DOCSLIB.ORG

Music Appreciation and History Classes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Appreciation and History Classes Music Appreciation and History Classes Winter and Spring 2015 Course Calendar Online: rcmusic.ca/MusicAppreciation Registration: Online: rcmusic.ca/MusicAppreciation By phone: 416-408-2825 In person: 273 Bloor St. West Music Appreciation and History The Royal Conservatory of Music Opera in the City Instructor: Eric Domville Tuesdays, 1:00-3:00 • January 13 to February 3 (4 weeks) • $195 Calling all opera lovers! Whether you’re a seasoned opera-goer or new to this timeless art form, before you take your seat in the theatre for another highly anticipated season of opera in the city, join University of Toronto Professor Emeritus Eric Domville for an illuminating journey into operatic history and enhance your experience of the following two operas scheduled to be performed in Toronto this winter: • Mozart’s darkly comedic Don Giovanni (COC; opens January 24) • Wagner’s epic Die Walküre (COC; opens January 31) Immerse yourself in the music, the plot, and the characters; hear arias sung by students of the Glenn Gould School; and study excerpts from the libretto (English translations provided). We’ll explore the place of each opera within the composer’s artistic output and its position within both the history of opera and the socio-political context of the time. Questions and discussion will be encouraged as an essential component of a communal introduction to these enduring works. Eric Domville is a Professor Emeritus in English literature at the University of Toronto, where he taught at all levels for 30 years. Since his retirement, he has concentrated on the relationship between words and music in song and opera. He has given many pre-performance talks for the Canadian Opera Company and Opera Atelier, and delivered lectures to opera guilds across Ontario. For the past 20 years, Eric has acted as commentator for the Music and Poetry series at the Faculty of Music, University of Toronto. Currently, in addition to presenting opera courses at various institutions, he appears as a guest presenter of programmes on classical music on the University of Toronto’s radio station at 89.5 FM. Many of his articles on operas have appeared in the programme books of the Canadian Opera Company. Notes: A spring session of this course will cover Berlioz's Orpheus and Eurydice, Rossini's Barber of Seville, Bartók's Bluebeard's Castle, and Schoenberg's Erwartung (Tuesdays 1-3, March 24 to April 28). See below for course details. Students may purchase 2 tickets to The Glenn Gould School spring opera, Offenbach’s La Belle Hélène conducted by Uri Mayer (Koerner Hall; Wednesday, March 18, 2015 at 7:30 pm OR Friday, March 20, 2015 at 7:30 pm) at 10% off, while quantities last. Call (416)408-0208 or visit the Weston Family Box Office after registering. Music Appreciation and History The Royal Conservatory of Music How Music Works: A Practical Primer Instructor: James Stager Wednesdays, 10:00–12:00 • January 21 to March 11 (8 weeks) • $395 If you’ve always wanted to understand how music “works,” this practical course combining guided listening and active participation in basic musicianship exercises is for you. Explore the building blocks of music and how they create the magic of the music you love! We’ll deconstruct selections from classical, folk, and popular repertoires—including Mozart’s “Eine Kleine Nachtmusik,” Pachelbel’s “Canon,” Handel’s “Hallelujah Chorus,” Bach’s cello suites, and pieces by Bernstein, the Beatles, B.B. King, and Gershwin, among many others—and unlock the secrets of melody, rhythm, harmony, texture, form, genre, and more. Along the way, we’ll cover topics such as basic staff notation, scales, intervals, time signatures, note and rest values, meters, chords, and cadences. In the final class, we’ll put all the pieces together and apply our cumulative learning to an enlightening study of Beethoven’s monumental Symphony No. 5. Participants will emerge from this course with a deeper understanding of the music they experience. James Stager is a sought-after trombonist, pianist, and educator. He teaches music theory, music history, low brass, and jazz improvisation at The Royal Conservatory as well as at several of Toronto’s performing arts schools, and music theory at York University. He is frequently heard in concert halls, festivals, and nightclubs in a wide variety of musical settings including symphony orchestras (Toronto Philharmonia), musical theatre (Shaw Festival and Soulpepper Theatre), world music (Moda Eterna, Caché), and jazz groups (Big Rude Jake, Red Hot Ramble). In addition to his teaching and performing career, as a member of The Conservatory’s College of Examiners, James adjudicates woodwind, brass, and percussion examinations throughout Canada and the United States, and evaluates written examinations in music theory and history. Notes: Students may purchase 2 tickets to Sir Roger Norrington Conducts the Royal Conservatory Orchestra (Koerner Hall; Friday, April 10, 2015 at 8pm), featuring Beethoven’s Symphony No. 5, at 