View Concert Program
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Ratner Baritone Revised
CARL J. RATNER • Baritone Representation: Leota Arts Management Leota Bauman 404 Sturdy Rd., Suite B3 • Valparaiso, IN 46383 • 630-235-8676 BIOGRAPHY In 2013-2014, Carl Ratner staged La Bohème for Harbor Country Opera in New Buffalo Michigan, and sang the roles of Benoit and Alcindoro. He returned to the Twin Cities for Russian Seasons of Minnesota’s collaboration with Voices of Vienna, an evening of “Russian Inspiration in Viennese Operetta,” perforMing music of Lehár, Kálmán, and Johann Strauss II. In 2014 he is scheduled to sing recitals of Russian song in Washington DC and at Bethune-CookMan University in Daytona, Florida, where he will also give a master class. In 2012-2013, Ratner was the featured soloist in a concert honoring the Russian AMbassador to the United States as part of a “Russia Day” celebration in Chicago. He returned to Naples, Florida, to perforM the role of Pilate in Bach’s Saint John Passion, as well as the Bass solos in Cantatas 78 and 106 with The Bach EnseMble of Naples. He perforMed the cycle American Pierrot: A Langston Hughes Songbook, written for hiM by eminent composer Robert Patterson, at the Belvedere Chamber Music Festival in MeMphis, Tennessee, having given the world premiere of the cycle at Western Michigan University the previous year. He directed Pagliacci for Opera at the Acorn in Three Oaks, Michigan and sang the bass solo in Beethoven’s Ninth SyMphony with BeethovenFest in KalaMazoo and Messiah with the Kalamazoo Oratorio Society. In 2011-2012, Baritone Carl Ratner perforMed the role of the Marquis in La Traviata with the KalaMazoo Symphony Orchestra, Marullo in Rigoletto for Opera at the Acorn, and the Captain in Eugene Onegin with Opera Naples and the Naples PhilharMonic. -
The Federal Music Project: an American Voice in Depression-Era Music
Musical Offerings Volume 9 Number 2 Fall 2018 Article 1 10-3-2018 The Federal Music Project: An American Voice in Depression-Era Music Audrey S. Rutt Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Composition Commons, Economic Policy Commons, Education Policy Commons, Ethnomusicology Commons, Fine Arts Commons, Latin American Studies Commons, Music Education Commons, Musicology Commons, Music Performance Commons, Music Theory Commons, and the Social Welfare Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Rutt, Audrey S. (2018) "The Federal Music Project: An American Voice in Depression-Era Music," Musical Offerings: Vol. 9 : No. 2 , Article 1. DOI: 10.15385/jmo.2018.9.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol9/iss2/1 The Federal Music Project: An American Voice in Depression-Era Music Document Type Article Abstract After World War I, America was musically transformed from an outsider in the European classical tradition into a country of musical vibrance and maturity. These great advances, however, were deeply threatened by the Wall Street crash of 1929 and the consequent Great Depression. -
ALAN HOVHANESS: Meditation on Orpheus the Japan Philharmonic Symphony Orchestra William Strickland, Conducting
ALAN HOVHANESS: Meditation on Orpheus The Japan Philharmonic Symphony Orchestra William Strickland, conducting ALAN HOVHANESS is one of those composers whose music seems to prove the inexhaustability of the ancient modes and of the seven tones of the diatonic scale. He has made for himself one of the most individual styles to be found in the work of any American composer, recognizable immediately for its exotic flavor, its masterly simplicity, and its constant air of discovering unexpected treasures at each turn of the road. Meditation on Orpheus, scored for full symphony orchestra, is typical of Hovhaness’ work in the delicate construction of its sonorities. A single, pianissimo tam-tam note, a tone from a solo horn, an evanescent pizzicato murmur from the violins (senza misura)—these ethereal elements tinge the sound of the middle and lower strings at the work’s beginning and evoke an ambience of mysterious dignity and sensuousness which continues and grows throughout the Meditation. At intervals, a