DOCSLIB.ORG

Marshall University Music Department Presents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marshall University Music Department Presents Marshall University Marshall Digital Scholar All Performances Performance Collection Spring 4-18-2009 Marshall University Music Department Presents The aM rshall University Choral Union, presents, Arthur Honegger's King David, A Symphonic Psalm, In Three Parts, After a drama by, Rene Moraz, with, The MU hC amber Choir and Orchestra David Castleberry Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Castleberry, David, "Marshall University Music Department Presents The aM rshall University Choral Union, presents, Arthur Honegger's King David, A Symphonic Psalm, In Three Parts, After a drama by, Rene Moraz, with, The UM Chamber Choir and Orchestra" (2009). All Performances. Book 569. http://mds.marshall.edu/music_perf/569 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Program DEPARTMENT of MUSIC Arthur Honegger (1892.-195~) MUSIC Jeflreg Pappas, Narrator P:trstPart The Marshall UniversitlJ Choral Union Introduction The Song ol David the ahepherd Melanie Grillia, aoptdDO P.solm: "All Praise fo Iiim" Fanlare dlld Entn,i o£ Goliath Presents Song 0£ V1cton,i Morch Psolm: "In the Lord I put mg £aith" Adam Stephen.son, tenor Arthur Honegger's Psolm: "O! had I wing,, like a dove" Leedi We'ber,aoprano Song of the Prophets Paolm: "PiilJ me,Lorcl!'' Mitchell Spurloclc, tenor King David Saul's Camp A Symphonic Psalm P.solm:"GodtheLord~bemglight" Incantation of the Witch of Endor :M.arlc Smith, tenor In Three Parts March 0£ the Phill.stinea Lament of Gilboa BurcuKorlan.u, Barbara Ladner, sopro.noa Afte:r a d:rama b1J ReneMorax Second Part Song of the Daughters of Inc.el Leeeh·We'ber, soprano The Dance 'before the Ark Burcu KOl'lcm.u, soprdllo With Third Part Song: "Now mg voice in song up--s0drlng11 The MU Chamber Choir Song of the Handmaid Melo.nie Griffis, aopro.no P.solm of Penitence And Orchestra Psak: "Behold in evil I was born" Paolm: "Oh, aholl I roise mg e1Je5" Michael Sidoti, tenor The Song o£ Ephraim Linda Dobbs, soprano David Castleberrg, conductor March of the Hebrews Psolm: "Thee will I love, o Lord" The Crowning of Solomon The Death of David Burcu Korlcmoz, soprano 8:00p.m. Saturday, April 18th Not. cm Arthur Honesger'a:Kmg Da.vicl Compo.m Arlhur Honegger (1892-1955) wo.s elevated io prominence when, in 1921, Sopro.nos Angelino. Brawnina Michael Sidoti the Swiaa playwright Rene Morax engaged him to write incidental.music £or his plo.13 KelselJ Anderson Erin Corbitt Mitchell Spurlock Le Roi David, whose intended venue was the reopening of hia lhe&re duJoro.t in the Jenni£er Billups Brittany Kimboll Adam Stephenson SwiM Alps. Honegger WO$ chosen upon the reco.mmendo.tion 0£ conductor Ernest AJJ. ... Jeseco. BrCJM Brio.no. McE1£1sh Justin Wieet sennet and completed bis "SymphonicPs"1n" injuat two months. He uaed.Morax's nar­ Kaitlin DeSpo.1n Rachel Parlock Boaaes rative to link the musical sections £or soloisb, chorua, o.nd orchestra. lhe original scor­ Tenon David Hines ing heard in th.is pedormo.nce calls £or sixteen players, wed in a vo.rlety of combina­ Jessica Kline tions to htghl.ight individual instrumental timbres, while the chorua is used in unison IiollelJ Kurtz Edward Brown John Hurle11 and in counterpoint. Sections are lean, color£ul, o.nd alternatelg dramatic and 11:Jrico.l. Aurelia Word Michael Elmore David Po.trick Honegger later re-orchestrated the work for lo.rger£orces. Leeoh Weber John Golloway William Richards Altos Andrew Lowers ArnoldRispress Associated with that group of composers co.lled le.JS~ who induded his hiend Darius Staci Arthur Matthew Pritt Mo.tthewSporks Milhaud and Francia Poulenc, Honegger was