Barger Current CV 2020.Pdf
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Boston Symphony Orchestra Archives
Pftft.. Slower • .. ina• alumna •••• ■■••••■•••=411• 'I 4 mp • • ••• •• Mman•IMMIln. • ■•••••■•■ ••••■••■•••■•••■■ •••• =Mr • NOW". • • =Mir • 11••■••••■••1111••••1•11• ■•111•141•111111 NUM/ 11/MIIMIN MAIMM•MIM / •• la. ••MINM/ ..MIN MI ••`' GAM MI =MO OW GM womall AMMONIUM mm,•••• ■• ".••••• rnio gradually taster 111•^ •IIMI ._./Mat MINNIP MUM OM -AM DINIIMINIMP MAIIIIIMINIMIMM•••••■ •1•1 MM. IMMIMMIIMMIO MM. MIIMMIMMO IMMIN••••••• OPP"' a tempo (lively) 111111.1. -.la a ••••••••■• • •• . • •■•■ 011•1111111MMIMINIAMmIM m••• ■ ■ ■ ■ ■ ■ ■ ■ np. ••••• •••• A •• •• •••• • •• •11 OM MI MI MOM MOMMIll NI . •• maim ININIMIMMIM. ••• s4•4411•1• / a Ma . (1.• • •,41411•1~m MIHM11.11•••• 0 ■• IL • u damns. ••••■••••••••••• ••••• • •-••••,••• .ma• • ...•••■•••••••• mar- ••••• • • •••111111 • 4 . • 11.1111.1111111 Man a 4.M1 ... OM • 1■•••• ■••■=1IN•1•11••11 •IIMMIMIMMINIIIIIIMINIM-1• •••••••••••••••• NOMIM MAIM AMU MIMI MID IIIMIIIIP - IIIIIIMMIDIMIU•MIME V- • . • • 1•■•••■•••• al•IIMIMIIIII••••••••• ••••■••••••••• V M-4111•1111•111•IM • MS MI••••••■ •••• MMUMMIIMINAMMOMIIM •■•• • ••••■•• MINIam•• • • M ■•■•■ ••••••111M4•• IIIMIll. 111111.111. 511111.1111 111 ads MIIMNIM■• ■ • I 1••••••• IMAMS •111.401MMIIIIMI IIMI ■MIIIMMIMIMM • -.MMMMIMI ••• MINIMMOINNIMMIIMMMIIIMUM- ONO WM. Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor 16, 18, 21 October 1975 at 8:30 pm 17 October 1975 at 2:00 pm 25 November 1975 at 7:30 pm Symphony Hall, Boston Ninety-fifth season -
Sonata for Clarinet Choir Donald S
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1962 Sonata for Clarinet Choir Donald S. Lewellen Eastern Illinois University Recommended Citation Lewellen, Donald S., "Sonata for Clarinet Choir" (1962). Masters Theses. 4371. https://thekeep.eiu.edu/theses/4371 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. -SONATA POR CLARINET CHOIR A PAPER PRESENTED TO THE FACULTY OF TILE DEPARTMENT OF MUSIC EASTERN ILLINOIS UNIVERSITY IN PARTIAL FULFILLMENT OF TIIB REQUIREMENTS FOR IBE DEGREE MASTER OF SCIENCE IN EDUCATION DONALDS. LEWELLEN '""'."'.···-,-·. JULY, 1962' TABLE OF CONTENTS :le Page • • • • • • • . • .. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i ile of Contents . .. ii iface ••.•....•...•........••....... •· ...•......•.•...• iii ::tion I ! Orchestra and Band ································· 1 lrinet Choir New Concept of Sound •••••••••••••••••• 2 3.rinet Choir Medium of Musical Expression . .. 2 arinet Choir Instrumentation . 3 ction II nata for Clarinet Choir - Analysis . .. 6 mmary • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 8 bliography ••••.•••••••••••••••••••••••.•••••••••••••• 10 PREFACE The available literature for clarinet choir is quite limited, and much of this literature is an arrangement of orchestral music. -
Kimberly Cole Luevano, DMA
Kimberly Cole Luevano, DMA College of Music 1809 Goshawk Lane University of North Texas Corinth, TX 76210 Denton, TX 76203 734.678.9898 940.565.4096 [email protected] [email protected] Present Appointments University of North Texas, Denton, TX. Professor 2018-present Associate Professor 2012-2018 Assistant Professor 2011-2012 Responsibilities include: • Teaching Applied Clarinet lessons. • Teaching Doctoral Clarinet Literature course (MUAG 6360). • Teaching pedagogy courses as needed (MUAG 4360/5360). • Serving on graduate student recital and exam committees. • Advising doctoral students in development and completion of dissertation work. • Assisting in coordination of instruction of clarinet concentration lessons, clarinet secondary lessons, clarinet minor lessons, and all clarinet jury examinations. • Assisting in oversight of graduate Teaching Fellow position. • Collaborating with faculty colleagues in their performances. • Assisting in instruction of woodwinds methods classes as needed. • Coaching student chamber ensembles as needed. • Recruitment and development of the clarinet studio. • Listening to ensemble auditions for placement of clarinetists in ensembles. Director: UNT ClarEssentials Summer Workshop 2011- 2018 • Artistic direction, administration, and oversight of all aspects of the 5-day on- campus event for high school clarinetists. Haven Trio (Lindsay Kesselman, soprano; Midori Koga, piano). 