strange rushing sound grows to a crescendo and subsides, interrupting the flow of smooth melody for a moment, and then allowing it to resume, generally with a subtle change of scene. The senza misura pizzicato which is heard at the opening would seem to be the germ from which this unusual passage has grown, for the “rushing” sound—dynamically intensified at each appearance—is produced by the combination of fast, metrically unmeasured figurations, usually played by the strings. The composer indicates not that these passages are to be played in 2/4, 3/4, etc. but that they are to last “about 20 seconds, ad lib.” The notes are to be “rapid but not together.” They produce a fascinating effect, and somehow give the impression that other worldly significances are hidden in the juxtaposition of flow and mystical interruption. -
Triofenix String Trio Prograamme Suggestions
Photo Isabelle Pateer / Otherweyes Photo Isabelle Pateer TRIOFENIX STRING TRIO PROGRAAMME SUGGESTIONS In 2006, Shirly Laub (violin), Tony Nys (viola) and Karel Stey- invited to play with various eminent orchestras in Europe and Beethoven Trio, op. 9 n°1 laerts (cello) founded TrioFenix to bring to a wider public Asia. As first violin of the Oxalys Ensemble she plays at the Weiner Trio opus 6 (1908) through concert performance the seldom-played repertoire most prestigious international venues. She is professor at the Dohnanyi Serenade, op. 10 for string trio. As well as the great masterpieces, TrioFenix Conservatoire Royale de Musique de Bruxelles. explore and perform lesser-known and contemporary works written in this genre. From the start, they have had the sup- Tony Nys studied at the Koninklijk Conservatorium Brussel Schubert Allegro D. 471 port of Klara, the Flanders Festival, the Ostbelgian Festival with Clemens Quatacker and Philippe Hirschhorn. As a violist Cras String Trio (1925) and the Musiques en Ecrins Festival among many others. in the Danel Quartet from 1998 till 2005 he played world- Jongen Trio op. 135 wide in numerous festivals, recordings and performances of Beethoven Trio, op. 9 n°3 Their first CD was recorded in 2010 on the Fuga Libera la- newly composed pieces. Since 2005 he has regularly worked bel. The well-known Divertimento KV 563 and the six Adagio as a freelance musician with ensembles such as Prometheus, and Fugues KV 404a by W.A.Mozart became their musical Ictus, Ensemble Modern, Explorations. He is currently member Bach Goldberg Variations, BWV 988 calling card and a significant step for TrioFenix. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
559862 Itunes Copland
AmericAn clAssics cOPlAnD Billy the Kid (complete Ballet) Grohg (One-Act Ballet) Detroit symphony Orchestra leonard slatkin Aaron Copland (1900 –1990) not touch them.” They described Grohg as having large, 5. Grohg Imagines the Dead Are Mocking Him Grohg • Billy the Kid piercing eyes and a hooked nose, who was “… tragic and Grohg begins to hallucinate and imagines that corpses pitiable in his ugliness.” For what is essentially a student are making fun of him and violently striking him. Grohg (1925) for the big time: a one-act, 35-minute ballet for full work, Copland’s score is quite amazing, and on hearing Nevertheless, he joins in their dances. Chaos ensues, pit orchestra plus piano. There was a taste for the parts of it which were rearranged into the Dance then Grohg raises the street-walker over his head and As much as anyone, Copland, who was born in 1900 in bizarre at the time, and if Grohg sounds morbid Symphony of 1929, Stravinsky called it “a very precocious throws her into the crowd. Brooklyn, and died in 1990 in Tarrytown (now Sleepy and excessive, the music was meant to be opus” for a young man then in his early 20s. There are 6. Illumination and Disappearance of Grohg Hollow), New York, established American concert music fantastic rather than ghastly. Also, the need for many influences on the ballet, among them Mussorgsky, The stage turns dark except for a light focused on Grohg’s through his works and his tireless efforts on its behalf. He gruesome effects gave me an excuse for ‘modern’ Satie, Ravel, Stravinsky, and Schmitt, along with jazz and head, and he slowly disappears to music which echoes and his contemporaries not only raised this music to a very rhythms and dissonances. -
