DOCSLIB.ORG

Butler University Wind Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Butler University Wind Ensemble Howard L. Schrott Center for the Arts Policies Doors: The lobby doors of the Howard L. Schrott Center for the Arts are open at least one hour prior to curtain. Butler University Concessions: Food and beverages with lids purchased at the Schrott Center are allowed in the theatre. Please Jordan College of the Arts notify event staff if you have a spill. School of Music Phone Number During Events: To be reached during a performance, please call (317) 940-ARTS (2787). The one hundred & thirty-sixth program of the Butler School of Music 2018-19 season Please leave your seat location with event staff. Cellular Phones and Texting Devices: The use of audible and visible devices is prohibited. Out of respect for the performers and audience members please silence and dim all electronic devices. Cameras and Video/Audio Recording Devices: According to artist contractual agreements, the use of these devices is prohibited in the theatre. Latecomers: According to artist contractual agreements, patrons who arrive late will be seated at the first ap- propriate opportunity. The Schrott Center makes every attempt to begin each performance on time. Patrons are recommended to arrive no later than 15 minutes prior to the performance start time. Bags: Howard L. Schrott Center for the Arts reserves the right to inspect any bag or package being brought into Butler University this facility. American Sign Language Wind Ensemble Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 Michael Colburn, Director business days prior to an event.) with Braille Programs Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 Anthony Kniffen, tuba business days prior to an event.) Dr. Matthew J. Smith, guest conductor Large-Print Programs Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 business days prior to an event.) Sound Enhancement The Howard L. Schrott Center for the Arts uses the Phonic Ear Sound Enhance ment System to amplify stage dialogue. Patrons may pick up their individual receiver from event staff. Wheelchair Accessibility Ample parking is available in the lot north of the Schrott Center. For accessible seating please call (317) 940-ARTS (2787). Thursday, April 18, 2019 7:30 p.m. Information Schrott Center for the Arts For your convenience, you can contact us at (317) 940-ARTS (2787) to request services or information. No Smoking Wenger Corp., official supplier of The Howard L. Schrott Center for the Arts is a smoke-free venue. performance products at The Schrott Center. Program BUTLER UNIVERSITY WIND ENSEMBLE MICHAEL COLBURN, Director Butler University Wind Ensemble NOAH LEININGER, Graduate Assistant Michael Colburn, Director Noah Leininger, Graduate Assistant PICCOLO HORN Claudia Gruett, Combined Locks, WI Aaron Burns*, Lexington, KY Everything Old Is New Again Audrey Freeman, Russiaville, IN FLUTE Allie Henry, Indianapolis, IN Second Regiment Connecticut National Guard March (1876/2019) David Wallace Reeves Sam Stucky* (Co-principal), Zionsville, IN Charlie Hartman, Noblesville, IN (1838-1900) Cheyenne Johnson* (Co-principal), Indianapolis, IN Edited by Michael Colburn Camille Ringenberg, Dickson, TN TRUMPET/CORNET Madison Coy, Phoenix, AZ Trace Coulter*, Danville, IN Matt Abbey, Pleasanton, CA Carnival Overture, Op. 92 (1891/1922) Antonin Dvorak OBOE/ENGLISH HORN Becky Winger, Lebanon, IN (1841-1904) Jess Conlin*, Carmel, IN Kolin Edrington, Borden, IN Transcribed by Herbert Lincoln Clarke Melissa Johnson, Carmel, IN Tom Pieciak, Sykesville, MD Megan Sheeley (& English horn) Aaron Van Oirschot, Saline, MI “Decoration Day” from Four New England Holidays (1912/1978) Charles Ives BASSOON TROMBONE (1874-1954) Mia Nunokawa*, Greenwood, IN Alec Fenne*, Geneva, IL Transcribed by Jonathan Elkus Ari Badr, Evanston, IL Joe Weddle, Zionsville, IN Grace Higgerson, Belleville, IL