particulo.rl1:J proli£ic during the 1:Jedl'S Rachel Bartram Michael Rose Fred Workman between World War I o.nd World W o.r II. His writing throughout his career Is cho.ro.c­ terized bg o. sure master of counterpoint, vigorous use of rhythm, o. keen ear for har... monic o.nd instrumental color, o.nd a high rego.rd£or the architectural o.specb of com­ position. Among his beat-known works are p.,ctfJc 2'.51(1923), a depiction of a steam locomotive, his d.ro.matic oratorio JtM1111e d:Arc 4u .hucher(1935), and A Clutatm"4 Wendell Dobbs, Collie Iiu££, £lutes Cwtd.14 (1953), hia last composiHon. JennlJ Morris,oboe/Enelishhom Ann Marie Bingkm, Robert Heo.th, do.rinets Da.vid Caatleberrg Ko.11 Lo.wron, kssoon Martin So.unders, Josh Richardson, trumpets Nick Amis, horn Micho.el Stroeher, trombone Mark Smith, Justin Wiget, pianos C11nthia.Puls, cello No.tho.no.el A1:Jlestoclc John Hu.bk.rd Po.trida Pierce Rebecco. lio.rrison, boss Joe Barnett Mind1:JKelle Prances Plemich Ben Miller, Steve Iioll, Levi Billiter, percussion April Be1111ett BurcuKorkmo.,: Beth&nld.11 Mo.n,i Beth Brown :Edwo.rdJeffet1:) Gr oho.Jn Rankin Melody Cook Bill Jennings JoeRub1.n Leslie Count! Bo.rkra Ladner Momoko Shiki Ruth Crowe Victoria Lamont Joseph Smith Ke1111y Duthie Chm.lie Lewis Lou Spears Amber Perguaon lv!argo.ret k:i.n Lewis Gertrude Spurlock S. A,hle1:J Go.llo.her Mu.Jorie McKee Adam Stephenson Marla ... Tulia Gomez Jo.ck Meador Swan To.ms Tessa Gore Muid Terese.Miller Carla &e Terry Melanie Gri££is Joan Molnar Caroline Thomas &rohHo.ll So.rah Nichols Joyce Wilcox This proaram is presented by the Colleae 0£ fine Arts through the JennUer Honaker SuePmlcer Jocel1:Jn Williams Gwenyth Hood Rachel Po.rloclc Paul Winters Department of Music, with the support of student activit'\} fu.nc:ls. For Jeanne Huhho,rd Jo.mesPa1:Jne He<ither Wood more in£orma.tion ahout this or other music events, please call (304) 696..-3117, or view our website at www.ma.rahall.edu/cola/ music. .
Load more

Recommended publications
  • Musical Hybridization and Political Contradiction: the Success of Arthur Honeggerâ•Žs Antigone in Vichy France
    Butler Journal of Undergraduate Research Volume 7 2021 Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France Emma K. Schubart University of North Carolina, Chapel Hill Follow this and additional works at: https://digitalcommons.butler.edu/bjur Recommended Citation Schubart, Emma K. (2021) "Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France," Butler Journal of Undergraduate Research: Vol. 7 , Article 4. Retrieved from: https://digitalcommons.butler.edu/bjur/vol7/iss1/4 This Article is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Butler Journal of Undergraduate Research by an authorized editor of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER JOURNAL OF UNDERGRADUATE RESEARCH, VOLUME 7 MUSICAL HYBRIDIZATION AND POLITICAL CONTRADICTION: THE SUCCESS OF ARTHUR HONEGGER’S ANTIGONE IN VICHY FRANCE EMMA K. SCHUBART, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL MENTOR: SHARON JAMES Abstract Arthur Honegger’s modernist opera Antigone appeared at the Paris Opéra in 1943, sixteen years after its unremarkable premiere in Brussels. The sudden Parisian success of the opera was extraordinary: the work was enthusiastically received by the French public, the Vichy collaborationist authorities, and the occupying Nazi officials. The improbable wartime triumph of Antigone can be explained by a unique confluence of compositional, political, and cultural realities. Honegger’s compositional hybridization of French and German musical traditions, as well as his opportunistic commercial motivations as a Swiss composer working in German-occupied France, certainly aided the success of the opera.