For Violin and Viola
SSM ?6 .2.19 :PAT CRO TIP RONALD PATTERSON, violin WAYNE CROUSE, viola assisted by ALBERT TIPTON, flute Thursday, February 19, 1976 8:30p.m. Hamman Hall the Sllepherd RICE UNIVERSITY SchOol of Music Samuel Jones, Dean . PAT CRO TIP . PROGRAM 0 ~aglia for Violin and Viola George Frederick Handel (1685-1759) t arranged by Johan Halvorsen (1864-1935) r76 Duo for Violin and Viola, K.423 Wolfgang Amadeus Mozart Allegro (17-56-1791) Adagio Allegro Three Madrigals for Violin and Viola Bohuslav Martinu Poco allegro (1890-1959 ) Poco andante Allegro INTERMISSION Serenade in D Major, O.p. l¥, Ludwig van Beethoven for Flute, Violin and Viola (1770-1827) Entrata: Allegro Tempo ordinaria d'un Menuetto Allegro malta Anaante con Variazioni Allegro scherzando e vivace ' Adagio, Allegro vivace e disinvolto, Presto I • NOTES PASSACAGLIA FOR VIOLIN AND VIOLA George Frederick Handel arranged by Johan Halvorsen The passacaglia is a favorite Baroque form of continuous variation over a short melodic pattern that usually appears in the bass, though not always. In the repetitions that follow the initial statement of melody, the harmonic implications of the melody are also main tained. Handel's passacaglia melody is a short, four-measure pattern stated in the viola while the violin uses dotted rhythms in double stops above it. Halvorsen has arranged a virtuoso set ofvariations on Handel's melody that adapts nearly every technical possibility available to the two instruments. DUO FOR VIOLIN AND VIOLA, K. 423 Wolfgang Amadeus Mozart Written during the period of the ten "great" string quartets, this duo is one of a pair perhaps written for Michael Haydn , Joseph 's younger brother. -
The Great William Tell, a Girl Who Is Magic at Maths and a TIGER with NO MANNERS!
ORIES! FANTASTIC NEW ST TM Storytime OPERATION UNICORN A mythical being in disguise! BALOO'S BATH DAY Mowgli bathes a big bear! TheTHE Great William GRIFFIN Tell, a Girl Who is Magic at Maths and a TIGER WITH NO MANNERS! ver cle ! ll of ricks ies fu o0l t stor and c characters Check out the fantastic adventures of a smart smith, a girl genius, a wise monk and a clever farmboy! This issue belongs to: SPOT IT! “Don’t worry, you silly bear – I will get you clean!” Storytime™ magazine is published every month by ILLUSTRATORS: Storytime, 90 London Rd, London, SE1 6LN. Luján Fernández Operation Unicorn Baloo’s Bath Day © Storytime Magazine Ltd, 2020. All rights reserved. Giorgia Broseghini No part of this magazine may be used or reproduced Caio Bucaretchi William Tell without prior written permission of the publisher. Flavia Sorrentino The Enchantress of Number Printed by Warners Group. Ekaterina Savic The Griffin Wiliam Luong The Unmannerly Tiger Creative Director: Lulu Skantze L Schlissel The Magic Mouthful Editor: Sven Wilson Nicolas Maia The Blacksmith Commercial Director: Leslie Coathup and the Iron Man Storytime and its paper suppliers have been independently certified in accordance with the rules of the FSC® (Forest Stewardship Council)®. With stories from Portugal, Switzerland, Korea and Uganda! This magazine is magical! Read happily ever after... Tales from Today Famous Fables Operation Unicorn The Unmannerly Tiger When Matilda spots a mythical Can you trust a hungry tiger? being in her garden, she comes A Korean monk finds out when up with a plan to help it get home! 6 he lets one out of a trap! 32 Short Stories, Big Dreams Storyteller’s Corner Baloo’s Bath Day The Magic Mouthful When Baloo has a honey-related Maria learns how to stop accident, Mowgli gives his big arguments – with just a bear friend a bath! 12 mouthful of water! 36 Myths and Legends Around the World Tales William Tell The blacksmith A Swiss bowman shows off and the Iron Man his skill and puts a wicked A king asks a blacksmith governor in his place! 14 to do the impossible.. -
Eastman Notes July 2006