CLARINET Tuba Concerto (1985/2013) John Williams Mitchell Bennett*, Crystal Lake, IL EUPHONIUM I. Tempo (b. 1932) Marissa Johnson, Avon, IN Jennifer Casey*, Westmont, IL II. Tempo Transcribed by Paul Lavender Kelsey Zetzl, Hagerstown, IN Emma Derouin, Westfield, IN III. Tempo Brian Sonderegger, Palatine, IL Anthony Kniffen, soloist Fran Hudson, Huntsville, AL TUBA Maya Davis, Highland, IN Danny Knauff*, Carmel, IN Ysabel Tio, Terre Haute, IN Joseph Rodriguez, Lafayette, IN Kelli Dawson, Carmel, IN INTERMISSION PERCUSSION BASS CLARINET Hannah Carlson*, Tallahassee, FL Emma Remley, Carmel, IN Nate Fuerst, Granger, IN Toccata Marziale (1924/2005) Ralph Vaughan Williams Alec Larner, Ft. Collins, CO (1872-1958) ALTO SAXOPHONE John Plate, Wheaton, IL Edited by Frank Battisti Than Higdon*, Carmel, IN Ben Urschel, Indianapolis, IN Dr. Matthew J. Smith, conductor Alex Sparks, Avon, IN Hunter Wheatcraft, Greenwood, IN Noah Leininger, Indianapolis, IN PIANO Two Scarlatti Pieces, Op. 28 (1928) Dmitri Shostakovich TENOR SAXOPHONE Douglas Perez, Melbourne, FL I. Pastorale (1906-1975) Sarah Doran, Granville, OH II. Capriccio DOUBLE BASS BARITONE SAXOPHONE Adriana Ruiz Garcia, Valencia, Spain James Howard, Indianapolis, IN Symphony in B-flat (1951) Paul Hindemith HARP I. Moderately Fast, with Vigor (1895-1965) Melissa Gallant #, Indianapolis, IN II. Andante Grazioso III. Fugue (rather broad) * = section leader # = guest musician DR. MATTHEW J. SMITH ~ Program Notes ~ Dr. Matthew Smith is entering his third year at Butler University as the Director of Ath- Second Regiment Connecticut National Guard March (1876/2019) letic Bands, where he oversees the Butler University Marching Band, Basketball Band, and University Symphonic Band. Previously, he served as Interim Band Director at the Although his name may not be familiar to most modern band musicians, David Wallace Reeves was University of Tennessee at Chattanooga where he directed the UTC "Marching Mocs" and once dubbed the “Father of Band Music in America” by none other than the “March King” himself, John Philip Sousa. Born in Oswego, New York in 1838, Reeves came of age during the American Basketball Pep Band, and conducted the Concert Band and Wind Ensembles. During his brass band movement of the mid-19th century, and his early successes were as a virtuoso on the time at UTC, Dr. Smith was a two time conductor of the UTC Sponsored Tri-State Honor relatively new piston-valve cornet, the principal instrument of the brass band. As a young man, he Band for high school band students. Prior to his appointment at UTC, he was an Assistant moved to New York City in order to perform with the renowned Dodworth Band, but in 1866 was Professor and Director of Bands at Castleton State College in Castleton, Vermont, where recruited to become the leader of the American Band, based in Providence, Rhode Island. Although he was the director of the "Pulse and Power of Vermont" Spartan Marching Band, and the the ensemble was a brass band when Reeves took command, he eventually added woodwinds as the Spirit Band. He also conducted the Wind Ensembles and Spring Musical Ensemble. brass band phenomenon began to fade following the Civil War. In addition to performing and con- ducting, Reeves was active as a composer, primarily in the genre of the march, and is widely credited Dr. Smith received his Doctorate of Musical Arts in Conducting from the University of as one of the key figures in the development of the American march style. Reeves most famous march Connecticut, where he was the Assistant Conductor of the University Wind Ensembles, and is undoubtedly his Second Regiment Connecticut National Guard March, composed in the year of the country’s centennial. Although they were rivals, Sousa had tremendous respect for Reeves, and an Assistant Instructor of the Conducting Courses. During his time at UConn, he premiered once stated that he wished