DOCSLIB.ORG

University of Miami Ney Rosauro's Two Concerti For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Miami Ney Rosauro's Two Concerti For UNIVERSITY OF MIAMI NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA: ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS By Wan-Chun Liao A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida June 2005 UNIVERSITY OF MIAMI An essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA: ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS Wan-Chun Liao Approved: _______________________________ ________ ________________________ Ney Rosauro Steven G. Ullmann Professor of Percussion Dean of the Graduate School _______________________________ _________________________________ Gary Green Shannon Wood Professor of Instrumental Performance Adjunct Professor of Percussion _______________________________ Paul Wilson Professor of Music Theory and Composition DEDICATION This work is dedicated to my loving parents Wen-Li Liao and Li-Whay Chen. AKNOWLEDGEMENTS I would like to recognize the following individuals who have made the completion of the degree possible for all their kind support and contributions to this project. First of all, I would like to express my great thanks to Dr. Ney Rosauro for his passionate inspiration and artistic guidance throughout the process of writing this essay as well as the course of my degree program. He has helped me grow musically and professionally. I will always hold him in the highest esteem as a mentor, colleague, and friend. I am grateful to the following members of my committee for their support, guidance, suggestions, and encouragement: Gary Green, Paul Wilson, Edward Asmus, and Shannon Wood. I have been fortunate to have several passionate teachers who have been incredible inspirations during my development as a young musician. Those teachers are: Ney Rosauro, Guy Remonko, Gary Green, Paul Wilson, Shannon Wood, Tzong-Ching Ju, and Kuan-Yuan Kao. Finally, heartfelt thanks are due to my wonderful family and close friends: Mean-Ling Liao, Brenton Alston, Yei-Shun Fey, Debbi Welsh-Ibanez, Davis Kassler, Brian Potts, Matt Koger, Brandie Lane, Rod Squance, and Andrew Maguire. iii TABLE OF CONTENTS Page LIST OF EXAMPLES …………………………………………....... vii LIST OF FIGURES …………………………………………………. xi Chapter 1 INTRODUCTION …………………………………………… 1 Rationale for the Study ……………………………………………. 5 Data to be Gathered ……………………………………………… 6 Method of Data Organization and Interpretation ……………….. 6 2 REVIEW OF THE LITERATURE ………………………… 8 Introduction ……………………………………………………… 8 Brief Biography of Ney Rosauro ………………………………… 8 Method Books Written by Rosauro ……………………………… 11 Rosauro’s Compositions …………………………………………… 13 Publications Discussing Rosauro’s Concerto for Marimba and Orchestra…………………………………………………………… 14 Recordings of Rosauro’s Concerti ………………………………… 15 Rosauro’s Personal Web Site ……………………………………… 16 iv 3 PERFORMANCE ANALYSIS OF CONCERTO FOR MARIMBA AND ORCHESTRA ………………………………......………. 17 Introduction ……………………………………………………… 17 An overview of Concerto for Marimba and Orchestra ………….. 17 Movement I: Saudação (Greeting) ……………………………… . 18 Movement II: Lamento (Lament) ………………………………… 20 Movement III: Dança (Dance) …………………………………… 22 Movement IV: Despedida (Farewell) ……………………………. 24 4 PERFORMANCE ANALYSIS OF CONCERTO # 2 FOR MARIMBA AND ORCHESTRA ……………………………….. 27 Introduction ……………………………………………………… 27 An Overview of Concerto #2 for Marimba and Orchestra ……… 27 Movement I: Water Running in High Mountain…………………. 29 Movement II: Reflections and Dreams ………………………….. 34 Movement III: Walking on Clouds ……………………………… 39 5 COMPARISON OF ARTISTIC APPROACH IN ROSAURO’S TWO MARIMBA CONCERTI……………………………… 44 Introduction ……………………………………………………… 44 Similarities ………………………………………………………. 44 v Differences ……………………………………………………….. 55 6 A PERFORMER’S STUDY GUIDE FOR ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA…. 