DOCSLIB.ORG

Composer Symposium with Bright Sheng & Bernard Rands

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Composer Symposium with Bright Sheng & Bernard Rands the philadelphia music project presents new frontiers in music: Composer Symposium with Bright Sheng & Bernard Rands thursday, may 27 registration deadline: monday, may 24, 2010 The Pew Center for Arts & Heritage This event is free, but registration is required. 1608 Walnut Street, 18th floor To register, please call PMP at 267.350.4960 Philadelphia, PA 19103 or email Elizabeth Sayre at [email protected] moderated by Melissa Smey Executive Director, Miller Theatre 4:15 – 4:30 pm Sign-in 4:30 – 6:30 pm Symposium 6:30 pm Reception More than two centuries of ongoing international and cross-cultural encounters have had a profound influence on the music of the United States. In this PMP Composer Symposium, Bernard Rands and Bright Sheng—both preeminent North American composers, both born overseas—discuss their music and careers. Rands and Sheng will share recordings and insights into their compositional processes and influences, including their studies around the world and here in the States. They will also address the business of composition: commissioning, publishing, recording, and more. Melissa Smey, director of New York City’s groundbreaking contemporary music presenter Miller Theatre, leads the discussion. about the composers: Bright Sheng’s music is noted for its lyrical melodies, propulsive Bartokian rhythms, and dramatic theatricality. Many of the Shanghai-born composer’s works exhibit strong Asian influences, a result of his decades-long study of folk music from China to Tibet. The MacArthur Foundation proclaimed Sheng “an innovative composer who merges diverse musical customs in works that transcend conventional aesthetic boundaries.” He has been the recipient of MacArthur and Guggenheim fellowships and the Naumberg Award. Bernard Rands’ distinctive style has been variously described as “plangent lyricism” with ”dramatic intensity” and a ”musicality and clarity of idea allied to a sophisticated and elegant technical mastery.” Born in England, Rands developed his unique voice in studies with Dallapiccola and Berio. He was the recipient of the Kennedy Center Friedheim Award and the Pulitzer Prize in Music and has been inducted into the American Academy of Arts and Letters. This event is produced by the Philadelphia Music Project, a program of The Pew Center for Arts & Heritage. Through more than a hundred published works and many recordings, Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta and the New York Philharmonic, won the 1984 Pulitzer Prize in Music. His large orchestral suites, Le Tambourin, won the 1986 Kennedy Center Friedheim Award. Current projects include an opera entitled VINCENT commissioned by Indiana University, which will premiere in spring 2011; an orchestral work commissioned by the Chicago Symphony and Maestro Muti, which will premiere in fall 2010; and a new work for solo piano for American pianist Jonathan Biss for his debut Carnegie Hall recital in January 2011. Recent projects include a new work commissioned by the New York Philharmonic; a work for solo piano (12 Preludes) for pianist Robert Levin; and a new work for the PRISM Quartet. Conductors including Barenboim, Boulez, Berio, Maderna, Marriner, Mehta, Muti, Ozawa, Rilling, Salonen, Sawallisch, Schiff, Schuller, Schwarz, Silverstein, Sinopoli, Slatkin, von Dohnanyi, and Zinman have programmed his music. Mr. Rands’ works are widely performed and frequently recorded. His work Canti D’Amor, recorded by Chanticleer, won a Grammy Award in 2000. The recording of his Canti Trilogy for soprano, tenor, and bass with chamber orchestra was released in December 2004 to great critical acclaim, including a place on Time Out New York’s top-ten CDs of the year. He has been honored by the American Academy and Institute of Arts and Letters; B.M.I.; the Guggenheim Foundation; the National Endowment for the Arts; Meet the Composer; the Barlow, Fromm, and Koussevitzky Foundations, among many others. A dedicated and passionate teacher, Mr. Rands has been guest composer at many international festivals and Composer in Residence at the Aspen and Tanglewood festivals. He is the Walter Bigelow Rosen Research Professor of Music at Harvard University where he taught with distinction for almost twenty years. In 2004 he was inducted into the American Academy of Arts and Letters. MacArthur Fellow Bright Sheng (b. 1955) is currently the Leonard Bernstein Distinguished University Professor at University of Michigan. He has been recognized with fellowships and awards from the