Guide to the Robert Helps Collection, 1928-2001 Descriptive Summary
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559199 bk Helps US 12/01/2004 11:54 am Page 8 Robert HELPS AMERICAN CLASSICS (1928-2001) ROBERT HELPS Shall We Dance Piano Quartet • Postlude • Nocturne Spectrum Concerts Berlin 8.559199 8 559199 bk Helps US 12/01/2004 11:54 am Page 2 Robert Helps (1928-2001) ROBERT HELPS (1928-2001) Shall We Dance • Piano Quartet • Postlude • Nocturne • The Darkened Valley (John Ireland) 1 Shall We Dance for Piano (1994) 11:09 Robert Helps was Professor of Music at the University of Minneapolis, and elsewhere. His later concerts included Piano Quartet for Piano, Violin, Viola and Cello (1997) 25:55 South Florida, Tampa, and the San Francisco memorial solo recitals of the music of renowned Conservatory of Music. He was a recipient of awards in American composer Roger Sessions at both Harvard and 2 I. Prelude 10:24 composition from the National Endowment for the Arts, Princeton Universities, an all-Ravel recital at Harvard, 3 II. Intermezzo 2:24 the Guggenheim, Ford, and many other foundations, and and a solo recital in Town Hall, NY. His final of a 1976 Academy Award from the Academy of Arts compositions include Eventually the Carousel Begins, for 4 III. Scherzo 3:02 and Letters. His orchestral piece Adagio for Orchestra, two pianos, A Mixture of Time for guitar and piano, which 5 IV. Postlude 8:12 which later became the middle movement of his had its première in San Francisco in June 1990 by Adam 6 V. Coda – The Players Gossip 1:53 Symphony No. 1, won a Fromm Foundation award and Holzman and the composer, The Altered Landscape was premièred by Leopold Stokowski and the Symphony (1992) for organ solo and Shall We Dance (1994) for 7 Postlude for Horn, Violin and Piano (1964) 9:11 of the Air (formerly the NBC Symphony) at the piano solo, Piano Trio No. -
Pedagogical Literature for Violists: Selected Studies from Lillian Fuchs's 16 Fantasy Études and Corresponding Orchestral Excerpts
PEDAGOGICAL LITERATURE FOR VIOLISTS: SELECTED STUDIES FROM LILLIAN FUCHS’S 16 FANTASY ÉTUDES AND CORRESPONDING ORCHESTRAL AUDITION EXCERPTS A DISSERTATION IN Viola Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by YU-FANG CHEN B.M., National Institute of the Arts, Taipei, Taiwan, 2003 M.M., National Institute of the Arts, Taipei, Taiwan, 2005 Kansas City, Missouri 2013 © 2013 YU-FANG CHEN ALL RIGHTS RESERVED PEDAGOGICAL LITERATURE FOR VIOLISTS: SELECTED STUDIES FROM LILLIAN FUCHS’S 16 FANTASY ÉTUDES AND CORRESPONDING ORCHESTRAL AUDITION EXCERPTS Yu-Fang Chen, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2013 ABSTRACT Few colleges and music festivals offer intensive orchestral studies programs as part of the string department curriculum, and those that do focus solely on excerpts and audition preparation. This dissertation proposes a post-graduate course to establish a comprehensive curriculum. The course utilizes two resources, Lillian Fuchs’s 16 Fantasy Études and common orchestral audition excerpts. The 16- week course will help students build their musicality and craftsmanship by studying selected études and standard viola audition repertoire. Each étude will address the technical and musical demands of its given excerpt, and the course will offer students suggestions as how to practice them. Aiming to foster future educators and professional orchestral violists, the author concentrates on the pedagogical and problem-solving aspects of audition preparation. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the Conservatory of Music have examined a thesis titled “Pedagogical Literature for Violists: Selected Studies from Lillian Fuchs’s 16 Fantasy Études and Corresponding Orchestral Excerpts,” presented by Yu-Fang Chen, candidate for the Doctor of Musical Arts degree, and certify that in their opinion it is worthy of acceptance. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Program Notes Hosted by the Score Board 7:00
DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum. -
Recent Sample Program
A Reese-Leonard Production Marc Reese, trumpet and Lisa Leonard, piano 2014-2015 Season A Reese-Leonard Production Marc Reese, trumpet and Lisa Leonard, piano Thursday October 16th, 2014 Amarnick-Goldstein Concert Hall, Boca Raton, Fla. An die ferne Geliebte Ludwig van Beethoven “To the Distant Beloved” (1770-1827) I Sit on the Hill, Gazing Where the mountains so blue Light veils in the heights These Clouds on high May is returning, the meadow's in Flower Take them, then, these Songs Songs In The Rear View Mirror (2010) Kenneth Frazelle Beech Tree Initials (1955- ) Kudzu Pictures at an Exhibition Modest Mussorgsky Promenade (1839-1881) Gnomus Promenade The Old Castle Baba Yaga Great Gate of Kiev Intermission 2 Kinderszenen “Scenes from Childhood” Op.15 Robert Schumann Curious Story (1810-1856) Blindman’s Buff- Catch me Entreating Child Perfect Happiness Important Event Reverie Frightening Child Falling Asleep The Poet Speaks Romeo and Juliet, Op.75 Sergei Prokofiev Young Juliet (1891-1953) Masks Montagues and Capulets Siete Canciones populares Españolas Manuel de Falla El Pano Moruno (1876-1946) Seguidilla Murciana Asturiana Jota Nana Polo All arrangements by Marc Reese and Lisa Leonard This program is dedicated to Lynn Reese, Judy Leonard and Shelia Barnett 3 Texts An die ferne Geliebte To the Distant Beloved Auf dem Hügel sitz ich spähend I Sit on the Hill, Gazing Sitting on the hillside, I look Into the blue, haze-covered land For the distant meadows Where, my beloved, I first saw you. Now I am far away, Mountains and valleys part us, Lie between us and our peace, Our happiness and the pain we share. -
View PDF Online
MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL -
ROBERT HELPS in Berlin Chamber Music with Piano
559696-97 bk Helps US 22/6/11 12:21 Page 20 Also available from Spectrum Concerts Berlin: AMERICAN CLASSICS ROBERT HELPS in Berlin Chamber Music with Piano Spectrum Concerts Berlin ATOS Trio Robert Helps, Piano 8.559199 2 CDs 8.559696-97 20 559696-97 bk Helps US 22/6/11 12:21 Page 2 CD 1 55:36 CD 2 62:13 Also available from Spectrum Concerts Berlin: 1 Postlude for Horn, Violin Trio I for Violin, Cello and Piano (1957) 14:36 and Piano (1964) 8:43 1 I. Mesto 5:37 2 II. Molto marcato 4:18 2 Fantasy for Violin and Piano (1963) 6:57 3 III. Maestoso 4:41 Quartet for Piano, Violin, Trio II for Violin, Cello and Piano (2000) 12:23 Viola and Cello (1997) 17:52 4 I. Duets: Allegro 3:06 5 3 I. Prelude 5:32 II. Horizons: Austere, but intense 6:47 6 4 II. Intermezzo (Flowing – Expressive – Sempre legato) 2:22 III. Toccata frustrata 2:30 5 III. Scherzo 3:19 7 Felix Mendelssohn (1809-47): Six Lieder, Op. 71 6 IV. Postlude 4:38 No. 4: Schilflied (1842-47, arr. Helps 1988) 3:53 7 V. Coda – The Players Gossip (Allegro giocoso) 2:01 8 John Ireland (1879-1962): Love is a Sickness Full of Woes (1921, arr. Helps 1995) 2:59 8 Duo for Cello and Piano (1977) 8:10 9 Francis Poulenc (1899-1963): Quintet for Violin, Cello, Flute, Intermezzo in A flat major (1943) 4:18 Clarinet and Piano (1997) 13:54 Leopold Godowsky (1870-1938): 9 I. -
New on Naxos