he could claim to be the composer of this march. Its importance as one the 2009 Big East Band Directors Association Consortium Project, "Torn Canvases" by of the most significant American marches of the 19th century is reinforced by its prominent role in Matthew Tommassini, with the University Wind Ensembles. Dr. Smith received his Mas- Charles Ives nostalgic setting “Decoration Day”, the second movement of his work Four New En- ters of Music Performance in Conducting from West Virginia University, where he was the gland Holidays. Graduate Assistant to the Concert and Athletic Band Programs. In addition, Dr. Smith re- ceived his Bachelor of Music Education Degree from the University of Dayton. Following his undergraduate work, he was the Director of Bands at Charlotte Catholic High School (Charlotte, North Carolina) where he directed the 120-member competitive "Marching Carnival Overture, Op. 92 (1891/1922) Cougars" Marching Band, and all other instrumental school ensembles. Of all the 19th century nationalist composers, few were more successful or renowned than Antonin Dvorak. He was born and raised in Nelahozeves, a small town near Prague, which was then part of Dr. Smith spent seven years working with the Fred J. Miller Summer Clinic Programs, the Austrian Empire. Although his father was a butcher by trade, he was also amateur fiddler, and where he focused on curriculum writing, staff training, and administration of the clinic gave his son his first lessons on the violin. From his earliest memories, the young Dvorak was im- program. Through this program, he worked with student leaders at colleges and univer- mersed in the folk music traditions of his culture, so it should come as no surprise that the melodies sities across the Unites States. Dr. Smith is also a sought after arranger for concert and and rhythms of his native Bohemia infuse so much of his music. At the age of thirteen, Dvorak’s marching ensembles. Currently he is writing for several ensembles across the country. As father sent him to live with his uncle in the larger city of Zlonice, where he could learn German and an advocate for new music publications, Dr. Smith has premiered 10 new musical compo- begin a more formal study of music. This move eventually led to his enrollment in the Organ School sitions, including six short operas in three seasons with the Hartford Opera Theater's "New in Prague, from which Dvorak graduated in 1859.
Load more

Recommended publications
  • Orpheus Choir a Ministry in Music
    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 2008 Department of Music Programs 2007 - 2008 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 2007 - 2008" (2008). School of Music: Performance Programs. 41. https://digitalcommons.olivet.edu/musi_prog/41 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. S o ’feiS Department of Music 2007 - 2008 Programs Calendar of Events FALL 2007 SEPTEMBER 2007 1 11 Voice Faculty Recital 2 3 4 5 6 7 8 <- Kresge Auditorium 4- 7 p.m. 13 Adjunct Faculty Recital: 9 10 Q 12 0 14 15 Jennifer Reddick 16 17 18 19 20 o ® <- Kresge Auditorium <r 7:30 p.m. 23 24 25 26 27 28 29 21-22 Broadway Revue 30 <- Kresge Auditorium <- 7 & 9 p.m. OCTOBER 2007 1 2 3 o 5 O 4 Orchestra and Chamber Concert <r Kresge Auditorium <- 7 p.m. 7 8 9 10 11 0 0 6 Marching Band Exhibition 15 16 17 18 © Watseka, III. <- 2 p.m. 21 22 23 24 25 26 ® 12-14 Orchestra Tour <r Various Churches © 29 30 31 19-20 Orpheus Variety Show <- Kresge Auditorium <- 7 & 9 p.m.
    [Show full text]
  • Tuba Syllabus / 2003 Edition
    74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:56 AM Page 36 Tuba SYLLABUS / 2003 EDITION SHIN SUGINO SHIN Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. An acclaimed adjudicator certification program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • Performances from 1974 to 2020
    Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No.