Attention has been paid! Playing inside Eastman Opera Theatre & outside takes aim at Assassins New books by two faculty members Eastman 90 Nine decades of Eastman milestones Winter 2012 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC FROM THE DEAN A splendid urgency Every now and then I have the good fortune of hearing a concert that is so riveting, I am reminded why I got into music in the first place. The Eastman Philharmonia’s recent performance of Stravinsky’s Rite of Spring, under the guest baton of Brad Lubman, was just such an occasion. Prepared and conducted su- perbly by Brad, and exuberantly performed by students clearly amped up by the music and the occasion, the raw beauty of one of Stravinsky’s greatest works came to stunning life. The power of this experience had nothing to do with outcomes, technologi- cal expertise, assessment, metrics of excellence, or gainful employment upon graduation. This was pure energy funneled into an art form. It was exotically NOTES irrational. It was about the rigorous pursuit of beauty, Volume 30, number 1 pure and simple. Winter 2012 As the national “music movement” grapples with the perception that it has lost precious ground in the fight Editor to keep music in our schools, I was reminded of our na- David raymond tional obsession with practical outcomes, and the chal- Contributing writers lenge of making a case for subjective artistic value in the John Beck Steven Daigle face of such an objectivity-based national agenda. Matthew evans Although we tend to focus on the virtues of music it- Douglas Lowry self, what we are really talking about is the act of learning robert Morris music. -
FREDERICK FENNELL and the EASTMAN WIND ENSEMBLE: the Transformation of American Wind Music Through Instrumentation and Repertoire
FREDERICK FENNELL AND THE EASTMAN WIND ENSEMBLE: The Transformation of American Wind Music Through Instrumentation and Repertoire Jacob Edward Caines Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the Master of Arts degree in Musicology School Of Music Faculty of Arts University of Ottawa © Jacob Edward Caines, Ottawa, Canada, 2012 i Abstract The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community. Key Words - EWE (Eastman Wind Ensemble) - ESB (Eastman Symphony Band) - Vernacular - Cultivated - Wind Band - Wind Ensemble - Frederick Fennell - Repertoire i Acknowledgements This thesis could not have been completed without the support of many people. Firstly, my advisor, Prof. Christopher Moore. Without his constant guidance, and patience, this document would have been impossible to complete. -
The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins. -
Romantic Serenades for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings
95655 Romantic Serenades for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings CD1 58’00 CD3 42’50 Pyotr Ilyich Tchaikovsky 1840-1893 Capella Istropolitana Edward Elgar 1857-1934 Niels Wilhelm Gade 1817–1890 Serenade for Strings Op.48 Jaroslav Krcˇek Serenade Op.20 for strings (1888-1892) Novellette No.1 in F Op.53 (1874) 1. I. Pezzo in forma di sonatina: 9. Allegro Piacevole 3’31 1. I. Andantino – Allegro vivace Andante non troppo – Recording: 6-11 May 1990, Moyzes Hall of the 10. Larghetto 6’37 e grazioso 6’05 Allegro moderato 7’50 Slovak Philharmonic (5-9) 11. Allegretto 2’58 2. II. Scherzo: Moderato 5’02 Producers: Karol Kopernicky, Hubert Geschwandtner 2. II. Valse: Moderato (5-9) 3. III. Andantino con moto 3’58 (Tempo di valse) 3’39 © 2018 Brilliant Classics Orchestra da Camera ‘Ferruccio Busoni’ 4. IV. Allegro vivace 3’40 3. III. Elégie: Larghetto elegiaco 8’27 Music Licensed Courtesy of Naxos Music Group Massimo Belli director 4. IV. Finale (Tema russo): Novellette No.2 in E Op.58 (1883–6) Andante; Allegro con 1st violin: Gabriel Ferrari, Valentino 5. I. Andante – Allegro ma spirito 7’07 CD2 53’08 Dentesani, Olga Zakharova, Giuseppe non troppo 7’29 Vasily Kalinnikov 1866-1901 Carbone 6. II. Intermezzo: Ensemble Instrumental Musica Viva 1. Serenade in G minor for strings 2nd violin: Martina Lazzarini, Furio Allegro moderato 4’28 Alexander Rudin cello & conductor (1891) – Andantino 9’13 Belli, Giuseppe Dimaso, Verena Rojc 7. III. Andante espressivo 5’52 Viola: Giancarlo Di Vacri, Federico 8.