DOCSLIB.ORG

Audio Playlist Scroll to See Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audio Playlist Scroll to See Program Guest Artist Recital: 2006-10-29 -- Deanna Swoboda, tuba and Marcelina Turcanu, piano Audio Playlist Access to audio and video playlists restricted to current faculty, staff, and students. If you have questions, please contact the Rita Benton Music Library at [email protected]. Scroll to see Program PDF \ - f SCHOOL!1fMUSlC ' 1906-2006 g uesJREC)llAL \, SUNDAY, OCTOBER 29, 2006, 2:00 p.m. HARPER HALL Deanna Swoboda, tuba Marcelina Turcanu, piano L. uJ~! DIVISION OF PERFORMING ARTS oF lowA COLLEGE OF LIBERAL ARTS & SCIENCES guestRECITAL Deanna Swoboda, tuba OCTOBER 29, 2006, 2 p.m. HARPER HALL Marcelina Turcanu, piano PROGRAM Sonata No. 2 in E-flat Johann Sebastian BACH Allegro Moderato (1685-1750) Siciliano transcribed and edited by Floyd Cooley Allegro Estrellita ("My Little Star") Manuel PONCE (1882- 1948) arr. Rich Ridenour and Patrick Sheridan Concerto for Bass Tuba Ralph Vaughan WILLIAMS Allegro moderato (1872- 1958) Romanza · Rondo Alla Tadesca Relentless Grooves: Cuba Sam PILAFIAN Bolero (b. 1949) Mambo Fnugg Oystein BAADSVIK (b. 1966) Csardas Vittorio MONTI (1868- 1922) BIOGRAPHY DEANNA SWOBODA teaches tuba and euphonium at Western Michigan University and performs with the Western Brass Quintet. She previously taught at the University of Nevada Las Vegas and Las Vegas Arts Academy as well as at the University of Northern Iowa, University of Denver, University of Idaho, National Conservatory of Madrid (Spain), and Deutschen Tubaforum-Hammelberg (Germany). In 2000, she joined the Dallas Brass, a six-piece ensemble that travels the United States and Europe presenting approximately 100 concerts per year working extensively in the public schools and at colleges and universities. She has also performed with the Denver Brass, Cedar Rapids (Iowa) Symphony, Symphony of the West Valley (Arizona), and Washington/Idaho Symphony. She is creator and performer of a motivational recruiting presentation and music workshop called "Brass Rap!" and founder of the University of Oklahoma's International Tuba/Euphonium Summer Workshop, which has been held annually since 1998. As a clinician, she has appeared at the national and northwest regional MENC conventions, Midwest Band and Orchestra Clinic, International Women's Brass Conference, International Tuba-Euphonium Regional Conference, and for state music educator associations in Illinois, Maine, New Jersey, Texas, and Utah. She has also made appearances on the CBS Early Morning Show - with the Dallas Brass - and National Public Radio, and was featured in the May 2004 isi;ue of The Instrumentalist magazine and the October 2000 issue of School Band and Orchestra magazine. She wrote, produced, organized, and performed on the educational resource DVD "Band Blast Off!" She has appeared on CD recordings with the Dallas Brass, Salt River Brass Band, and Belle Aire Brass. Her solo CD, "Deanna's Wonderland," was released on Summit Records in 1999. Professor Swoboda is the featured guest artist of The University of Iowa Octubafest 2006. This program is supported in part by The Elizabeth M. Stanley Performance Fund. UPCOMING E:VENTS FACULTY RECITAL .............................................. Sunday, Oct. 29, 3 p.m., Clapp Recital Hall Ksenia Nosikova,piano MASTERCLASS ................................................................ Tuesday, Oct. 31, 7 p.m., Harper Hall Gilbert Kalish * MUSICIANS FROM MARLBORO ....... Wednesday, Nov. 1, 7:30 p.m., Clapp Recital Hall GUEST RECITAL. ................................... Thursday, Nov. 2, 8 p.m., Trinity Episcopal Church Loretta O'Sullivan, Baroque cello FACULTY RECITAL ................................................. Friday, Nov. 3, 8 p.m., Clapp Recital Hall Kenneth Tse, saxophone,· Kazuo MLrakami, piano IOWA PERCUSSION ............................................... Sunday, Nov. 5, 3 p.m., Clapp Recital Hall * BAND EXTRAVAGANZA ........................................... Tuesday, Nov. 7, 7:30 p.m., Hancher UI Symphony Band, Myron Welch, conductor Johnson County Landmark, John Ra.pson, director Jazz Repertory Ensemble, Brent Sandy, director Hawkeye Marching Band, Kevin Kastens, director FACULTY RECITAL. ............................................. Tuesday, Nov. 8, 8 p.m., Clapp Recital Hall Zoran Jokovcic, violin,· Maia Quartet . * BAND EXTRAVAGANZA ...................................... Wednesday, Nov. 8, 7:30 p.m., Hancher UI Symphony Band, Myron Welch, conductor Johnson County Landmark, John Rapson, director Jazz Repertory Ensemble, Brent Sandy, director Hawkeye Marching Band, Kevin Kastens, director * ticketed event THE UNIVER511Y OFlOWA For the latest calendar updates visit our online calendar at: www.uiowa.edu/artsiowa. .
