Jumblies Suite Tbn1

Total Page:16

File Type:pdf, Size:1020Kb

Jumblies Suite Tbn1 THE JUMBLIES SUITE “The Story of the Jumblies” John Kilpatrick words by Edward Lear SATB & Wind Ensemble edition 2014 TROMBONE 1 2 1 - The Book TACET 2 - The Owl and the Pussy-Cat Possibly the version by Victor Hely-Hutchinson (tenor solo); Possibly the version by Igor Stravinsky (soprano solo); Or possibly some other version. TACET 3 - The Author TACET =102 tenor solo C ; ó " 4 b d But I fotr- gott, ccmy ta- pto-lto-gites, c c I fotr- gtot tot tetll yout thet au-thor. c € <¼ 4 tI t t t t t " 4 A c t t c c t c b c t Piano > € 4 A t t t t t ? A t t t t t • " 4 A c t t c c t t c b c t 5 choir ; ó " b c The autÇ - thoYtr’s na| me t ist Ed - ward Lear. c <¼ € t t t t |Ç " t t t c a a a > € t t t ? • t c a a a " t t Trombone 1 4 - How Pleasant to Know Mr Lear 3 Edward Lear's self-potrait, vv. 1,2,4,5,7,8 =108 beguine C 5 VERSE 1 9 choir & clarinets Cl.1 (8ve) mute (to end) 17 choir (8ve) d "tIt t t t t t cc tt "| t t A "t t t t tem-pered and queer, 23 VERSES 2,4,5,7 28 9 dt Ittt"t t "t t #t"t t choir Cl.1 (8ve) Ç 39 VERSE 8 45 (unis.) 50 5 - Preamble to The Jumblies TACET 4 6 - The Jumblies Trombone 1 =88 Intro LeaC d in Verse 1 6 7 8 14 19 =170 26 DRefrain Verse 2 7 2 34 40 48 Refrain 8 Verse 3 =96 59 Tbn.2C 15 t t t t t t t | mute t | | t Tbn.2 same again 3 times ™ 79 mute Tempo I t t t | open 84 2 rests overleaf Trombone 1 5 90 Refrain 8 Verse 4 In the shade of the moun-tains brown. a tempo 98 free time 4 t t tÇ t t t t |Ç tenor solo 100 103 with abandon 106 tenuto a tempo 111 116 Refrain 8 Verse 5 faster 124 tempo 1 4 a little faster 2 | tÇ Tr| b.3 | | | d slower 133 Refrain 8 Verse 6 steadily pulsing 144 148 6 Trombone 1 153 159 163 168 174 Refrain And they went to sea in a 178 (8ve) d "t t t It t t t 7 - Preamble to The Dong TACET Trombone 1 8 - The Dong 7 with the Luminous Nose VERSE 1 =72 7 12 VERSE 2 18 24 4 VERSE 3 Tbn3 31 =80 3 mute ó |Ç t | tt#t"t t "|Ç t | | • ™ • ‘ t 39 =72 45 3 VERSE 4 54 =54 2 Bass Cl. B "tY t "t It t rests overleaf 8 Trombone 1 =72 bass solo Cl2 59 .... to those shores one day 3 B t A | | | "t "t 9 a tempo ™ 75 Tbn.2 | t t tÇ tY | "| t "tÇ tY t | t t | t t | • 81 Jumblies refrain 6 mute VERSE 5 mute 89 =90 B 95 Cl2 101 open A "A !| #| | #A • 107 slower, with the beat 111 a tempo 117 "gaz-ing" =84 123 Tbn.2 B #tÇ tY | t t t Ç Y | t t | t t t t t t t t t | ™ 129 Cl.2 | | tÇ "| tÇ | tÇ | tÇ "| tÇ t (tenor solo in free time) • Trombone 1 9 VERSE 6 137 =72 B a little slower 144 solo in free time 2 in time 151 free time Cl.2 in time free time !AÇ #| | #| Ç | | | A | | | @ | A A b @ 161 "Till I find my Jumbly | girl once more" 2 VERSE 7 166 =96 10 t t t t "t t | b c on the flow-ery plain that grows. 181 (4½ beats) 186 1 - 7 190 2 (in 6) 197 = VERSE 8 205 =72 B 211 8 10 Trombone 1 222 "meet with that Jumbly | girl again" 7 2 234 =72 B 241 2 248 2 254 (perc.-gong) The Story of The Jumblies John Kilpatrick Scheme: 1. The Book: tenor, piano, percussion, clarinet 2. The Owl and the Pussy-Cat: tenor or soprano solo, piano (alternative versions possible) 3. The Author: tenor solo, piano, choir 4. How Pleasant to Know Mr Lear: choir and wind ensemble 5. Preamble to The Jumblies: tenor solo, piano, clarinet 6. The Jumblies: choir and wind ensemble 7. Preamble to The Dong: tenor solo, piano, bass clarinet 8. The Dong: choir and wind ensemble (no piano in nos. 4,6,8 except for choir rehearsal) First performed in 2014 by the Sheffield Lydian Ensemble as part of the Buxton Festival Fringe..