Guggenheim, Jerome, Naumberg, and Rockefeller foundations, the American Academy of Arts and Letters, and ASCAP, among others. Sheng has collaborated with distinguished musicians such as Leonard Bernstein, Kurt Masur, Christoph Eschenbach, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, David Robertson, David Zinman, Neeme Järvi, Robert Spano, Hugh Wolff, Yo Yo Ma, Peter Serkin, Emanuel Ax, Chao-Liang Lin, Yefim Bronfman, and Evelyn Glennie. He has been widely commissioned and performed by a great many important musical institutions in North America, Europe, and Asia, including the White House, the 2008 Beijing International Olympic Games, the New York Philharmonic, the Boston Symphony, the Cleveland Orchestra, the Chicago Symphony, the Philadelphia Orchestra, the Royal Concertgebouw Orchestra, l’Orchestre de Paris, the BBC Symphony, the Lyric Opera of Chicago, the Santa Fe Opera, and the New York City Opera. Exclusively published by G. Schirmer, Inc., he can also be heard on Naxos, Sony Classical, Telarc, Delos, Koch International, New World labels and BIS Grammofon AB. His music ranges from dramatic to lyrical and is strongly influenced by folk and classical musical traditions from eastern and central Asia. Since 2000, he has been studying and researching the music phenomenon of the Silk Road culture. And he also has served as the Artistic Advisor to Yo Yo Ma’s Silk Road Project, Inc. As a conductor and pianist, he has performed with the San Francisco Symphony, the Detroit Symphony, the Seattle Symphony, the New York Chamber Symphony, the St. Petersburg Philharmonic in Russia, the Dortmund Philharmonic in Germany, the China National Symphony, among others; and has appeared at Carnegie Hall, Lincoln Center, and the Kennedy Center. Melissa Smey was appointed Director of Miller Theatre at Columbia University in 2009. From 2001 to 2008, she served as Miller’s General Manager, in which capacity she managed operations, collaborated on programming—including curating the jazz series, which draws diverse audiences from the surrounding communities of Harlem and Washington Heights—and developed subscriptions that grew from 0 to over 600 in four years. Her passion for audience development continues in her new role at the Theatre; under her direction, in the fall of 2009, Miller Theatre hosted a festival that paired classical music with independent rock bands to invite audiences of all ages to listen more widely. Prior to her arrival at Miller, Smey held positions at the New York Public Library and the Metropolitan Opera. She has served as a panelist and speaker for various New York City and national arts organizations, including New York University and Chamber Music America. She holds a Bachelor of Music degree from the University of Connecticut and an MFA in performing arts management from Brooklyn College..
Load more

Recommended publications
  • Now Again New Music Music by Bernard Rands Linda Reichert, Artistic Director Jan Krzywicki, Conductor with Guest Janice Felty, Mezzo-Soprano Now Again
    Network for Now Again New Music Music by Bernard Rands Linda Reichert, Artistic Director Jan Krzywicki, Conductor with guest Janice Felty, mezzo-soprano Now Again Music by Bernard Rands Network for New Music Linda Reichert, Artistic Director Jan Krzywicki, Conductor www.albanyrecords.com TROY1194 albany records u.s. 915 broadway, albany, ny 12207 with guest Janice Felty, tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd mezzo-soprano tel: 01539 824008 © 2010 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. The story is probably apocryphal, but it was said his students at Harvard had offered a prize to anyone finding a wantonly decorative note or gesture in any of Bernard Rands’ music. Small ensembles, single instrumental lines and tones convey implicitly Rands’ own inner, but arching, songfulness. In his recent songs, Rands has probed the essence of letter sounds, silence and stress in a daring voyage toward the center of a new world of dramatic, poetic expression. When he wrote “now again”—fragments from Sappho, sung here by Janice Felty, he was also A conversation between composer David Felder and filmmaker Elliot Caplan about Shamayim. refreshing his long association with the virtuosic instrumentalists of Network for New Music, the Philadelphia ensemble marking its 25th year in this recording. These songs were performed in a 2009 concert for Rands’ 75th birthday — and offer no hope for winning the prize for discovering extraneous notes or gestures. They offer, however, an intimate revelation of the composer’s grasp of color and shade, his joy in the pulsing heart, his thrill at the glimpse of what’s just ahead.