Load more

Recommended publications
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • MN Sinfonia Music in the Schools, 2021-2022 Folk Tunes
    MN Sinfonia Music in the Schools, 2021-2022 1 Folk Tunes - Music from Around the World Dear Teachers: Following is the curriculum guide for Folk Tunes - Music from Around the World, the Sinfonia Music in the Schools’ program for 2021-2022. This curriculum focuses on “people’s music” – common and popular songs and melodies that have been used for hundreds of years by composers in symphonies, chamber music, concertos, and yes, in popular music to be sure! Music is not created in a vacuum, and certainly can and should be seen in the social contexts of when it was written. Normally, our Music in the Schools has academic focuses, and is structured using state academic standards with related activities. Unfortunately, we could not find state standards for elementary school grade levels for (international) social studies, so instead we focused on the standards and related activities for music. Lesson plans are included for music by Mozart, Mahler, Tchaikovsky and Ponce. As you teach the curriculum, please relate it to your other subjects - especially to historical and geographic contexts. Because of the disruptions caused by the coronavirus, this curriculum is being designed both for online and classroom instruction. Unfortunately, we do not know when the Sinfonia will be able to visit the schools and play live performances as we typically do. Therefore, this guide contains many video links, which may in part substitute for the Sinfonia’s normal live in-school performances. Remember that one of the pre-requisites for participating in MIS is for students to hear classical music daily in the classrooms.
    [Show full text]
  • Pablo Garibay Program
    Pablo Garibay in Concert November 9, 2019 Dos Temas Populares Cubanos Leo Brouwer Canción de Cuna (b. 1939) Ojos Brujos The Last Coffee Together Simone Iannarelli (b. 1970) Sonata III Manuel M. Ponce Allegro Moderato (1882-1948) Chanson Allegro non Troppo Intermission Dos Cadencias Eduardo Angulo (b. 1954) Sonata para Guitarra Antonio José Allegro Moderato (1902-1936) Minuetto Pavana Triste Final Program Notes Leo Brouwer: Dos Temas Populares Cubanos Cuban composer and guitarist Leo Brouwer (born 1939) cannot be overstated in his importance not only to guitar composition but across the board in regards to the modernist style. Growing up on an island, Brouwer threw himself into score study, isolating styles and synthesizing them into his own voice, while incorporating Cuban musical devices (most notably evocative dance-like rhythms). The first piece, Canción de Cuna, is a lullaby which invites the listener into a peaceful dream state. Opening with muted strings before a wistful melody emerges, Brouwer creatively engages the audience with washes of harmonies. Occasionally one is caught by striking dissonances, but this Song of the Cradle ends similarly to its beginning, with the return of pizzicato before closing. The second work, Ojos Brujos (which translates to Enchanting Eyes), illustrates more of the characteristic rhythmic interplay and rich harmonic language of Brouwer. One of the most enchanting features of this work is its phrasing, which pulls the audience along powerfully through a variety of cadences. Simone Iannarelli: The Last Coffee Together Composing for the guitar is a notoriously difficult undertaking, to the point that most guitar works which come to prominence are written by guitarists who have an intimate knowledge of the intricacies of the instrument.