50% off, while quantities last. Call (416)408-0208 or visit the Weston Family Box Office after registering. Music Appreciation and History The Royal Conservatory of Music Schubert’s Song Cycles: Love, Longing, and Despair Instructor: Robert Loewen Wednesdays, 1:30-3:00 • January 28 to February 18 (4 weeks) • $150 “I came here a stranger, as a stranger I depart …” This four-week course illuminates the song cycles of Franz Schubert, considered the “father” of German lieder and the most prolific of all German art song composers. Working in the early 19th century, Schubert wrote more than 600 songs for piano and voice in which the poetry of contemporary Romantic poets such as Goethe and Müller is set to music. The song cycle --- a grouping of songs that comprise a narrative, or that are united by a common theme or idea --- was among the most important musical genres of the 19th century. Through these intimate works, narratives unfold, existential questions arise, and complex psychological and emotional states are explored. Schubert took the song cycle to previously unknown --- and, many argue, unsurpassed --- heights. Die schöne Müllerin, which Schubert composed in 1823, traces the trajectory of young love from optimism to its tragic conclusion, while Winterreise, the proofs for which Schubert was correcting at the time of his early death in 1827, follows the flight of a romantic hero from unrequired love. When Winterreise was published in 1828, an Austrian journal remarked of the songs that “none can sing or hear them without being touched to the heart.” Discover the beauty of these works and contemplate their enduring themes through lecture, legendary recordings, and live performances. The German mezzo-soprano Elena Gerhardt said of Winterreise, “You have to be haunted by this cycle to be able to sing it.” On February, 26, hear the outstanding German baritone Christian Gerhaher perform Winterreise live in Koerner Hall. Dr. Robert Loewen teaches voice to a wide range of singers including high school and college students, young professionals, and avocational mature individuals. His students have been accepted into leading music programs, including The Curtis Institute, and are working in the profession. He has also taught the choral scholars of Trinity College at the University of Toronto; served as presenter and clinician for the Royal Conservatory Music Development Program; given presentations for Royal Conservatory Examinations; and served as an adjudicator across Canada. Dr. Loewen is on the Voice Faculty of the Royal Conservatory School, the Academic Faculty of the Glenn Gould School, and is a Senior Voice Examiner for Royal Conservatory Examinations and Royal Conservatory Music Development Program. Notes: Students may purchase 2 tickets to Christian Gerhaher & Gerold Huber (Koerner Hall; Thursday, February 26, 2015 at 8pm), at 10% off, while quantities last. Call (416)408-0208 or visit the Weston Family Box Office after registering. Music Appreciation and History The Royal Conservatory of Music The Intimate World of Chamber Music Instructor: Rick Phillips Thursdays, 10:00-12:00 • February 5 to March 12 (6 weeks) • $295 This course provides an introduction to and survey of chamber music, one of the most personal and intimate forms of musical expression. Composed for small groups of instruments with one performer to each part, chamber music is characterized by the expression and “conversation” among ensemble members rather than by a focus on the virtuosity of a soloist or unity under a conductor’s baton. The larger forms of opera, symphony, concerto, and oratorio all have an irresistible, inspirational grandeur and majesty, but chamber music should never be overlooked for its ability to communicate ideas and emotion. In the words of the German composer Hans Werner Henze: “The importance of chamber music is that, in dealing with the intimate, it can attain the indescribable.” Originally performed in a small space, such as a room in a palace or in a house, chamber music today is alive in concert halls across the world, thrilling audiences and performers alike with its unique charms and challenges. What skills---musical and non-musical---do chamber musicians require, and how do these differ from those required to play solo or symphonic works? How are questions of interpretation resolved among groups of musicians working together as equals? What special considerations are involved in the rehearsal and performance of chamber music, and what are the challenges and rewards? Through trios, quartets, quintets, and more by composers including Haydn, Mozart, Beethoven, Brahms, Debussy, Bartók, and Shostakovich, we’ll trace the development of chamber music starting in the 17th century through to the 20th. The Royal Conservatory’s quartet-in- residence, the Afiara Quartet, will join us for a special glimpse into the workings of a real quartet and an informal interview with course leader Rick Phillips. Rick Phillips was affiliated with CBC Radio for 30 years, working in Montreal, Edmonton, Calgary, and Toronto in a career that spanned production to management to on-air.