    [Show full text]
  • Reinhardt's Choice: Some Alternatives to Weill?
    DAVID DREW Reinhardt's Choice: Some Alternatives to Weill? The pretexts for the present paper are the author's essays >Der T#g der Ver­ heissung and the Prophecies of jeremiah<, Tempo, 206 (October 1998), 11- 20, and >Der T#g der Verheissung: Weill at the Crossroads<, 1impo, 208 (April 1999), 335-50. As suggested in the preface to the second essay, the paper is intended to function both as a free-standing entity and as an extended bridge between the last section of the earlier essay and the first section of its successor. According to Meyer Weisgal's detailed account of the origins of The Eter­ nal Road, Reinhardt had no inkling of his plans until their November 1933 meeting in Paris.1 Weisgal began by outlining the idea of a biblical drama that would for the first time evoke the Old Testan1ent in all its breadth rather than in isolated episodes. At the end of his account, according to Weisgal, Reinhardt sat motionless and in silence before saying »very sim­ ply<< »But who will be the author of this biblical play and who will write the mu­ sic?<< . »You are the master<< , I said, ••It is up to you to select them<<. Again there was a long uncomfortable pause and Reinhardt said that he would ask Franz Werfel and Kurt Weill to collaborate with him. With or without prior notice2, the problems inherent in Weisgal's com­ mission were so complex that Reinhardt would have had good reason for Meyer W. Weisgal, >Beginnings of The Eternal Road<, in: T"he Etemal Road (New York 1937 - programme-book for the production by MWW and Crosby Gaige at the Man­ hattan Opera House), pp.
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • Paris, 1918-45
    un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza­ tions.
    [Show full text]
  • Ian Davidson, Composer
    TEXAS STATE VITA I. Academic/Professional Background A. Name: Ian Bruce Davidson Title: Regents’ Professor B. Educational Background Degree Year University Major Thesis/Dissertation DMA 1997 University of Texas Music – Oboe “The Use of the Oboe and Oboe D’Amore at Austin Performance in selected works of J.S. Bach” MM 1983 University of Texas Music – Oboe Masters Oboe Performance Recital at Austin Performance BM 1980 DePauw University Music – Oboe Oboe Performance Senior Recital Performance C. University Experience Position University Dates Regents’ Professor Texas State University System Foundation 2014-Present University Distinguished Professor Texas State University – San Marcos 2014-Present Professor Texas State University – San Marcos 2008-2014 Associate Professor Texas State University – San Marcos 2003-2008 Assistant Professor Texas State University – San Marcos 1997-2003 Instructor Texas State University – San Marcos 1993-1997 Lecturer Texas State University – San Marcos 1991-1993 Visiting Lecturer University of Texas at Austin 1995-1996 Lecturer Southwestern University 1989-1992 D. Relevant Professional Experience Position Entity Dates English Horn and Associate Principal Oboe Austin Symphony Orchestra 1984-Present English Horn and Assistant Principal Oboe Austin Lyric Opera Orchestra 1988-Present Oboist and Founding Member Wild Basin Winds 1996-Present Assistant Principal and Utility Oboe Santa Fe Opera Orchestra 1996-1998 Principal Oboe Dallas Bach Orchestra 1988-1998 II. TEACHING A. Teaching Honors and Awards: 1) Presidential Awards 2004 – Departmental Nominee – Teaching 2003 – Departmental Nominee – Teaching 1999 – Departmental Nominee – Teaching 2) Alpha Chi Honor Society 2004 – Alpha Chi Honor Society – Favorite Professor 2002 – Alpha Chi Honor Society – Favorite Professor B. Courses Taught: 1) Oboe – All Levels 2) MU2313 – “Introduction to Fine Arts” 3) MU1312 – “Essential Musicianship” 4) MU1212 – “Theory II 5) MU2104 – “Writing About Music” 6) MU1000-MU4000 – “Departmental Convocation” C.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 129, 2009-2010
    — BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 129th Season, 2009-2010 €r*<& CHAMBER TEA I Friday, October 30, at 2:30 COMMUNITY CONCERT I Sunday, November 1, at 3, at First Church in Dedham This concert is supported by the Dedham Institution for Savings Foundation, in memory of R. Willis Leith, Jr. COMMUNITY CONCERT II Sunday, November 8, at 3, at Blessed Mother Teresa Parish, Dorchester These free concerts are made possible by a generous grant from The Lowell Institute. SHEILA FIEKOWSKY, violin (1st violin in Honegger) BO YOUP HWANG, violin (1st violin in Beethoven) RACHEL FAGERBURG, viola ALEXANDRE LECARME, cello HONEGGER Quartet No. 2 in D Allegro Adagio Allegro marcato BEETHOVEN String Quartet No. 10 in E-flat, Opus 74, Harp Poco adagio—Allegro Adagio ma non troppo Presto—Piu presto quasi andantino—Tempo I Allegretto con variazioni Week5 Arthur Honegger (1892-1955) Quartet No. 2 in D Arthur Honegger was born in Le Havre, France, to Swiss parents, and grew up there. In 1913 he moved with his family to Zurich, where he attended the Conservatory for two years before moving to Paris to study at the Conservatory there in a range of musical subjects, including violin. While there he got to know his fellow students Germaine Tailleferre, Georges Auric, and Darius Milhaud, all of whom would later be lumped together as "Les nouveaux jeunes" and later (along with Francis Poulenc and Louis Durey) "Les Six" in association with Satie and Cocteau, although the interests of the individual composers soon outstripped allegiance to the group.
    [Show full text]
  • Sophocles' Antigone Reworked in the Twentieth
    NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Pacific 231 (Symphonic Movement No
    Pacific 231 (Symphonic Movement No. 1) Arthur Honegger (1892–1955) Written: 1923 Movements: One Style: Contemporary Duration: Six minutes As a young man trying to figure his way in the world of music, Miklós Rózsa (a Hollywood film composer) asked the French composer Arthur Honegger “How are we composers expected to make a living?” “Film music,” he said. “What?” I asked incredulously. I was unable to believe that Arthur Honegger, the composer of King David, Judith and other great symphonic frescos, of symphonic poems and chamber music, could write music for films. I was thinking of the musicals I had seen in Germany and of films like The Blue Angel, so I asked him if he meant foxtrots and popular songs. He laughed again. “Nothing like that,” he said, ‘I write serious music.’ As a young man, Honegger was part of a group of renegade composers in Paris grouped around the avant-garde poet Jean Cocteau called “Les Six.” Unlike, the other composers in “Les Six,” Honegger’s music is weightier and less flippant. In the 1920s, Honegger worked on three short orchestral pieces that he called Mouvements symphonique. In his autobiography, I am a Composer, he recounts his intent with the first: To tell the truth, In Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed. It was only after he wrote the work that he gave it the title. “A rather romantic idea crossed my mind, and when the work was finished, I wrote the title, Pacific 231, which indicates a locomotive for heavy loads and high speed.” Given a title, people heard things that weren’t there.
    [Show full text]
  • Dissertation Body
    Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America.
    [Show full text]
  • Jacques Ibert Represents the Quintessence
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Trois pièces brèves (Three Short Pieces), for Woodwind Quintet Jaques Ibert acques Ibert represents the quintessence awarded the prestigious Prix de Rome on his Jof the Parisian composer in the early- to first try, in 1919. Ibert never departed much mid-20th century: cultivated but not pomp- from an essentially traditional musical lan- ous, technically adept but self-effacing, blend- guage that used explicitly modern harmonies ing the “serious” with the “popular,” typically only as surface details. Apart from the Trois good-spirited and often witty. He was born in pièces brèves, his most frequently visited piec- Paris during the Belle Époque and died in the es today are his orchestral work Escales, his same city 72 years later, having weathered two Flute Concerto, and a neo-Renaissance ballet world wars. His mother, who was distantly re- score, Diane de Poitiers. lated to the Spanish composer Manuel de Falla, From 1924 on he also composed a good deal had studied piano at the Paris Conservatoire and of incidental music for dramatic productions, encouraged his musical education as a child. a natural intersection of his double-threat He was drawn to both music and the theater, background in music and theater, and it was but his first professional steps after high school one such project that gave rise to Trois pièces were hardly distinguished: he started working as brèves. The play was the five-act comedy The a movie-hall pianist and writing popular songs Beaux’s Stratagem, by Irish author George under the pseudonym William Berty.
    [Show full text]