60 Introduction …………………………………………………… 60 Rosauro’s Modified Four-Mallet Technique …………………… 61 Marimba Techniques Frequently Used in Rosauro’s Concerti …. 64 The Performer’s Study Guide …………………………………… 65 7 CONCLUSION ...…………………………………………… 95 BIBLIOGRAPHY ……………………………………………… …… 97 DISCOGRAPHY ………………………………………………. …… 99 VITA ………………………………………………………………… 100 vi LIST OF MUSIC EXAMPLES Example Page 5.1. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14 …………. 45 5.2. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ……… 46 5.3. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 …………. 46 5.4. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……….. 47 5.5. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 …………… 47 5.6. Concerto #2 for Marimba and Orchestra, Movement I, mm. 124-131 ……… 48 5.7. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 …………… 48 5.8. Concerto #2 for Marimba and Orchestra, Movement III, mm. 199-214 ……… 49 5.9. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 …………… 49 5.10. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 ……………….. 50 5.11. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 …………. 50 5.12. Concerto #2 for Marimba and Orchestra, Movement I, mm.116-119 ………… 51 5.13. Concerto for Marimba and Orchestra, Movement III, mm. 33-36 …………… 51 5.14. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 …………… 52 5.15. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 …………… 53 5.16. Concerto #2 for Marimba and Orchestra, Movement II, mm. 180-184 ……… 53 vii 5.17. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………. 54 5.18. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 54 5.19. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 …………… 55 5.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……….. 55 5.21. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 57 5.22. Concerto #2 for Marimba and Orchestra, Movement II, mm. 227-230 ………. 57 5.23. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……………. 58 5.24. Concerto #2 for Marimba and Orchestra, Movement III, mm. 166-170 ……… 58 6.1. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 …………………. 66 6.2. Concerto for Marimba and Orchestra, Movement I, mm. 9-12 ……………….. .67 6.3. Concerto for Marimba and Orchestra, Movement I, mm. 25-28 ………………..68 6.4. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 ……………..... 68 6.5. Concerto for Marimba and Orchestra, Movement I, mm. 75-78 ……………..... 69 6.6. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 ……………..... 70 6.7. Concerto for Marimba and Orchestra, Movement I, mm. 127-130…………….. 71 6.8. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………….72 6.9. Concerto for Marimba and Orchestra, Movement II, mm. 13-16 ……………… 74 6.10. Concerto for Marimba and Orchestra, Movement II, mm. 22-26……………... 75 6.11. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 ……………. 76 viii 6.12. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 ……………. 77 6.13. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 ……………. 78 6.14. Concerto for Marimba and Orchestra, Movement III, mm. 63-71 …………… 79 6.15. Concerto for Marimba and Orchestra, Movement III, mm. 73-76 …………… 79 6.16. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14…………….. 80 6.17. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 ………….… 81 6.18. Concerto for Marimba and Orchestra, Movement IV, mm. 144-155 …………. 82 6.19. Concerto for Marimba and Orchestra, Movement IV, Cadenza…………….… 83 6.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……… 84 6.21. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 ……… 85 6.22. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……… 85 6.23. Concerto #2 for Marimba and Orchestra, Movement I, mm. 283-286 ……… 86 6.24. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……..………86 6.25. Concerto #2 for Marimba and Orchestra, Movement II, mm. 5-12 ……………88 6.26. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 ………… 88 6.27. Concerto #2 for Marimba and Orchestra, Movement II, mm. 17-21………….. 89 6.28. Concerto #2 for Marimba and Orchestra, Movement II, mm. 22-25 …………..89 6.29. Concerto #2 for Marimba and Orchestra, Movement II, mm. 231-235 ………. 90 6.30. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ………… 91 ix 6.31. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (I) ……….. 92 6.32. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (II) ………. 94 x LIST OF FIGURES Figure Page 3.1. Formal Structure of Movement I (First Concerto)……………………….. 19 3.2. Formal Structure of Movement II (First Concerto)……………………… 21 3.3. Formal Structure of Movement III (First Concerto)……………………… 22 3.4. Formal Structure of Movement IV (First Concerto)……………………… 25 4.1. Formal Structure of Movement I (Second Concerto)…………………… 30 4.2. Formal Structure of Movement II (Second Concerto)……………………. 35 4.3. Formal Structure of Movement III (Second Concerto)…………………... 39 6.1. The Numbering System for the Mallets ………………………………… 61 6.2. The Numbering System for the Fingers ………………………………… 61 6.3. The Natural Hand Position Applied in Rosauro’s Modified Grip ….. 63 6.4. The Ring Finger’s Position for Holding the Outside Mallet ………… 63 6.5. The Space Between the Two Mallets ……………………………… 64 6.6. The Angle Between the Mallets and the Bars for the Dead Stroke ……. 70 6.7. The Hand Position of the One-Handed Roll …………………………… 73 6.8. The Mallet and Hand Positions Suggested in Music Example 6.9 …….
Load more

Recommended publications
  • 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.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • Vivaldi Piccolo Concerto in C Bolling, Claude Flute Sentimentale Briccialli Flute Carnival of Venice Chaminade, C
    Composer Instrument Title DeMare Piccolo LaTourterelle (The Wren) Vivaldi Piccolo Concerto in C Bolling, Claude Flute Sentimentale Briccialli Flute Carnival of Venice Chaminade, C. Flute Concertino Griffis, Charles Flute Poem Kennan, Kent Flute Night Soliloguy Mozart, W.A. Flute Concerto, No.1 Mozart, W.A. Flute Concerto, No 2 Telemann Flute Suite in a minor Corelli Oboe Concereto Haydn, F.J. Oboe Concerto von Weber Oboe Concertino Mozart, W.A. Oboe Concerto in Eb-Rondo Vivaldi Oboe Concerto Mozart, W.A. Bassoon Concert #, KV 191 Mozart, W.A. Bassoon Concert #2 Phillips, Burrill Bassoon Concert Piece Senaille/Wright Bassoon Intro-AllegroSpiritoso von Weber Bassoon Andante e Rondo Ungarese Foot Bassoon Grandfathers Clock Wenzel Johann Bassoon Variations and Rondo Bencriscutto,Frank Clarinet Concertino for Clarinet and Band Bergson Clarinet Scene and Air Cavallini Clarinet Adagio Tarentella Messenger Clarinet Solo de Concours Rabaud Clarinet Solo de Concours Rimsky-Korsakov Clarinet Concert Rossini Clarinet Introduction, Theme and Variations von Weber Clarinet Concertino, op. 26 von Weber Clarinet Concerto No. 1 von Weber Clarinet Concerto No.2 Bennett Bass Clarinet Basswood Bozza Alto Sax Aria Debussy Alto Sax Rhapsodie Grundman Alto Sax Concertante Handel Alto Sax Adagio and Allegro Sonata #6 Husa Alto Sax Concerto Glazinov Alto Sax Concerto Whitney Alto Sax Introduction and Samba Devienne Tenor Sax Adagio and Allegro DeLuca Tenor Sax Beautiful Colorado Guilhaud Tenor Sax First Concertino Schmidt/Williams Tenor Sax Concerto for Tenor Sax Davis Baritone Sax Var.on a theme of Schumann Nelhybel Baritone Sax Concert Piece Aratunian Trumpet Concerto for Trumpet Arban Trumpet Fantasie Brillante Bellstedt Trumpet Napoli Bennett, Robt Russell Trumpet Rose Variations Clarke Trumpet Bride of the Waves Clarke Trumpet Carnival of Venice Clarke Trumpet From the Shores of the Mighty Pacific Clarke Trumpet Maid of the Mist Clarke Trumpet Stars of the Veltvety Sky Clarke Trumpet Sounds from the Hudson Goedicke Trumpet Concert Etude Haydn, F.J.