Load more

Recommended publications
  • Weinzweig Long
    John Weinzweig (1913-2006) Born in 1913 to Polish-Jewish immigrants, John Weinzweig became a noted Canadian composer, educator and advocate. He began music study at the age of 14, learning mandolin at the Workmen’s Circle Peretz School, a Jewish community school in North Toronto. During his high school years at Harbord Collegiate, Weinzweig joined the orchestra playing the violin parts on the mandolin but eventually learned the tuba, tenor saxophone, and bass. Weinzweig’s early musical training led to an interest in composition and he spent between 1934-37 studying at the University of Toronto with Healy Willan, Leo Smith, and Sir Ernest McMillan. During his time at the University of Toronto Weinzweig founded and conducted the University of Toronto Symphony Orchestra. Following the completion of his education in Toronto, Weinzweig moved to Rochester, NY to study with Howard Hanson at the Eastman School of Music. There he was first introduced to serial compositional techniques. Upon his return to Toronto, Weinzweig experimented with serialism in his Piano Suite no. 1 (1939) and in incidental music for docudrama radio programming at the growing CBC. For the remainder of his career, Weinzweig continued to use serialism as the governing structure behind his compositions even when he experimented with other musical ideas. Following a decade long tenure at the CBC (1941-51), Weinzweig’s compositional interests returned to concert music. He began composition of his Divertimenti, with Divertimento no. 1 winning an award for chamber music at the 1948 Olympics. Works such as String Quartet no. 1 and Suite for Piano no.
    [Show full text]
  • View PDF Document
    I UCM NEW MUSIC f~ST VAL 2011: 0 D ANl;)NEW - / I . \ 1 ~011 SOCIETY OF COMPOS5RS, 11\lc. REGION VI CONFERENCE ,-A I I , , I ' , I ' ~ ~ ~ ~' ' I NIVERSllTY OF CENTRAt MISSOURI /,) I I DEPARTMENT O~MlJSl6 APRIL 8-10, 20 1 ' J UCM New Music Festival 2011: OLD AND NEW 2011 Society of Composers, Inc. Region VI Conference Festival Featured Guest Artists: ATHENS SAXOPHONE QUARTET KCCONTINUUM April 8-10, 2011 University of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music An All-Steinway School Festival at a Glance Alf concerts will be held in Hart Recital Half Friday, April 8 Saturday, April 9 Sunday, April 11, 2010 8AM: Papers I (Utt 008) 8AM: Papers Ill (Utt 100) 8AM: Papers V (Utt 100) 10AM: Concert I 10AM: Concert IV 10AM: Concert VII 1PM: Papers II (Utt 107) 1 PM: Papers IV (Utt 100) 1 PM: Papers VI (Utt 100) 3PM: Concert II 3PM: Concert V 3PM: Concert VII 8PM: Concert Ill KCContinuum 8PM: Concert IX 8PM: Concert VI Athens Saxophone Quartet UNNERSI1Y OF CENTRAL MISSOURJ - - DEPARTMENTOF - ­ MUS!C _5CI - Est. 1871- AN A LL-STEINWAY SCHOOL ;ociety of Composers, Inc. UCM New Music Festival 2011: OLD AND NEW April 8-10, 2011 U niversity of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music TABLE OF CONTENTS Welcome from the Chair ... ....... .. ..... ...... .. .. ...... ...... ................. ........... .......... ........ ....... ................. ... ......... 1 UCM Department of Music Faculty . ...... ....... ........ .. .... ...... ...................... .......