2012-present TrioPolis Trio (Felix Olschofka, violin; Anatolia Ioannides, piano) 2016-present Artist Clinician: Henri Selmer-Paris 2015 – present Artist Clinician: Conn-Selmer USA 2015 – present Artist Clinician: The D’Addario Company 2013- present Education Doctor of Musical Arts degree in Clarinet Performance, Michigan State University, East Lansing, MI. 1996 Master of Music degree in Clarinet Performance, Music History concentration, Michigan State University. 1994 Postgraduate Study, L’Ecole Normale de Musique de Paris, Paris, France. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Clarinet Choir 10 30 19
Evening Concert Series 2019–2020 Season Helen M. Hosmer Hall Wednesday, October 30, 7:30 PM Crane Clarinet Choir Raphael P. Sanders, Jr., director Julianne Kirk Doyle, director Caprice for Clarinets (1961) Clare Grundman (1913–1996) Darrell Holovach, conductor Irish Suite (1992) Traditional Kerry Dance arr. Elliot A. Del Borgo Lullaby Irish Washerwoman MariantHi Stakos, conductor Orinoco Flow (1988) Enya (b. 1961) arr. Kevin Murray Emily Benware, conductor Second Suite in F, Op. 28, No. 2 (1911) Gustav Holst MarcH (1874–1834) arr. Cioffi William L. Lake, Jr., guest conductor Concertpiece No. 1 in D minor, Op. 113 (1833) Felix Mendelssohn Allegro con fuoco (1809–1847) Andante arr. Roland Cardon Presto Brianna LinHardt & Vienna Durao, soloists Mississippi Rag (1897) William H. Krell (1868–1933) arr. Arthur Frackenpohl Jamie Cox, conductor Serenade No. 10, K. 361 (1781) Wolfgang Amadeus Mozart Rondo (1756–1791) arr. Boris Pillin Matt Stroinski, conductor Second Suite in F, Op. 28, No. 2 (1911) Gustav Holst Song Without Words ‘I love my love’ (1874–1834) arr. Cioffi Amy Gonzalez, conductor Thriller (1982) Rodney Temperton (1949–2016) William L. Lake, Jr., guest conductor Crane Clarinet Choir Raphael P. Sanders, Jr. & Julianne Kirk Doyle, directors Personnel E-Flat Soprano Clarinet E-Flat Alto Clarinet Keegan Wallace* Amber Lievre* B-Flat Soprano Clarinet B-Flat Bass Clarinet JoHn Aebly Tara Allen Ian Amano Darrell HolovacH* Emily Benware Avery Poston Natalia Buitrago Jason RaHner AsHley CalHoun Marco Tomasi Gabbie CiccHinelli KatHryn Vanderveer -
Timothy Bonenfant CV 2020-21
Timothy Bonenfant, D.M.A., Clarinetist Carr Education Fine-Arts Building, Room 217 ASU Station #10906; San Angelo, TX 76909-0906 (325) 486-6029 | [email protected] TEACHING EXPERIENCE 2005-present Professor of Music Angelo State University: San Angelo, TX Teach single reed studio (clarinet and saxophone) and advise students within the studio. Direct ASU Jazz Ensemble. Teach classes in Improvisation, Woodwind Methods, Jazz History, Introduction to Music and Survey of Rock and Roll. Direct/coach small woodwind ensembles (saxophone quartet, clarinet choir). 2017-2018 Adjunct Professor of Music Hardin Simmons University: Abilene, TX Taught saxophone studio while a search for a permanent replacement was conducted. 1996-2005 Instructor Las Vegas Academy for the Fine and Performing Arts: Las Vegas, NV Taught private lessons, fundamentals of music, and coached woodwind sectionals. 1993-2005 Lecturer University of Nevada, Las Vegas Taught Jazz Appreciation, Music Appreciation, History of Rock and Roll, History of American Popular Music, Finale: An Introduction, Music Fundamentals (for non-majors), Remedial Music Theory/Ear-Training. Also taught private lessons for clarinet and saxophone students. Developed new courses for the department; History of American Popular Music, and Finale: An Introduction. UNIVERSITY CLASSES TAUGHT Applied Music: Clarinet/Saxophone Woodwind Chamber Music Jazz Ensemble Improvisation Survey of Rock and Roll History of Jazz History of American Popular Music Introduction to Music Woodwind Methods Senior Recital Finale™ -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. -
Edition 1 | 2018-2019