    [Show full text]
  • Benedictine College Music Handbook
    Music Handbook Revised October, 2019 Resources for Students and Faculty TABLE OF CONTENTS Overview of the Music Handbook ...................................................................................................... 1 Mission Statement ............................................................................................................................... 1 Accreditation ....................................................................................................................................... 1 Goals .................................................................................................................................................... 1 Kansas State Department of Education Music Standards .................................................................... 2 Degree Programs in Music .................................................................................................................. 4 Music Faculty & Staff ......................................................................................................................... 5 General Information Accompanists ................................................................................................................................. 6 Advising ........................................................................................................................................ 7 Applied Music ............................................................................................................................... 7 Auditorium
    [Show full text]
  • Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
    UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Dale Clevenger
    dal 20 al 22 marzo 2018 Conservatorio di Musica i passi orchestrali di Brescia per per le iscrizioni scaricare il modulo al link fiati e percussioni https://www.consbs.it/wp-content/ uploads/2016/07/MOD-STU-CORSI -SEMINARI-MASTERCLASS.pdf docente per informazioni referente: M° Gabriele Rocchetti Dale [email protected] CONSERVATORIO LUCA MARENZIO Clevenger UFFICIO PRODUZIONE: TEL. ++39 (0)30 2886711 SITO: WWW.CONSBS.IT [email protected] Ex-primo corno Chicago Symphony Orchestra Stagione 2017/2018 brani previsti Gustav Mahler - Sinfonia Sinfonia n. 3 in re min. per contralto, coro femminile, coro di bambini ed orchestra Anton Bruckner - Sinfonia n° 7 in mi magg. Johannes Brahms: sinfonia n° 1 in do min. op. 68 calendario Martedì 20 - mercoledì 21 - Giovedì 22 dalle ore 17 alle 20 Conservatorio di Brescia iscrizioni: termine ultimo 15 marzo 2018 quota di partecipazione: allievi interni: GRATUITO con acquisizione di 2 cf allievi delle scuola convenzionate: GRATUITO esterni: € 50= uditori (interni ed esterni): GRATUITO per le iscrizioni scaricare il modulo al link https://www.consbs.it/wp-content/uploads/2016/07/MOD-STU-CORSI-SEMINARI-MASTERCLASS.pdf per informazioni referente: M° Gabriele Rocchetti - [email protected] Ufficio Produzione — tel. 030 2886742 e-mail: [email protected] Dale Clevenger, ex-primo corno della Chicago Symphony Orchestra dal 1966, è un musicista versatile che si interessa anche di musica da camera e jazz e si esibisce anche come solista. Prima di entrare nell’orchestra di Chicago, aveva fatto parte dell'American Symphony Orchestra di Leopold Stokowski , della Symphony of the Air diretta da Alfred Wallenstein e della Kansas City Philharmonic, dove era primo corno.
    [Show full text]
  • An Annotated Bibliography of Canadian Oboe Concertos
    An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible.
    [Show full text]
  • Jennifer Higdon-Large Full
    Pulitzer Prize and two-time Grammy-winner Jennifer Higdon (b. Brooklyn, NY, December 31, 1962) taught herself to play flute at the age of 15 and began formal musical studies at 18, with an even later start in composition at the age of 21. Despite these obstacles, Jennifer has become a major figure in contemporary Classical music. Her works represent a wide range of genres, from orchestral to chamber, to wind ensemble, as well as vocal, choral and opera. Her music has been hailed by Fanfare Magazine as having “the distinction of being at once complex, sophisticated but readily accessible emotionally”, with the Times of London citing it as “…traditionally rooted, yet imbued with integrity and freshness.” The League of American Orchestras reports that she is one of America's most frequently performed composers. Higdon's list of commissioners is extensive and includes The Philadelphia Orchestra, The Chicago Symphony, The Atlanta Symphony, The Cleveland Orchestra, The Minnesota Orchestra, The Pittsburgh Symphony, the St. Paul Chamber Orchestra, as well such groups as the Tokyo String Quartet, the Lark Quartet, Eighth Blackbird, and the President’s Own Marine Band. She has also written works for such artists as baritone Thomas Hampson, pianists Yuja Wang and Gary Graffman, violinists Nadja Salerno-Sonnenberg, Jennifer Koh and Hilary Hahn. Her first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere in 2016; the first American opera to do so in the award’s history. Performances of Cold Mountain sold out its premiere run in Santa Fe, North Carolina, and Philadelphia (becoming the third highest selling opera in Opera Philadelphia’s history).