    [Show full text]
  • Schizophonia — Issue 124, 1 August 2018
    C L A S S I C A L M U S I C D A I L Y Schizophonia — Issue 124, 1 August 2018 SPONSORED FEATURE — 'MY LIFE ON EARTH & ELSEWHERE' A P Virag: It is a sad fact that in Canada far too few of its people know the name R Murray Schafer and far more know hockey players and certain pop singers better left unmentioned. In this autobiography Schafer recollects his life, his work, his personal responses to literature, people and nature — the last most especially in its sounding form, for Schafer is above all a composer. And sadly, he recalls the people who either stood in his way, maltreated him or behaved in unprofessional fashion. Depending on your character (optimist or pessimist), you will read this as a pean to creativity or a litany of uncalled-for struggles. Both views are correct: one way, and the other. Schafer wrote a novel entitled Wolftracks, which can be read either from the first right hand page to the end or from the last left hand page to the front. The tale is an 'ouroboros' and circles forever. But both 'sides' are present. My Life on Earth & Elsewhere by R Murray Schafer The negative experiences might give a certain dramatic 2012, The Porcupine's Quill, 280pp, ISBN 9780889843523 fervour (how could they have done that?), but it is probably better to focus upon the good. Further, when it is a matter of Schafer's creativity, there is so much to be amazed at. Surprisingly, Schafer retains the usual pattern of autobiographies: from beginning until now.
    [Show full text]
  • 1973-Iceland.Pdf
    -----=ca=rn=-.....z:-c, wrn=-:- --. n ===N::ll:-cI - .. • ~ en Place I Monday, June 18 I Tuesday, June 19 I Wednesday, Ju'!e 20 I I Thursday, June 21 I Friday, June 22 I Saturday, June 23 1 Sunday, June 24 10.00--12.00 10.00-12.00 10.00-12.00 Hotel General Assembly General Assembly General Assembly Loftleidir (if necessary) 14.00- 16.00 14.00-16.00 General Assembly General Assembly 12.00 Lvric Arts Trio Charpentier: --- The Symphony --- Nordic 17.00 17.00 22.00 House Norwegian Wood- Harpans Kraft Nonvegian jazz Wind Quintet from Sweden Bibalo, Berge, Salmenhaara, W elin, Mortensen, Nordheim - - -·- [_____ - 20.30 20.00 17.00 14.00 14.00 14.00 Miklatun Reception Tenidis, Kopelent TapeMusic Tape Music Tape Music Tape Music T6masson, Hall- Gilboa, Schurink grlmsson, Leifs Lambrecht, 20.00 20.00 17.00 Benhamou, Kim, Lyric Arts Trio German Trio Gaudeamus Tokunaga, Ishii, Doh!, Quartet Thommesen Zender, de Leeuw I Zimmermann, Raxach I Karkoschka, I Lutoslawski Haubenstock- Ramati, Hoffmann I I ---- --- -- - ' Exhibition of scores sent in by sections daily, at Miklatun --- - ISCM --- --- -- Hask6\abi6 21.00 Iceland Symphony Orchestra ThorarinssQn, Mallnes, Stevens, Endres, Gentilucci, Lachenmann, Krauze - - - - - -- -- -- ~ -- - State 17.00 Radio Icelandic Music on Tape - - - --- - --- -- Arnes Recital: Aitken/ Haraldsson I The President of the ISCM The President of the Icelandic Section In whatever way the 1973 Music Day may enter the history of It is a great pleasure for the Icelandic Section of the ISCM the ISCM, surely it will be remembered as the most Northern to receive the delegates of the sister organisations to the General point ever reached by the Society.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • The Piano Music of Jean Coulthard: an Historical Perspective
    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 o f 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 wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer 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 o f 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. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Piano Music of Jean Couithard By Glenn David Colton B.Mus., Memorial University of Newfoundland, 1990 M.A. (Music Criticism), McMaster University, 1992 A dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Musicology) in the Department of Music We accept this dissertation as conforming to the required standard fl$r.
    [Show full text]
  • Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence
    A HISTORY OF THE ROYAL (TORONTO) CONSERVATORY OF MUSIC PIANO EXAMINATIONS, 1887-2015: THEIR IMPACT AND INFLUENCE TATIANA VOITOVITCH-CAMILLERI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Tatiana Voitovitch-Camilleri, 2019 ii ABSTRACT Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students’ progress through its Examinations, recently retitled as The Certificate Program. The Conservatory’s internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions.