Recommended publications
  • Cordelia''s Portrait in the Context of King Lear''s
    Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional.
    [Show full text]
  • Ruth Peters Prologue Shakespeare by Matthew Arnold Read by Eleanor
    Welcome Ruth Peters Prologue Shakespeare by Matthew Arnold read by Eleanor Zuercher Paul Hayter Introduction (and historical links in the programme) Thomas Morley (1557/8-1602) ‘My bonnie lass she smileth’ (madrigal) BCMC Singers with Chris Britton (flute), Rey Lear (flute), Christine Griggs (oboe), Robert Wells (oboe), Sarah Turnock (viol) and tambour John Dowland (1563-1626) Can she excuse my wrongs? (madrigal) Reading William Shakespeare (1564-1616) Description of Cleopatra - Anthony and Cleopatra, Act 2 Scene 2 William Byrd (1543 – 1623) Wolsey’s Wilde Giles Farnaby (1563 – 1640) Loth to Depart Thomas Morley La Volta John Bull (1562 – 1628) The King’s Hunt Chris Britton (recorder), Rey Lear (recorder and guitar), Karen Lesniak (recorder), Chris Seddon (recorder) John Farmer (fl.1591-1601) ‘Fair Phyllis I saw sitting all alone’ (madrigal) Orlando Gibbons (1583-1625) The Silver Swan (madrigal) Sonnet 130 William Shakespeare Michael Arne (1741-1786) ‘Pastorale’ Christine Griggs (oboe), Auriel Warwick (piano) Sonnet 129 William Shakespeare Henry Purcell (1659-95) Golden Sonata Christine Griggs (oboe), Robert Wells (oboe), Auriel Warwick (piano) Henry Purcell (1659-95) ‘ If Music be the Food of Love’ (arr.Chris Seddon) Cathy Bowker (piano), Sarah Turnock (viol) Thomas Arne (1710-1778) When Daisies Pied (madrigal) INTERVAL William Sterndale Bennet (1816-1875) words by Christopher Marlowe ‘ Come live with me’ (unaccompanied) Charles Wood (1866-1926) ‘Full Fathoms Five’ (unaccompanied) Carl Sandburg (1878-1967) ’They all want to play Hamlet’ Johannes Brahms (1833-1897) ‘Ophelia Lieder’ from Hamlet Helen Swift (soprano), accompanied by Cathy Bowker William Shakespeare The Death of Ophelia from Hamlet Sarah Quartel (b. 1982) ‘I know a bank where the wild thyme blows’ Alan Bullard (b.
    [Show full text]
  • Sources of Lear
    Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring.