    [Show full text]
  • Comp Prog Info MM 8-11
    FLORIDA INTERNATIONAL UNIVERSITY SCHOOL OF MUSIC Masters of Music Composition The Florida International University MM in Music Composition Program Philosophy and Mission Statement. The MM in Composition at Florida International University is designed to assist students with the development of their own individual voices as composers while helping them to continue to develop their craft. Numerous performance opportunities of students’ works by excellent performers and ensembles as well as hands on experience in the use of new technologies including computer music, video, and interactive and notational software are an integral part of the curriculum. Many of our graduates have continued studies at other prestigious schools and have been the recipients of ASCAP and BMI Student Composition awards. The two- year MM in composition prepares composers for either continued graduate studies or as skillful composers continuing in a variety of other related occupations. For more information regarding the program contact: Dr. Orlando Jacinto Garcia, Director Music Composition Florida International University School of Music WPAC 141 University Park Miami, Florida 33199 phone (305) 348-3357; fax (305) 348-4073 email: [email protected] School of Music web page: music.fiu.edu Rev 8/11 ADMISSION AND GENERAL REQUIREMENTS (Effective fall 2011) Admission into the composition program is contingent upon the approval of the composition faculty and is dependent upon the applicant’s portfolio and previous undergraduate course work. A minimum 3.0 GPA in the student’s last 60 credits of undergraduate work is also required for admittance. Students should have a BM degree in music composition or the equivalent. After initial admission to the program, students will be required to pass history and theory placement tests and if necessary do remedial work in these areas.
    [Show full text]
  • Bernard Rands Cello Concerto No. 1
    PROGRAM NOTES by Phillip Huscher Bernard Rands Born March 2, 1934, Sheffield, England. Currently resides in Boston, Massachusetts, and Chicago, Illinois. Cello Concerto No. 1 Rands composed this cello concerto in 1996, on a commission from the Boston Symphony Orchestra for the seventieth birthday of Mstislav Rostropovich, to whom it is dedicated. The first performances were given by Rostropovich and the Boston Symphony, with Seiji Ozawa conducting, on April 3, 4, and 5, 1997, at Symphony Hall in Boston. The orchestra consists of three flutes, two alto flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, two harps, piano, timpani, percussion (vibraphone, marimba, xylophone, glockenspiel, tubular bells, bongos, triangle, medium and large tam-tams, bass drum, almglocken), and strings. Performance time is approximately twenty-seven minutes. Concertos are often written for a particular performer. Sometimes that player is the composer himself, writing for his own instrument—Mozart, Beethoven, Liszt, Brahms, Bartók, and Stravinsky, for example, all composed piano concertos which they introduced themselves. Many concertos were written for virtuoso soloists—Brahms’s Violin Concerto was composed for Joseph Joachim and Elgar’s for Fritz Kreisler; Copland’s Clarinet Concerto was designed with Benny Goodman in mind; Ravel’s Left-Hand Piano Concerto was written on a commission from Paul Wittgenstein, who had lost his right arm in World War I. Like Britten’s Symphony for Cello and Orchestra and Shostakovich’s First Cello Concerto, this cello concerto by Bernard Rands was composed for Mstislav Rostropovich, one of the most formidable performers of our time.