    [Show full text]
  • Something to Sing About: a Preliminary List of Canadian Staged Dramatic Music Since 1867"
    Article "Something to Sing About: A Preliminary List of Canadian Staged Dramatic Music Since 1867" Mary I. Ingraham Intersections: Canadian Journal of Music / Intersections : revue canadienne de musique, vol. 28, n° 1, 2007, p. 14-77. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/019291ar DOI: 10.7202/019291ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 08:38 Something to Sing About: A Preliminary List of Canadian Staged Dramatic Music Since 1867 Mary I . Ingraham National literatures are not passive reflections of naturally occurring phenomena, but integral components in the process of national development, consciously constructed pieces of the national culture, and creators of the world in which we live. The canon is chosen, not born. Sarah Corse It is the consumer, not the producer, who benefits by culture, the consumer who becomes humanized and liberally educated.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1996
    BOSTON SYMPHONY ORCHESTRA knglewqpd SEIJI OZAWA, MUSIC DIRECTOR 1 9 9 "Two words describe both the Boston Symphony Orchestra and Hoover Capita Management: sound and disciplined." WWwifi W^vsbs^HM "When you come to Symphony Hall, you do so to hear wonderful sound produced by talented and disciplined musicians. When you come to Hoover Capital, you do so to get sound investment management practiced by a team of talented and disciplined investment professionals. "Our value-based approach benefits substantially our institutional and individual clients because, at Hoover Capital, we have only one standard for both performance and service — the highest." — Stevin R. Hoover — Chairman and CEO HOOVER CAPITAL MANAGEMENT 50 Congress Street Boston, Massachusetts 02109 617-227-3133 Hoover Capital Management is a Registered Investment Advisor. Copies of Form ADV as filed with the SEC are available upon request. Past performance is no guarantee of future results. Seiji Ozawa, Music Director One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. Nicholas T. Zervas, President J. P. Barger, Chairman Peter A. Brooke, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Stata, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Ray Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis George Krupp Robert P. O' Block John F. Cogan,Jr. Nina L. Doggett R. Willis Leith, Jr. Peter C. Read Julian Cohen AvramJ. Goldberg Chairman-elect Carol Scheifele-Holmes William F. Connell Thelma E. Goldberg Mrs.
    [Show full text]
  • A Portrait of Composer Steven Gellman for His Seventieth Birthday Roxane Prevost
    Document generated on 10/01/2021 9:30 a.m. Intersections Canadian Journal of Music Revue canadienne de musique --> See the erratum for this article A Portrait of Composer Steven Gellman for His Seventieth Birthday Roxane Prevost Volume 36, Number 2, 2016 Article abstract This article begins with a short biography of and an exchange with Canadian URI: https://id.erudit.org/iderudit/1051595ar composer Steven Gellman, who celebrated his seventieth birthday in 2017. The DOI: https://doi.org/10.7202/1051595ar biography outlines his life trajectory from a young boy interested in composition to his studies with Messiaen to his career in Canada. The exchange See table of contents with the composer consists of fourteen questions on Gellman’s creative process and his reflections on his career as a composer. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Prevost, R. (2016). A Portrait of Composer Steven Gellman for His Seventieth Birthday. Intersections, 36(2), 27–34. https://doi.org/10.7202/1051595ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2018 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • Canadian Solo Trombone Recital Repertoire: an Annotated Bibliography
    Canadian solo trombone recital repertoire: An annotated bibliography by Dale Sorensen A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by Dale Sorensen, 2015 Canadian solo trombone recital repertoire: An annotated bibliography Dale Sorensen Doctor of Musical Arts Graduate Department of Music University of Toronto 2015 Abstract The first major Canadian compositions for solo trombone were written in the 1950s, a time when Canadian concert music composers began to flourish. Since then, more than 240 Canadian works for solo trombone (including alto, tenor and bass) have been composed. This annotated bibliography is a comprehensive examination of 135 of these works, delimited to include those composed in a 60-year period from 1952 to 2012, in two subsets of the repertoire typically performed in a standard recital: music for unaccompanied trombone, and music for trombone with piano accompaniment. The performance and/or study of Canadian music is a curricular requirement in many Canadian school music programs, and the performance of Canadian works is often mandatory for recitals and solo competitions. An annotated bibliography is an important resource that allows performers, teachers and students to identify and evaluate a body of musical works. The present document responds to the demand for such a resource by musicians searching specifically for Canadian solo trombone music, and significantly expands the scope of such previous research. The works chosen for inclusion in this study are presented in five sections based on instrumentation (divided by alto, tenor or bass trombone, and by unaccompanied solos or works ii with piano accompaniment – at the time of writing there were no unaccompanied alto trombone solos).
    [Show full text]