    [Show full text]
  • Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia Austéra (1953–55, Rev
    WORKS BY PER NØRGÅRD Works for Orchestra Preludio (1950–51) Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia austéra (1953–55, rev. 1956) Bright Dances (1959) Fragment VI (1959–61) The Young Man Is Getting Married (1964–68) Le jeune homme à marier — Suite (1965) Composition for Orchestra (1966) Töne vom Hernst (1966) Iris (1966–67, rev. 1968) Luna, Four Phases for Orchestra (1967) Århus’ tapre skrædder (1968) Voyage into the Golden Screen (1968) The Man Who Thought Things (1969) Tango Chikane (chamber orchestra version) (1969) Symphony No. 2, in one movement (1970, rev. 1971) Symphony No. 3, in two movements (1972–75) Dream Play (1975, rev. 1980) Twilight (1976–77, rev. 1979) Towards Freedom? (1977) Symphony No. 4, Indian Rose Garden and Chinese Witch Sea (1981) Surf (1983) Burn (1984) Symphony No. 5 (1990, rev. 1991) Spaces of Time (1991) Night-Symphonies, Day Breaks (1991–92) Fugitive Summer (1992) Out of This World — Hommage à Lutosławski (1994) Four Observations — From an Infinite Rapport. Hommage à Bartók (1995) Tributes — Album for strings (1995) Voyage into the Broken Screen, Hommage à Sibelius (1995) Aspects of Leaving (1997) (more) Symphony No. 6, At the End of the Day (1997–99, rev. 2000) Terrains Vagues (2000) Intonation/Detonation (2001) Symphony No. 7 (2004–06) Lysning (Glade) (2006) Symphony No. 8 (2010–11) Works for Soloist(s) and Orchestra Rhapsody — in D (for piano) (1952) Concerto for Piano and Orchestra (1955–58) Nocturnes, Fragment VII (for soprano) (1961–62) Three Love Songs (for alto) (1963) Recall — Concerto for Accordion (1968) For a Change — Percussion Concerto No.
    [Show full text]
  • February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
    FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G.
    [Show full text]
  • Wichita Symphony Youth Orchestras Acceptable Repertoire for Youth Talent Auditions
    Wichita Symphony Youth Orchestras Acceptable Repertoire for Youth Talent Auditions Repertoire not listed below may be acceptable, but must be pre-approved. Contact Tiffany Bell at [email protected] to request approval for repertoire not on this list. Violin Bach: Concerto No. 1 in A Minor Bach: Concerto No. 2 in E Major Barber: Concerto, Op. 14, first movement Beethoven: Concerto in D Major, Op. 61 Beethoven: Romance No. 1 in G Major Beethoven: Romance No. 2 in F Major Brahms: Concerto, third movement Bruch: Concerto No. 1 in G Minor, Op. 26, any movement Bruch: Scottish Fantasy Conus: Concerto in E Minor, first movement Dvorak: Romance Haydn: Concerto in C Major, Hob.VIIa Kabalevsky: Concerto, Op. 48, first or third movement Khachaturian: Violin Concert, Allegro Vivace, first movement Lalo: Symphonie Espagnole, first or fifth movement Mendelssohn: Concerto in E Minor, any movement Mozart: Concerto No. 3 in G Major, K. 216, any movement Mozart: Concerto No. 4 in D Major, K. 218, first movement Mozart: Concerto No. 5 in A Major, K. 219, first movement Saint-Saens: Introduction and Rondo Capriccios, Op. 28 Saint-Saens: Concerto No. 3 in B Minor, Op. 61 Saint-Saens: Havanaise Sarasate: Zigeunerweisen, Op. 20 Sibelius: Concerto in D Minor, fist movement Tchaikovsky: Concerto, third movement Vitali: Chaconne Wieniawski: Legend, Op. 17 Wieniawski: Concerto in D Minor Viola J.C. Bach/Casadesus: Concerto in C Minor, Adagio-Allegro Bach: Concerto in D Minor, first movement Forsythe: Concerto for Viola, first movement Handel/Casadesus: Concerto in B Minor Hoffmeister Concerto Stamitz: Concerto in D Major Telemann: Concerto in G Major Cello Boccherini: Concerto Bruch: Kol Nidrei Dvorak: Concerto in B Minor, Op.