    [Show full text]
  • PRINTABLE PROGRAM Bernard Rands
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Honoring Composer Bernard Rands Tuesday, October 24, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Coleccion Nocturna David Felder (b. 1953) Adrián Sandí, clarinet Eric Huebner, piano "now again" – fragments from Sappho Bernard Rands (b. 1934) Tiffany Du Mouchelle, mezzo-soprano solo Slee Sinfonietta Matthew Chamberlin, conductor Intermission Linea Luciano Berio (1925 – 2003) Eric Huebner and Christopher Guzman, piano Tom Kolor and Stephen Solook, percussion Folk Songs Bernard Rands I. Missus Murphy’s Chowder II. The Water is Wide III. Mi Hamaca IV. Dafydd Y Garreg Wen V. On Ilkley Moor Baht ‘At VI. I Died for Love VII. Über d’ Alma VIII. Ar Hyd y Nos IX. La Vera Sorrentina Tiffany Du Mouchelle, soprano Slee Sinfonietta Matthew Chamberlin, conductor Slee Sinfonietta Matthew Chamberlin, conductor Emlyn Johnson, flute Erin Lensing, oboe Adrián Sandí, clarinet Michael Tumiel, clarinet Jon Nelson, trumpet Kristen Theriault, harp Eric Huebner, piano Chris Guzman, piano Tom Kolor, percussion Steve Solook, percussion Tiffany Du Mouchelle, soprano (solo) Julia Cordani, soprano Minxin She, alto Hanna Hurwitz, violin Victor Lowrie, viola Katie Weissman, ‘cello About Bernard Rands Through a catalog of more than a hundred published works and many recordings, Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta, and the New York Philharmonic, won the 1984 Pulitzer Prize in Music. His large orchestral suites Le Tambourin, won the 1986 Kennedy Center Friedheim Award. His work Canti d'Amor, recorded by Chanticleer, won a Grammy award in 2000.
    [Show full text]
  • Bernard Rands
    NWCR591 Bernard Rands 1. Canti Lunatici (1980) * ....................................... (28:20) 2. Canti del Sole (1982) **....................................... (25:15) *Carol Plantamura, soprano; **Paul Sperry, tenor SONOR Ensemble of the University of California, San Diego: John Fonville, flute; William Powell, clarinet; Edwin Harkins, trumpet; Miles Anderson, trombone; Cecil Lytle, piano; Daryl Pratt, percussion; Dan Dunbar, percussion; David Yoken, percussion; Janos Négyesy, violin; György Négyesy, viola; Peter Farrell, cello; Peter Rofe, contrabass; Bernard Rands, conductor 3. Obbligato (1983) ................................................. (12:30) Miles Anderson, trombone; Columbia String Quartet: Benjamin Hudson, violin; Carol Zeavin, violin; Sarah Clarke, viola; Eric Bartlett, cello Total playing time: 66:14 Ê 1986, 1991 & © 1991 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes The practice of creating a large scale vocal composition out of progressive and composer-friendly music departments in the an “anthology” of texts by several authors, sometimes even realm of American academe. In the Fall of 1985 he became several languages, collected by a composer for that specific professor of music at Boston University. While at the purpose, is largely a phenomenon of our own times; it University of San Diego, Rands founded and conducted contrasts with the way the great song composers of past SONOR, and extraordinary new music ensemble of student centuries—above all Schubert and Wolf—tended to seize and faculty
    [Show full text]
  • Nash, Gary Powell Rhapsody for Three
    Rhapsody for Three (1998) Gary Powell Nash “Rhapsody for Three for clarinet, violin and piano is a ten-minute composition with two major sections. The work begins with clarinet, violin and piano cadenzas, each supported by one of the three major harmonies of the composition. The main melodic material stems from these cadenzas. The first major section is moderately slow, quarter note = 60, and consists of a quintuple meter melody which is written with alternating measures of 2/4 and 3/4. The second section, which is slightly faster, quarter note = 88, is approached by a metric modulation and settles into a consistent quadruple meter.” ─Gary Powell Nash The world premiere of Rhapsody for Three was on October 13, 1998 at Delta State University, Cleveland, Mississippi. Gary Powell Nash (born 1964, Flint, Michigan) holds the Bachelor of Music in Music Education degree from Michigan State University, the Master of Music degree in Composition from Western Michigan University, and PhD in Music Composition from Michigan State University. His teachers include Ramon Zupko, Mark Sullivan, Charles Ruggiero, Jere Hutcheson, Bernard Rands, Jacob Druckman, and George Tsontakis. Nash’s composition portfolio consists of five orchestral works, including an alto saxophone concerto, three symphonic band compositions, two choral pieces, four art songs (one in Chinese), two electroacoustic works, and several instrumental chamber compositions. His music has been performed in all major regions of the United States and in Taipei, Taiwan. Nash’s orchestra works have been performed by the Atlanta, Baltimore, Chicago Civic, Cincinnati, Detroit, and Flint Symphony Orchestras. Nash’s numerous grants, commissions, and awards include a 1994 ASCAP Foundation Grant to Young Composers Award, a 1995 Minority Outreach Fellowship to the Virginia Center for the Creative Arts Artists’ Colony, and a 1998 commission for the Ellen Taaffe Zwilich Composers Workshop in Carnegie Hall where his composition Brass Magnolia Suite for trumpet, horn, bass trombone, and percussion was premiered in April, 1999.