TheNEW World’s LeadingON Classical NAXOS Music Label APRIL 2011 1 When you view this PDF on your computer you can click on the hyperlinks to visit the Album Pages, Biographies & Discographies and other web pages. The April 2011 new releases will be live on naxos.com closer to the release month. NAXOS BLU-RAY AUDIO NAXOS BLU-RAY AUDIO ORCHESTRAL NBD0009 | 730099000963 MAHLER Symphony No. 8 Soloists • Polish Radio Choir in Krakow • Cardinal Stefan Wyszynski University Choir • Warsaw Boys Choir Warsaw National Philharmonic Choir and Orchestra • Antoni Wit, conductor On this stunning Naxos Blu-ray Audio album Antoni Wit leads the immense forces required for Mahler’s Eighth Symphony in a performance, originally released on Naxos CD 8.550533-34, ‘at once deeply religious and extremely sensual. The playing is tremendous, the choral singing thrillingly beautiful ‘(The Guardian) which ‘combines the best of just about all of the competing versions and offers the most accurate sense of what the piece really does (or should) sound like live’ (10/10 Classics Today). The CD version’s ‘full-bodied sound production’ (Fanfare) is here further enhanced by state-of-the-art high-resolution and extra-wide dynamics, giving ‘one of the top Mahler Eighths’ (Classical CD Review) a new sonic dimension. CRITICALLY ACCLAIMED NAXOS RECORDING NOW ON BLU-RAY AUDIO FOR THE FIRST TIME! Warsaw Philharmonic Choir & Orchestra Antoni Wit The Warsaw Philharmonic Choir and Orchestra are renowned the world over, and perform on an extraordinary number of acclaimed Naxos recordings. Antoni Wit is one of today’s most highly regarded Polish conductors. -
New Chamber & Solo Music
NWCR649 New Chamber & Solo Music David Del Tredici, Robert Helps, Jan Radzynski, Tison Street 7. III - Allegro Minacciando (…Diabolique) ......... (1:25) 8. IV - Largo ............................................................ (4:37) David Del Tredici, piano Jan Radzynski 9. String Quartet (1978) ........................................... (12:00) The Aviv String Quartet: Hagai Shaham, violin; John McGross, violin; Yariv Aloni, viola; Zvi Plesser, cello 10. Canto (1981) ....................................................... (10:18) Arnon Erez, piano Five Duets (1982) 11. I – Risoluto .......................................................... (1:25) 12. II – Allegro .......................................................... (1:05) 13. III – Allegretto burlesco ...................................... (1:19) 14. IV – Remembering Sepharad .............................. (2:51) 15. V – Agitato .......................................................... (2:25) Maya Beiser, Zvi Plesser, cellos Tison Street Robert Helps 16. Trio (1963) .......................................................... (9:38) 1. Hommage à Fauré (1972) ................................... (3:56) Members of Spectrum Ensemble Berlin: Per Sporrong, violin; Brett Dean, viola; Frank Dodge, cello 2. Hommage à Rachmaninov (1972) ....................... (2:17) Robert Helps 3. Hommage à Ravel (1972) ................................... (4:30) Robert Helps, piano 17. Nocturne (1960) .................................................. (7:42) Members of Spectrum Ensemble Berlin Mi-Kyung -
Edition 2 | 2018-2019
Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem WHAT’S INSIDE III ...................MESSAGE FROM THE MUSIC DIRECTOR V .............MESSAGE FROM THE EXECUTIVE DIRECTOR VII ...................... MESSAGE FROM THE BOARD CHAIR X ..............................................DAVID ALAN MILLER XIII ................................... ORCHESTRA PERSONNEL JANUARY 5-6, 2019: XIX ........................................... BEETHOVEN’S SEVENTH FEBRUARY 9-10, 2019: XXVII ............................................ ROMANTIC CHOPIN MARCH 9, 2019: XXXV .............................................................BOLÉRO XLV ..................................... 2018-2019 SPONSORS XLIX .....................................CONDUCTOR’S CIRCLE L ................................................ INDIVIDUAL GIVING LIII .................IN HONOR, CELEBRATION, & MEMORY LIV ...............................................ENCORE SOCIETY FOUNDATIONS, CORPORATIONS & LV ..................................... GOVERNMENT AGENCIES LV ............................................IN-KIND DONATIONS LVII.........................................................BOARD