show full text]
  • Lori Akins, Flute, Alto Flute, and Piccolo Lori Akins Cedarville University, [email protected]
    Cedarville University DigitalCommons@Cedarville Faculty Recitals Concert and Recital Programs 3-25-2010 Lori Akins, Flute, Alto Flute, and Piccolo Lori Akins Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/faculty_recitals Part of the Music Performance Commons Recommended Citation Akins, Lori, "Lori Akins, Flute, Alto Flute, and Piccolo" (2010). Faculty Recitals. 27. http://digitalcommons.cedarville.edu/faculty_recitals/27 This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Faculty Recitals by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. THE CEDARVILLE UNIVERSITY DEPARTMENT OF Music, ART, & WORSHIP PRESENTS IN FACULTY RECITAL LORI AKINS FLUTE, AL TD FLUTE, AND PICCOLO TIMOTHY BOWER PIANO THURSDAY, MARCH 25, 20 1 0 7:00 P.M. RECITAL HALL BOLTHOUSE CENTER FOR MUSIC DIXON MINISTRY CENTER Program Sonata in e minor, BWV 1034 ..................... Johann Sebastian Bach Adagio ma non tanto (1685-1750) Allegro Andante Allegro Valentine .............................................. Lukas Foss (1922-2009) Three American Pieces .................................... Lukas Foss 1. Early Song 2. Dedication 3. Composer's Holiday INTERMISSION The Great Train Race ...................................... Ian Clarke (b. 1964) Six Preludes: Studies on East Asian Pipes for solo piccolo David Loeb Ti (China) (b. 193 9) Taegum (Korea) Donglim (Tibet) Shinobue (Japan) Suling (Bali) Khene (Laos) Sonata Rubata ........................................ Steven Harlos I. Allegretto moderato (b. 19 53) II. Intermezzo, Andante sostenuto III. Theme and Variations, Simply, As a folk song Please no flash photography. Please turn off all cell phones & pagers. Program Notes The Sonata in e minor, Bff7 V 1034 by J.
    [Show full text]