    [Show full text]
  • The BPO Recommends: an Orchestral Listening Guide for Symphony Scholars
    The BPO Recommends: An Orchestral Listening Guide for Symphony Scholars There are so many great works for orchestra that it is impossible to list them all. So, this guide is by no means completely comprehensive. Instead, these selections are to help you dive head first into the orchestral repertoire. Hopefully you will love some, but maybe you won’t, and that’s ok! What we can guarantee though, is that this list views every corner of the repertoire. Please also refer to the attached exploration guide. Happy Listening! Composer Repertoire Adams, John The Dharma at Big Sur Harmonium Short Ride in a Fast Machine Bach, Johann Sebastian Brandenburg Concertos (Nos. 1-6) Mass in B minor Barber, Samuel Adagio for Strings Overture to School for Scandal Violin Concerto Bartók, Béla Concerto for Orchestra Cantata Profana Miraculous Mandarin Bates, Mason Anthology of Fantastic Zoology Mothership Beach, Amy Symphony in E minor Beethoven, Ludwig van Leonore Overture No. 3 Piano Concerto No. 5, “Emperor” Symphony No. 3, “Eroica” Symphony No. 5 Symphony No. 9, “Choral Berg, Alban Violin Concerto Wozzeck Berlioz, Hector Roman Carnival Overture Symphonie Fantastique Bernstein, Leonard Chichester Psalms Three Dances fro On The Town Symphonic Dances from West Side Story Bizet, Georges Carmen Suites Borodin, Alexander Polovtsian Dances from Prince Igor The BPO Recommends: An Orchestral Listening Guide for Symphony Scholars Brahms, Johannes A German Requiem Hungarian Dances Symphony No. 1 Symphony No. 4 Britten, Benjamin Four Sea Interludes from Peter Grimes War Requiem Young Person’s Guide to the Orchestra Bruch, Max Violin Concerto No. 1 Bruckner, Anton Symphony No.
    [Show full text]
  • Vartan Adjemian for Tuba & Piano +41 (0)21 909 1000 (Phone) - 1009 (Fax) Editions Bim, CH-1674 Vuarmarens, Switzerland
    TU133 V. Adjemian, V. Fantasia Vartan Adjemian for tuba & piano +41 (0)21 909 1000 (Phone) - 1009 (Fax) Editions Bim, CH-1674 Vuarmarens, Switzerland Editions Bim, CH-1674 Vuarmarens, Fantasia www.editions-bim.com for Tuba and Piano A RMENI A N C OMPOSERS S ERIES CH-1674 Vuarmarens, Switzerland A RMENI A N C OMPOSERS S ERIES Vartan Adjemian (*1956) +41 (0)21 909 1000 (Phone) - 1009 (Fax) Fantasia Switzerland Editions Bim, CH-1674 Vuarmarens, (1996) for tuba and piano www.editions-bim.com Duration / Durée / Dauer: 6’30 This work is in all its parts protected by copyright. Any utilisation without permission given by the publisher is illegal. This includes in particular copying, translations, microfilming, storage in and processing with electronic systems. Cet ouvrage est intégralement protégé par les droits d’auteur. Toute utilisation sans autorisation de l’éditeur est interdite, ceci en particulier en ce qui concerne la photocopie, les traductions, le microfichage et l’enregistrement dans et le traitement par les systèmes électroniques. Das Werk ist in allen seinen Teilen urheberrechtlich geschützt. Jede Verwertung ist ohne Zustimmung des Verlages unzulässig. Das gilt insbesondere für Vervielfältigung, Übersetzung, Mikroverfilmung, Einspeicherung in und Verarbeitung durch elektronische Systeme. P.O. Box 300 - CH-1674 Vuarmarens, Switzerland Tel: +41-(0)21-909 1000 - Fax: +41-(0)21-909 1009 [email protected] - www.editions-bim.com for Harri Lidsle Fantasia for tuba and piano (1996 - 6'30'') Vartan ADJEMIAN (*1956) Adagio q = 66 - Tuba % , .. " ! , , ,) , , , , , ,) , , , , , - # , , /% /% mp pp Adagio q = 66 cantabile , " , , , , , , , , / & ! 0 ' ' # /% /% Piano ppp " & ! 0 ' ' # , / /% , 1 , , ,% 2 +41 (0)21 909 1000 (Phone) - 1009 (Fax) ( Switzerland Editions Bim, CH-1674 Vuarmarens, 5 ! www.editions-bim.com % ' ' , , ,) , , , , , , , , /% mp ,* , , , ,% , , , , , , , ) , , , , , - / , , , ), , ,* , ,* *, , , /+ , .
    [Show full text]