Beethoven, Bagels & Banter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Making the Clarinet Sing
Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Alyssa Rose Powell, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. Scott McCoy Dr. Eugenia Costa-Giomi Professor Katherine Borst Jones 1 Copyrighted by Alyssa Rose Powell 2020 2 Abstract The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer ‘in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of ‘Donde lieta’ from Puccini’s La Bohème. This demonstrates the influence of text on interpretation for singers. -
Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
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. -
A Guide to Vibrato & Straight Tone
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The Versatile Singer: A Guide to Vibrato & Straight Tone Danya Katok The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1394 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by DANYA KATOK A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2016 ©2016 Danya Katok All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation requirement for the degree of Doctor of Musical Arts Date L. Poundie Burstein Chair of the Examining Committee Date Norman Carey Executive Officer Philip Ewell, advisor Loralee Songer, first reader Stephanie Jensen-Moulton L. Poundie Burstein Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by Danya Katok Advisor: Philip Ewell Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre. -
Baltimore Symphony Orchestra Announces 2019 New Music Festival
Media contacts Linda Moxley, VP of Marketing & Communications 410.783.8020 [email protected] Devon Maloney, Director of Communications 410.783.8071 [email protected] For Immediate Release Baltimore Symphony Orchestra Announces 2019 New Music Festival Baltimore (April 18, 2019) Under the leadership of Music Director Marin Alsop, the Baltimore Symphony Orchestra (BSO) announces the 2019 New Music Festival. Launched by Alsop and the BSO in 2017, the New Music Festival brings contemporary classical music to Baltimore from June 19-22. The 2019 New Music Festival celebrates women composers ahead of the BSO’s 2019-20 season, which highlights women in music in conjunction with the 100th anniversary of women’s suffrage in the U.S. Performances include the Baltimore premiere of Jennifer Higdon’s Low Brass Concerto, a BSO co- commission, as well as the world premiere of Anna Clyne’s cello concerto, Dance, with Inbal Segev. “I’m thrilled that this year’s New Music Festival features such an outstanding group of contemporary composers, who happen to be women!” said Alsop. “Each piece of music that we’ve programmed tells a unique and compelling story, and we are proud to present a range of voices and perspectives that showcases some of the most inspired work happening in classical composition today.” The 2019 New Music Festival kicks off on Wednesday, June 19 when composer Sarah Kirkland Snider participates in a discussion on her composition process at Red Emma’s Bookstore Café. On Thursday, June 20, Associate Conductor Nicholas Hersh leads members of the BSO and Shara Nova, also known as My Brightest Diamond, in a free concert at the Ottobar. -
RCM Clarinet Syllabus / 2014 Edition
FHMPRT396_Clarinet_Syllabi_RCM Strings Syllabi 14-05-22 2:23 PM Page 3 Cla rinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship 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 not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. -
Bel Canto: the Teaching of the Classical Italian Song-Schools, Its Decline and Restoration
Performance Practice Review Volume 3 Article 9 Number 1 Spring "Bel canto: The eT aching of the Classical Italian Song-Schools, Its Decline and Restoration" By Lucie Manén Philip Lieson Miller Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Miller, Philip Lieson (1990) ""Bel canto: The eT aching of the Classical Italian Song-Schools, Its Decline and Restoration" By Lucie Manén," Performance Practice Review: Vol. 3: No. 1, Article 9. DOI: 10.5642/perfpr.199003.01.9 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/9 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Reviews 97 Lucie Manen. Bel canto; The Teaching of the Classical Italian Song- Schools, Its Decline and Restoration. New York: Oxford University Press, 1987. bibliography, 75p. Bel canto, it is generally agreed, is a lost art. But what, precisely, was bel canto? The word is used to describe the singing of the great castrati, and the repertory of classic Italian airs is known as bel canto music; the term conies up again to cover the operas of Rossini, Donizetti, and Bellini and the school of singers trained to sing them. But Philip A. Duey, in his study of the subject, states: "The term Bel Canto does not appear as such during the period with which it is most often associated, i.e., the seventeenth and eighteenth centuries; this may be said with finality." Lucie Manen as a singer was a casualty of World War II. -
LIBRETTO LOOP” (Created by Todd Woodard)
OPERA WARM UP ACTIVITY: “LIBRETTO LOOP” (created by Todd Woodard) • OBJECTIVE: To build a foundational knowledge of some basic Opera terms through physical and vocal engagement, while simultaneously building energy and ensemble. • STARTING POSITION: A Standing Circle (or “Loop”) • Sample TA Intro: “What is Libretto? … Yes, Libretto might be the text of an opera, but those words are brought to life through music, movement, emotion and ENERGY. So in this game, we are going to use some Opera terms as our simple libretto, and share them by passing ENERGY through, across and within our LOOP, using music, movement, and emotion.” • TERMS with ACTIONS: o RECITATIVE: • Pass LIBRETTO Energy to the person next to you by singing the word “Recitative” to a TA-set or individualized melody with a directional clap • This continues in same direction until someone changes it with a different term o ARIA: “Hold onto the energy before you pass it by taking a solo moment in the spotlight” • Person sings “Aria! Aria! Aria!”, perhaps bending on a knee with arm outstretched, or striking another strong emotional pose • Then pass the energy with “Recitative” or with one of the terms below o VIBRATO • Person with energy shakes hands out in the direction of previous person to induce a vibrato in the voice while singing an extended “Vi- brAAAAA-TOOOOOO”) • This bounces the energy back to the previous person and they continue with energy pass in the opposite direction o MELODY • First person sings “Melody” to a melody of their choice as they pass it to another person -
Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
EAS 23 July 2020 Program.Pdf
Green Mountain Online Emerging Artists Series Thursday, July 23, 2020 7:30 pm EDT GMCMF Emerging Artists YouTube Channel Suite No. 5 in C minor, BWV 1011 Johann Sebastian Bach Prelude (1685-1750) Todd Humphrey, cello Suite No. 5 in C minor, BWV 1010 Johann Sebastian Bach Allemande Courante Matthew Wiest, cello Sonata No. 2 in A minor, BWV 1003 Johann Sebasitan Bach Grave Luciano Marsalli, violin Caprice in C minor, Op. 1, no. 4 Niccolò Paganini (1782-1840) Simon Ho Yin Cheng, violin Caprice in A minor, Op. 1, no. 5 Niccolò Paganini Abigail Yoon, violin Capricen B flat major, Op. 1, no. 13 Niccolò Paganini Jessie Zimmermann, violin Introduction and Allegro, Op. 44 Miklós Rózsa (1907-1995) Ashley Park, viola Suite No. 1 in G minor, Op. 131d Max Reger Molto sostenuto (1873-1916) Vivace Andante sostenuto Molto vivace Colin Henley, viola Sonata, Op. 27, No. 5 Eugène Ysaÿe L'Aurore (1858-1931) Danse rustique Maitreyi Muralidharan, violin Piano Sonata No. 2 in D minor, Op. 14 Sergei Prokofiev Allegro, ma non troppo (1891-1953) Sofia Marina, piano Fantasiestücke, Op. 12 Robert Schumann In der Nacht (1810-1856) Fabel Traumes Wirren Ende vom Lied Ellie Taylor, piano Todd Humphrey, 22, is from Atlanta, Georgia. He completed his undergraduate degree at Florida State University where he studied with Greg Sauer. At Florida State, Todd served as principal cellist of the University Philharmonia Orchestra and was cellist of the Lux String Quartet. This ensemble was known for its heartfelt and engaging performances along with its numerous community outreach events. Currently Todd is completing his masters at Miami University of Ohio where he studies with Sarah Kim. -
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.