    [Show full text]
  • 2003 12-10:30 Pm the Following Volunteers Are Largely Responsible for the Successful Operation of the Festival
    Michi an Festival Schoolcraft College July 20, 2003 12-10:30 pm The following volunteers are largely responsible for the successful operation of the festival. They are wearing navy blue T-shirts and will assist you in finding your way to your favorite performances, dining, the Jazz Walk and Steinway Jazz Cafe. Just ask! Enjoy! Richard Aja Jim Gumley Shroyer Family Rose Apple Carol & Fritz Patti Smith Molly Berkau Hansen Betty Smolinski Phyllis Berryman Jeanette Harris Dave, Carol & John Brady Pat Hill Travis Sneary Robin Bringard Kristin Hoy Lynne Standley- Ryan Mary Beth Busto Paul Hunt Ray & Shirley Jack Campau Karen Kendall Steinke Judi Cartright Barbara Lawlor Sam & Bonnie Ted & Liz Janie Clark Stock Linderman Jim & Sharon Mary Ann Edward Methot Cooper Sutherland Ken Murray Mary Ann Cripps Barbara Taylor Jim Newman Deborah Dani Jean & Karen Peter Davis Marcel Niemiec Tomalis Brenda & Fred Cindy Pierson Tom Tomczak Durling Kristin & Pat Linda & Steve Van Michele Elias Prouty Haverbeke M.J. Falls Arnie Robinson Fred Welsh Joyce Galindo Catherine Sailus Marlene Werts Anne Gallagher Joan Schott Marnee Westberg Chris Geinzer Dianne See Patricia Wheatley Nancy Gillis Mary Sen Bob, Betty & Ann Zimmerman Charles & Louise David Sharpe Greenwald Salute to Jack Pierson The Pied Piper of Jazz Just mention Jack Pierson's name to a group of jazz fans and someone will always tell you they were in one of his bands at Fordson High School, Henry Ford Community College or Schoolcraft College. These students follow him around as though he was the Pied Piper. They love playing for him, admire him and say they never fail to learn something .1_ new each time.
    [Show full text]
  • Directed by David Schwingle
    THE UNIVERSITY CLASSIC PLAYERS in William Shakespeare’s Directed by David Schwingle Set and Costume Design by Jeffrey Stegall Lighting design by Richard Streeter Music by Kenon Renfrow CAST OF CHARACTERS DIRECTOR’S NOTES Lear, King of Britain ......................................................................... Ron Pyle It is a fearful thing to write about Shakespeare (brief let me be!). The fear increases when one approaches the Goneril, Lear’s eldest daughter ............................................................... Erin Naler towering achievement that is King Lear. The wheel turns a bit more toward a paralyzed state if one considers Duke of Albany, Goneril’s husband ................................................... Harrison Miller the laden, ceremonial barge of relevant scholarship on the subjects. (Imagine entering a room and seeing Oswald, Goneril’s steward ............................................................. Nathan Pittack the eminent Shakespeare scholar, Emma Smith, or our local Spenser and Shakespeare scholar, Ron Horton, Regan, Lear’s second daughter ............................................................ Emily Arcuri comfortably seated, smiling at you!) And yet, though surrounded by giants on every side, some of Lear’s own Duke of Cornwall, Regan’s husband ..................................................... Alex Viscioni making, King Lear pushes on, so I’ll push on and pen a few words about Lear, language, and love. Cordelia, Lear’s youngest daughter ....................................................
    [Show full text]
  • Oboe Trios: an Annotated Bibliography
    Oboe Trios: An Annotated Bibliography by Melissa Sassaman A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2014 by the Graduate Supervisory Committee: Martin Schuring, Chair Elizabeth Buck Amy Holbrook Gary Hill ARIZONA STATE UNIVERSITY December 2014 ABSTRACT This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre. The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included. Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work. In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer’s last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
    [Show full text]
  • Descendants of Llyr King Lear
    Descendants of Llyr King Lear Generation 1 1. LLYR KING1 LEAR was born in 10 AD in Abt,,British Columbia,Canada. He died in 10 AD in AD,,,. He married PENARDIM CELTIC. She was born in Judea, , British Columbia, Canada. Llyr King Lear and Penardim Celtic had the following child: 2. i. BRAN THE2 BLESSED (son of Llyr King Lear and Penardim Celtic) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Generation 2 2. BRAN THE2 BLESSED (Llyr King1 Lear) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Bran The Blessed and Enygeus Ben Joseph had the following children: 3. i. CARADOC THE3 SILURES (son of Bran The Blessed and Enygeus Ben Joseph) was born in Trevan, Llanilid, Glamorganshire, England. He died in Avalon, Cape May, New Jersey, United States. He married LIVING VENISSA. ii. CARADOC CARACTACUS OF SILURIA (son of Bran The Blessed and Enygeus Ben Joseph) was born in 1980 in Siluria, , , England. He died in 1954 in Rome, Roma, Lazio, Italy. iii. KING OF THE SILURES CARADOC (son of Bran The Blessed and Enygeus Ben Joseph) was born in 65 AD in Trevan,Llanilid,Glamorganshire,. He died in Rome,,,. Generation 3 3. CARADOC THE3 SILURES (Bran The2 Blessed, Llyr King1 Lear) was born in Trevan, Llanilid, Glamorganshire, England.