    [Show full text]
  • ST276 HR Cover.Jpg
    THE AMERICAN MASTERS SERIES PURE The exuberantly prolific Augusta Read Thomas has no time for creative boundaries By Thomas May 24 April 2018 / Strings StringsMagazine.com 25 ANTHONY BARLICH o matter how gloomy she withdrew because she felt they failed to you may be feeling meet her standards. about the state of the The early Edgar Allan Poe–inspired opera world, it seems impos- Ligeia (1994), for example, was commissioned sible to come away by Mstislav Rostropovich for the Evian- from an encounter les-bains Spring Festival in France, and was with Augusta Read produced multiple times in Europe and the Thomas without a surge of fresh hope. The United States back in the 1990s, but Thomas NChicago-based composer radiates an exuber- withdrew it “because I’m a perfectionist and ance about music’s inexhaustible potential I was so young when I wrote it.” Currently, for that is both powerful and infectious. And she Santa Fe Opera’s new initiative Opera for All has been channeling it for decades into a Voices: Stories of our Time, Thomas is at work vast, ongoing body of compositions that rep- on an (as yet unnamed) one-act opera with resents one of the most remarkable achieve- the writer and literary scholar Leslie Dunton- ments of contemporary American music: a Downer (her librettist for Ligeia as well) to unique vision of the poetry of sound that is at premiere in the fall of 2019. the same time anchored in an exquisite Thomas has written extensively for attention to craft and technique. orchestra and for chamber configurations, It’s also easy to feel like a slacker when including a wide spectrum of pieces for confronted with Thomas’ prolific creativity.
    [Show full text]
  • Structure and Organization in Rands' Work "...Body and Shadow...'' and an Original Composition for Violin and Orchestra
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 Structure and Organization in Rands' Work "...Body and Shadow...'' and an Original Composition for Violin and Orchestra. Peter Fischer Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Fischer, Peter, "Structure and Organization in Rands' Work "...Body and Shadow...'' and an Original Composition for Violin and Orchestra." (1996). LSU Historical Dissertations and Theses. 6186. https://digitalcommons.lsu.edu/gradschool_disstheses/6186 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Rachmaninoff and Mozart
    23 Season 2018-2019 Saturday, June 15, at 8:00 Sunday, June 16, at 2:00 The Philadelphia Orchestra Yannick Nézet-Séguin Conductor Richard Woodhams Oboe Ricardo Morales Clarinet Daniel Matsukawa Bassoon Jennifer Montone Horn Clyne Masquerade First Philadelphia Orchestra performances Mozart Sinfonia concertante in E-flat major, K. 297b, for winds and orchestra I. Allegro II. Adagio III. Andantino con variazioni—Andante Intermission Rachmaninoff Symphony No. 1 in D minor, Op. 13 I. Grave—Allegro ma non troppo II. Allegro animato III. Larghetto IV. Allegro con fuoco—Largo—Con moto This program runs approximately 2 hours. These concerts are presented in cooperation with the Sergei Rachmaninoff Foundation. The June 15 concert is sponsored by Ralph Muller. The June 16 concert is sponsored by John McFadden and Lisa Kabnick. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage.