    [Show full text]
  • Focus Day 2011: Five Decades of New Music for Percussion: 1961
    Focus Day 2011 Five Decades of New Music for Percussion: 1961–2011 In celebration of the 50th Anniversary of the Percussive Arts Society, the New Music/Research Focus Day 2011 Committee is extremely excited to present Focus Day 2011: Five Decades of New Music for Percussion. Featuring masterworks of the last fifty years of our repertoire performed by some of the most significant artists of our generation, Focus Day 2011 marks a monumental achievement for the Percussive Arts Society and its membership. As the Percussive Arts Society as a whole cel- ebrates its 50th anniversary, it is fitting that the New Music Research Committee is celebrating the “Five Decades of New Music for th 25 Anniversary of Focus Day (formerly New Music/Research Day) at PASIC. Since its founding by Stuart Smith in 1986, the mission of the New Music/Research Committee has been to present creative, innovative, and imaginative programming that exposes new compositional trends while Percussion 1961–2011” maintaining connections to the historically significant composers and performers of our field who together shaped the contemporary art-form of new music for percussion. Certainly, Focus Day 2011 defines this mission in every way. Many of the major masterworks by the most important composers of our field from 1961–2011 will be presented throughout the day, including works from Mark Applebaum, Herbert Brün, Michael Colgrass, Christopher Deane, Morton Feldman, Brian Ferneyhough, Michael Gordon, David Lang, Steve Reich, Paul Smad- beck, Stuart Smith, Karlheinz Stockhausen, Gordon Stout, Michael Udow, Julia Wolfe, and Ian- nis Xenakis. The New Music Research Committee also encourages the presentation of new and previously unknown works at PASIC, and we are delighted that Focus Day 2011 will include two PASIC Premieres—a unique new composition by Judith Shatin, and a truly epic new percussion ensemble work by one of the leading composers of our time, James Wood.
    [Show full text]
  • Where Comes the Sun? by Jeff Dunn San Francisco Classical Voice, Monday, March 22, 2010
    Where Comes the Sun? by Jeff Dunn San Francisco Classical Voice, Monday, March 22, 2010 Did the Santa Rosa Symphony on Saturday night live up to part of a public-school student poem, by “Cristobal,” posted in its concert-hall lobby? Sounds frightful, amazing, destructive. Beethoven, great composer—Music as powerful as the sun. Ludwig Van and Chris Rouse knock and rock Two of the three works, as written, could certainly have been in the “frightful, amazing, destructive” category: Christopher Rouse’s percussion concerto, Der Gerettete Alberich, which began the concert, and the second half of the evening, which consisted solely of Beethoven ’s most white-hot symphony, the Fifth. In terms of performance, however, it was the Fourth Symphony of Beethoven, which followed the Rouse, that encouraged the most ear-basking on my part. The concerto, composed in 1998, is one of those rare recent American works that receive not only many repeat performances by various orchestras (more than 25 to date) but also as many international performances as national ones. It’s basically a fantasy from Wagner ’s Ring cycle of operas on the many themes associated with the evil dwarf Alberich. (You can guess it’s especially popular in Germany.) Beginning with the final notes of the last opera of the series, Götterdämmerung, it presents in three movements moods of the villain, one of the few major characters left alive ( gerettete = “saved”) at Wagner’s conclusion. Mood Music Alberich’s progression is countertherapeutic, from anger (Alberich has lost the ring he’s been pursuing for some 16 hours of opera) to depression — and then, instead of acceptance, to revenge.