2 brevard philharmonic | www.brevardphilharmonic.org About the Maestro 4 Letter from the Maestro 5 History of the Brevard Philharmonic 6 Letter from the President 7 OCTOBER 7, 2018 11 ROMANTIC INTRODUCTIONS NOVEMBER 11, 2018 17 THE MAGIC OF MOZART DECEMBER 16, 2018 25 CHRISTMASTIME IN BREVARD MARCH 10, 2019 27 AN AMERICAN CELEBRATION mission statement MAY 12, 2019 29 The Mission of the Brevard BEETHOVEN’S PASTORALE SYMPHONY Philharmonic is to inspire, educate, Brevard Philharmonic Personnel 35 and enrich our audiences through 2018 Contributors 36 exceptional, professional musical Sponsorships 38 performances and community outreach. Board of Directors 44 C Notes 45 Meet Our Staff 48 ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2018-19. All rights reserved. Printed in the U.S.A. www.brevardphilharmonic.org | brevard philharmonic 3 about the maestro JAMES FELLENBAUM ames Fellenbaum enjoys an extraordinarily diverse career as a conductor, equally at J home with Symphonic music, Chamber Orchestra repertoire, Pops, Ballet, Opera, Choral-Orchestral, and Film with Live Orchestra. He is thrilled and honored to become the next Artistic Director of the Brevard Philharmonic and is excited to share his love and passion for classical music with the community of Brevard. James is the Resident Conductor of the Knoxville Symphony Orchestra (KSO) having completed his 12th season with the organization. -
Ten Original Compositions of Progressive Difficulty for Clarinet Choir an Analysis and Evaluation of This Work
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1956 Ten Original Compositions of Progressive Difficulty for Clarinet Choir an Analysis and Evaluation of this Work Harold Walter Harvey The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Harvey, Harold Walter, "Ten Original Compositions of Progressive Difficulty for Clarinet Choir an Analysis and Evaluation of this Work" (1956). Graduate Student Theses, Dissertations, & Professional Papers. 9368. https://scholarworks.umt.edu/etd/9368 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MONTANA STATE UNIVERSITY LIBRARY I . Z r \ LS TO A fir t *ee TO_A BkACK KiTTIN SPMEROIUiCiTa / AhuO'-JJuhRK S t i (s.T JjftrJCE i ; FUGUE FOR FIVE J.** ( A e r o 1A m o d tjn e * •*#■ kONuo 99 «Cfc< INTROOOCTr"1!' ANfc riOCTURNC 3 0 ZUJOwFTOrVi'UilK w* W t MS z \0 r o f t TIE THEE $0\O i t Clur>*l tf m // X) 4*t>i f 3^| l i t 0t> =fc: Clttrt'ttf □t ■y * # i i J d> L ia r! o J JJ J i f t J 4 # 3 - j dt> Clar/mT 3 1 n i J 4 i fk 3b C 14 r I Aii v 0 _T_ =±=zr_- 4 S J • —i- f y p i t> E b ffjb t 5 = = ^ = J C i ? -f £ db %A* f a*J ~gh~ C 14 /•/**/ - a F - r‘ F 3 h UMI Number: EP72682 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
The Pedagogy of Robert Marcellus Presented by Karen Andreas
The Pedagogy of Robert Marcellus Presented by Karen Andreas Bronson, D.M.A. Background of Robert Marcellus (1928-1996) ● Training: studied with Earl Handlon (Minneapolis Symphony) and Daniel Bonade ● Orchestral Experience: National Symphony Orchestra, principal clarinetist with Cleveland Orchestra under George Szell (1953-1973); soloist with Cleveland Orchestra and Casals Festival ● Orchestral Conductor: Northwestern University, Canton Symphony, guest conductor with several orchestras ● Educator: Cleveland Institute of Music (1959-1974); Blossom Festival (1959-1974); Northwestern University (1977-1990) Major Pedagogical Influencers ● Daniel Bonade, George Szell, Pabol Casals; also Marcel Tabuteau, William Kincaid, Alexandre Selmer Précis of Study (Summary of Study) 1. Tone Production a. Wind (most important aspect of clarinet playing); abdomen should stay out and down when blowing; air speed must remain fast, with a pointed wind direction; upper lip should have a downward pressure b. Embouchure i. Lips-like a rubber band around the mouthpiece, think of a triangle with the 3 points being the corners and the point of the chin (corners go in; chin goes down), points should feel as one entity ii. Tongue-should be is the talking part of the mouth, use the vowel “EH” as a common tongue placement, and “EE” in the altissimo register iii. Jaw-use light jaw pressure c. Articulation i. Tonguing should be played like “speech on the reed" ii. Stopped-staccato was students' first introduction to tonguing 2. Fingers and Hand Position a. Fingers should stay in a gentle, relaxed, curved position to maintain independent finger dexterity b. keep a common curve to the hands because there was a lot of architectural strength in curved fingers; play with "quiet knuckles" 3. -