    [Show full text]
  • Harvard University Department of Music
    HARVARD UNIVERSITY DEPARTMENT OF MUSIC Report to the FRIENDS OF MUSIC 2014-2015 1 Dear Friends of the Music Department, I am delighted to write to you as Chair, having recently completed my first year in that capac- ity. There is much good news to report. I am pleased to announce that Yosvany Terry has joined us as Visiting Senior Lecturer on Mu- sic and Director of Jazz Bands. Born in Cuba, the musician-composer-educator incorporates American jazz traditions with his Afro-Cuban roots and performs worldwide with his Yosvany Terry Quartet and Yosvany Terry and the Afro-Caribbean Quintet, as well as with the Gonzalo Rubalcaba Quintet and Eddie Palmieri and the Latin Jazz Ensemble. In 2014–15, we were delighted to welcome the Parker Quartet, who spent the year teaching chamber music courses and proving themselves invaluable to the campus at large. The Parker collaborated with psychologist Stephen Pinker on a lecture/demonstration on the history of violence, gave several concerts in the undergraduate houses, played student works in Chaya Czernowin’s composition course, and worked with students on special projects. In addition, their four public concerts in Paine Hall were an enormous success. There were many other highlights over the course of the year. In the fall, we hosted “Out of Bounds,” a conference in honor of Kay Kaufman Shelemay that brought together sixteen speakers drawn from Kay’s former students and colleagues; the event was topped off with a concert by the Debo Band (fronted by former graduate student Danny Mekonnen) in Sanders Theatre. In November, we also presented Concentric Rings in Magnetic Levitation, a piece written and performed by the Fromm Foundation Visiting Professor Michael Pisaro.
    [Show full text]
  • Bernard Rands
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Rice University ,,._ -~ .• 'i ~ ~~ -1 NEW MUSIC AT RICE . .,, ,, presents a concert of works by guest composer + ~ BERNARD RANDS . .,. and by " ... KARIM AL-ZAND .,, ARTHUR GOTTSCHALK -, _.,. KAIJA SAAR/AHO .J Friday, April 2, 2004 • 8:00 p.m. Lillian H Duncan Recital Hall ., ... RICE UNNERSITY PROGRAM - ~ " ... in the receding mist ... " (1988) Bernard Rands (for flute, harp, violin, viola, and cello) (b. 1934) Leone Buyse, flute Nuiko Wadden, harp Kenneth Goldsmith, violin James Dunham, viola Norman Fischer, cello Michael Webster, conductor Variations on a theme of Bart6k (2002) Karim Al-Zand (for viola and piano) (b. 1970) Karen Ritscher, viola Rodney Waters, piano .. Pres (1992) Kaija Saariaho ,. (for cello and live electronics) (b. 1952) r I. Misterioso Norman Fischer, cello Kurt Stallmann, electronics INTERMISSION • Dark Songs (1975, rev. 2002) Arthur Gottschalk (for mezzo-soprano and chamber ensemble) (b. 1952) Joan Allouache, mezzo-soprano Louis DeMartino, bass clarinet Zebediah Upton, trumpet Kenneth Goldsmith, violin James Dunham, viola Norman Fischer, cello ... Jeanne Kierman, celesta " Richard Brown, percussion .. Michael Webster, conductor l ' .. ) String Quartet No. 2 (1994) Bernard Rands I II The Enso String Quartet Maureen Nelson, violin Tereza Stanis/av, violin Robert Brophy, viola Richard Belcher, cello - . PROGRAM NOTES " ... in the receding mist ... " . Bernard Rands This short piece for flute, harp and string trio is based upon three elemen­ tary musical characters - a simple, folk-like melodic line which itself is made up of a Baroque rhythmic figure and a mordent/turn figure.
    [Show full text]
  • A Conductor's Compendium of Black American Orchestral Composers
    University of South Carolina Scholar Commons Theses and Dissertations 2015 Expanding the American Canon: A Conductor's Compendium of Black American Orchestral Composers Nseobong Ekpo University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Ekpo, N.(2015). Expanding the American Canon: A Conductor's Compendium of Black American Orchestral Composers. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3098 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. EXPANDING THE AMERICAN CANON: A CONDUCTOR’S COMPENDIUM OF BLACK AMERICAN ORCHESTRAL COMPOSERS by Nseobong E. Ekpo Bachelor of Music Education University of South Carolina, 2001 Master of Music University of South Carolina, 2005 ------------------------------------------------------------------------------------------------------------ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2015 Accepted by: Donald Portnoy, Major Professor Birgitta J. Johnson, Committee Member Larry Wyatt, Committee Member Andrew Gowan, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Nseobong E. Ekpo, 2015 All Rights Reserved. ii DEDICATION To all of those composers of color who labored in the shadows… iii ACKNOWLEDGEMENTS I would first like to thank my wife, Tami Ekpo, for her love, undying support, and editing! Without her support I could not have completed this document. I also would like to thank Dr. James Wanliss for his encouragement and tough love.
    [Show full text]