    [Show full text]
  • An Examination of David Maslanka's Marimba Concerti: Arcadia II For
    AN EXAMINATION OF DAVID MASLANKA’S MARIMBA CONCERTI: ARCADIA II FOR MARIMBA AND PERCUSSION ENSEMBLE AND CONCERTO FOR MARIMBA AND BAND, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF K. ABE, M. BURRITT, J. SERRY, AND OTHERS Michael L. Varner, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 1999 APPROVED: Thomas Clark, Major Professor Ron Fink, Major Professor John Michael Cooper, Minor Professor William V. May, Interim Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Varner, Michael L., An Examination of David Maslanka’s Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together with Three Recitals of Selected Works of K. Abe, M. Burritt, J. Serry, and Others. Doctor of Musical Arts (Performance), December 1999, 134 pp., 62 illustrations, bibliography, 40 titles. Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka’s growth as a composer. Maslanka’s traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair blue cathedral Jennifer Higdon orn in Brooklyn, Jennifer Higdon grew my for her Percussion Concerto; and, in 2018, Bup in Atlanta and in rural Tennessee in the Nemmers Prize of Northwestern University. a counterculture family — both parents were Although she has written a number of visual artists — for whom art happenings choral and solo vocal pieces, not to mention and experimental film festivals were the the 2015 opera Cold Mountain, Higdon is norm. She thought she might become a writ- principally an instrumental composer, hav- er and didn’t have any involvement with mu- ing produced an impressive body of works sic until she started teaching herself to play for orchestra and for various chamber for- the flute at the age of 15. In the course of her mulations. Her teacher George Crumb has education at Bowling Green State University acknowledged specific qualities that go to (Ohio), the Curtis Institute of Music, and the the heart of her music: its “rhythmic vitality, University of Pennsylvania she developed interesting coloration, and sensitivity to nu- her exceptional talent as a composer. ance and timbre.” These are indeed her musi- Today her dance card for commissions is very cal fingerprints, but beyond what are essen- full, and at least one of her orchestral works, blue tially technical matters one also hears in her cathedral, seems destined to become a classic, scores an immediacy of contact, a genial and having already been performed more than 600 sincere desire to connect with the listener.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANNOTATED CATALOG OF PUBLISHED MARIMBA CONCERTOS IN THE UNITED STATES FROM 1940 - 2000 A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By M. CHRISTINE CONKLIN Norman, Oklahoma 2004 UMI Number: 3134393 ________________________________________________________ UMI Microform 3134393 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ____________________________________________________________ ProQuest Information and Learning Company 300 North Zeeb Road PO Box 1346 Ann Arbor, MI 48106-1346 AN ANNOTATED CATALOG OF PUBLISHED MARIMBA CONCERTOS IN THE UNITED STATES FROM 1940 - 2000 A Document APPROVED FOR THE SCHOOL OF MUSIC BY ___________________________ Dr. Richard Gipson, Co -Chair ___________________________ Dr. William Wakefield, Co -Chair ___________________________ Dr. Michael Lee ___________________________ Dr. Brian Shepard ___________________________ Dr. Mary Jo Watson © Copyright by M. CHRISTINE CONKLIN 2004 All Rights Reserved. TABLE OF CONTENTS ABSTRACT vii CHAPTER I 1 THE PROBLEM, PURPOSE, AND DESIGN OF THE STUDY Introduction 1 Statement of the Pro blem 4 Need for the Study 4 Limitations of the Study 5 Definition of Terms 6 Design of the Study 7 Organization of the Study 9 CHAPTER II 10 SURVEY OF RELATED LITERATURE Introduction 10 Related Marimba Repertoire Literature 10 Related
    [Show full text]