    [Show full text]
  • David Amram: His Life and Five Major Compositions That Utilize the Oboe in a Prominent Role Aaron Ichiro Hilbun
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 David Amram: His Life and Five Major Compositions That Utilize the Oboe in a Prominent Role Aaron Ichiro Hilbun Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC DAVID AMRAM: HIS LIFE AND FIVE MAJOR COMPOSITIONS THAT UTILIZE THE OBOE IN A PROMINENT ROLE by AARON ICHIRO HILBUN A treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2004 The members of the Committee approve the treatise of Aaron Ichiro Hilbun defended on 17 February 2004. ___________________________________ Eric Ohlsson Professor Directing Treatise ___________________________________ Peter Spencer Outside Committee Member ___________________________________ Eva Amsler Committee Member ___________________________________ Jeffrey Keesecker Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank the many people that contributed to the completion of this treatise: the FSU Office of Graduate Studies for providing me with a grant to defray my research expenses; Kurt Doles, for graciously donating his time putting the musical examples into Finale; Gene Caprioglio and Hector Colón in the Clearance Rights Division of C. F. Peters Corporation for granting permission to reprint the
    [Show full text]
  • Sederi 29 (2019: 221–26) Reviews Differently, with a Focus on Indianization
    Poonam Trivedi and Paromita Chakravarti, eds. 2018 Shakespeare and Indian Cinemas: Local Habitations New York: Routledge Rosa García-Periago Queen’s University, Belfast, UK Poonam Trivedi and Paromita Chakravarti’s Shakespeare and Indian Cinemas: Local Habitations (2018) is a more-than-welcome addition to the field of Shakespeare film scholarship. It is a superb and groundbreaking collection that aims to explore Shakespeare on the Indian screen beyond Bollywood cinema. Thus, it moves away completely from previous research on Indian Shakespeares, which mainly focused on Bollywood cinema, Bollywood Shakespeares (Dionne and Kapadia 2014) being a case in point. Numerous articles and chapters have been devoted to this field. Jonathan Locke Hart’s latest collection Shakespeare and Asia (2019) includes for instance a chapter on Goliyon ki Rasleela Ram Leela (a Bollywood movie based on Romeo and Juliet) and Jonathan Gil Harris’ Masala Shakespeare (2018) discusses several Bollywood Shakespearean adaptations throughout. Those essays that have gone beyond Bollywood Shakespeares have mostly focused on Vishal Bhardwaj’s trilogy, either regarded as challenging Bollywood conventions (García-Periago 2014) or examples of “auteur” films (Burnett 2013). However, the way Shakespeare has been used or reinterpreted in Indian regional cinemas has been quite scarce and limited. Burnett’s Shakespeare and World Cinema (2013) is one of the few instances with a chapter on the southern Indian filmmaker Jayaraj. Hence, this book opens uncharted territory, exploring in depth Shakespeare’s presence outside the Bollywood arena, and claims for more visibility of regional cinemas. Trivedi and Chakravarti’s collection is precisely distinctive in its emphasis on regionalism for further research in the relations between Indian film and Shakespeare.