Van Cott Information Services (Incorporated 1990) Offers Books
Clarinet Catalog 9a Van Cott Information Services, Inc. 02/08/08 presents Member: Clarinet Books, Music, CDs and More! International Clarinet Association This catalog includes clarinet books, CDs, videos, Music Minus One and other play-along CDs, woodwind books, and general music books. We are happy to accept Purchase Orders from University Music Departments, Libraries and Bookstores (see Ordering Informa- tion). We also have a full line of flute, saxophone, oboe, and bassoon books, videos and CDs. You may order online, by fax, or phone. To order or for the latest information visit our web site at http://www.vcisinc.com. Bindings: HB: Hard Bound, PB: Perfect Bound (paperback with square spine), SS: Saddle Stitch (paper, folded and stapled), SB: Spiral Bound (plastic or metal). Shipping: Heavy item, US Media Mail shipping charges based on weight. Free US Media Mail shipping if ordered with another item. Price and availability subject to change. C001. Altissimo Register: A Partial Approach by Paul Drushler. SHALL-u-mo Publications, SB, 30 pages. The au- Table of Contents thor's premise is that the best choices for specific fingerings Clarinet Books ....................................................................... 1 for certain passages can usually be determined with know- Single Reed Books and Videos................................................ 6 ledge of partials. Diagrams and comments on altissimo finger- ings using the fifth partial and above. Clarinet Music ....................................................................... 6 Excerpts and Parts ........................................................ 6 14.95 Master Classes .............................................................. 8 C058. The Art of Clarinet Playing by Keith Stein. Summy- Birchard, PB, 80 pages. A highly regarded introduction to the Methods ........................................................................ 8 technical aspects of clarinet playing. Subjects covered include Music ......................................................................... -
Instructions for Authors
Journal of Science and Arts Supplement at No. 2(13), pp. 157-161, 2010 THE CLARINET IN THE CHAMBER MUSIC OF THE 20TH CENTURY FELIX CONSTANTIN GOLDBACH Valahia University of Targoviste, Faculty of Science and Arts, Arts Department, 130024, Targoviste, Romania Abstract. The beginning of the 20th century lay under the sign of the economic crises, caused by the great World Wars. Along with them came state reorganizations and political divisions. The most cruel realism, of the unimaginable disasters, culminating with the nuclear bombs, replaced, to a significant extent, the European romanticism and affected the cultural environment, modifying viewpoints, ideals, spiritual and philosophical values, artistic domains. The art of the sounds developed, being supported as well by the multiple possibilities of recording and world distribution, generated by the inventions of this epoch, an excessively technical one, the most important ones being the cinema, the radio, the television and the recordings – electronic or on tape – of the creations and interpretations. Keywords: chamber music of the 20th century, musical styles, cultural tradition. 1. INTRODUCTION Despite all the vicissitudes, music continued to ennoble the human souls. The study of the instruments’ construction features, of the concert halls, the investigation of the sound and the quality of the recordings supported the formation of a series of high-quality performers and the attainment of high performance levels. The international contests organized on instruments led to a selection of the values of the interpretative art. So, the exceptional professional players are no longer rarities. 2. DISCUSSIONS The economic development of the United States of America after the two World Wars, the cultural continuity in countries with tradition, such as England and France, the fast restoration of the West European states, including Germany, represented conditions that allowed the flourishing of musical education.