    [Show full text]
  • Shakespeare's Confines
    Shakespeare’s Confines Patriarchal and Natural Space in King Lear and The Winter’s Tale Tommi Laine Master’s Thesis English Philology Department of Languages Faculty of Arts University of Helsinki May 2018 Tiedekunta/Osasto – Fakultet/Sektion – Faculty Laitos – Institution – Department Humanistinen tiedekunta Kielten laitos Tekijä – Författare – Author Tommi Laine Työn nimi – Arbetets titel – Title Shakespeare’s Confines: Patriarchal and Natural Space in King Lear and The Winter’s Tale Oppiaine – Läroämne – Subject Englantilainen filologia Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu Toukokuu 2018 66 Tiivistelmä – Referat – Abstract Tutkielmassani analysoin kahta Shakespearen tunnettua näytelmää tilan ja paikan tutkimuksen näkökulmasta, ja täydennän sitä ekokriittisellä teorialla. Tutkin, kuinka patriarkaaliset hahmot näytelmissä Kuningas Lear ja Talvinen tarina ovat luoneet omat patriarkaaliset tilansa, jotka ilmenevät sekä fyysisinä että päänsisäisinä muureina, portteina, häkkeinä ja lukkoina. Näiden tilaa rajoittavien elementtien tehtävänä on hallita näytelmien muiden hahmojen tiloja esimerkiksi vangitsemalla tai karkoittamalla nämä pois patriarkaalisesta tilasta. Nämä karkoitetut hahmot hakevat usein suojapaikkaa luonnosta kaukana sortavista muureista, ja löytävät sieltä uuden, luonnollisemman tavan elää ilman tilallisia rajoitteita. Kuningas Learin tragediassa nämä kaksi tilaa, patriarkaalinen ja luonnollinen, eivät koskaan kohtaa, mutta Talvisen tarinan romanssissa
    [Show full text]
  • King Lear, Henry V, Romeo and Juliet, and Others
    Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Scene 1 Scene 2 ACT 1 Scene 3 Scene 4 Scene 5 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 Scene 2 Scene 3 ACT 3 Scene 4 Scene 5 Scene 6 Scene 7 Scene 1 Scene 2 Scene 3 ACT 4 Scene 4 Scene 5 Scene 6 Scene 7 Scene 1 ACT 5 Scene 2 Scene 3 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.
    [Show full text]
  • Chamber Music by Bernard Hoffer
    ChamberA Celebration Music Acknowledgments by A Celebration & Concerto di Camera V recorded Jan. 13, 2020; Concerto di Camera IV recorded Bernard Hoffer Sept. 28, 2017; Lear in the Wildeness recorded Jan. 10, 2018; Musica Sacra recorded Jan. 12, 2018; Musica Profana recorded Jan. 11, 2018; Paul Revere’s Ride recorded Jan. 12, 2018. All works recorded at Fraser Performance Studio, WGBH Educational Foundation, Boston Sound Engineer: Antonio Oliart Edited, Mixed, and Mastered by Tom Hamilton at the Pickle Factory, New York City WWW.ALBANYRECORDS.COM BOSTON MUSICA VIVA TROY1820-21 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 RICHARD PITTMAN, CONDUCTOR TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2020 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Hoffer_1820-21_book.indd 1-2 4/9/20 4:47 PM The Composer The Music Bernard Hoffer was born October 14, 1934 in Zurich, A Celebration Switzerland. He came to the United States in 1941 and received A Celebration is a three minute Bagatelle, written Feb. 2019 to celebrate 50 years early musical training at the Dalcroze School in New York of Boston Musica Viva. studying composition with Max Wald (a student of d’Indy) and counterpoint with Kurt Stone. Hoffer attended the Eastman Concerto di Camera V School of Music, where he received a B.M. and an M.M., study- Written between 2017-19, this is the last of my Concerto di Camera series. The ing composition with Bernard Rogers and Wayne Barlow and previous ones featured the piano, cello, clarinets, and violin in my Capriccio conducting with Paul White and Herman Genhart.
    [Show full text]