    [Show full text]
  • With Elbio Barilari Broadcast Schedule — Spring 2017
    FIESTA! with Elbio Barilari Broadcast Schedule — Spring 2017 PROGRAM #: FST 17-01 RELEASE: April 2, 2017 Spanish Music and Visual Arts Spanish composers seem to have a strong predilection for the visual arts. One would say this is not surprising in a country that gave us Diego Velázquez, Goya and Picasso among many other first rate artists. Enrique Granados composed his monumental “Goyescas” (after Francisco Goya) in 1911, as a piano suite and in 1915 used its movements as the skeleton for his opera of the same title. In this program we present a selection of the original piano suite recorded by Cuban pianist Jorge Luis Prats. Goya also receives a tribute from Cuban born Spanish composer Eduardo Morales-Caso. The title of the piece, “Volavérunt”, refers to a 1799 painting by Goya from the series “Los Caprichos.” The meaning of the word is unknown and it was also the focus of an award-winning novel by the Uruguayan writer Antonio Larreta. Catalonian composer Xavier Montsalvatge pays tribute, an ironic tribute it may be said, to Salvador Dalí. His “Folia daliniana” alludes at the same time to the ancient tradition of the 16th century tradition of the “folias” and to the flashy surrealist painter of the famous moustache. Finally, three more Catalonians, Joan Saura, Nuno Rebello and Xavier Maristany, provide a miniature based on the contemporary graphics of the cartoons. This piece is part of a series of improvisations they did during the 1990s. Enrique Granados: Suite from Goyescas- Los requiebros, Coloquio la reja, Quejas o La maja y el ruisenor, El pelele (Jorge Luis Prats, piano) Decca 478 2732 Eduardo Morales-Caso: Volavérunt (Duo Sonidos) Verso VRS 2109 Xavier Montsalvatge: Folia daliniana (Perspectives Ensemble; Sato Moughalian, flute; Angel Gil-Ordoñez, conductor) Naxos 8.573101 Joan Saura/Nuno Rebello/ Xavier Maristany: Cartoons (Joan Saura, Nuno Rebello, Xavier Maristany: guitars, samplers, toys) NCM9 PROGRAM #: FST 17-02 RELEASE: April 9, 2017 Easter 2017 Latin America has developed its own and strong Easter musical traditions.
    [Show full text]
  • Abrazando LATIN EMBRACE Rosa Antonelli, Piano
    Abrazando LATIN EMBRACE Rosa Antonelli, piano WORKS BY Astor Piazzolla Heitor Villa-Lobos Luis Gianneo Isaac Albéniz Ernesto Lecuona Manuel Ponce Alberto Williams WWW.ALBANYRECORDS.COM TROY1571 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Abrazando TROY1571 Astor Piazzolla LATIN EMBRACE 6 La Misma Pena [2:59] Abrazando 7 Llanto negro—Milonga Candombe* [2:14] LATIN EMBRACE Isaac Albéniz (1860-1909) 8 Champagne Waltz in E-flat Major, B.24 [7:33] Rosa Antonelli, piano Manuel Ponce (1882-1948) 9 Intermezzo [3:08] [ ] 10 Romanza de amor 3:57 piano Astor Piazzolla 11 Nunca, nunca te olvidé* [3:21] [ ] 12 Libertango 4:02 Rosa Antonelli, Astor Piazzolla (1921-1992) Alberto Williams (1862-1952) [ ] [ ] 1 Invierno Porteño 4:13 13 Reverie, Op. 6* 4:05 Rosa Antonelli, 2 Verano Porteño [5:54] Luis Gianneo (1897-1968) Heitor Villa-Lobos (1887-1959) Tres Danzas Argentinas 3 Prelúdio No. 1 from Bachianas Brasileiras No. 4 [6:13] 14 Gato [1:43] piano 15 Tango [3:25] Ernesto Lecuona (1895-1963) 16 Chacarera [2:02] [ ] 4 Bell-flower 1:43 5 Vals maravilloso from Valses Fantasticos No. 6 [3:00] Total Time = 59:41 *world premiere recording WWW.ALBANYRECORDS.COM TROY1571 ALBANY RECORDS U.S. LATIN EMBRACE 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 TROY1571 ALBANY RECORDS U.K.
    [Show full text]
  • Manuel Ponce and the Suite in a Minor: Its Historical Significance and an Examination of Existing Editions Kevin R
    The Florida State University DigiNole Commons Electronic Theses, Treatises and Dissertations The Graduate School 12-13-2005 Manuel Ponce and the Suite in A minor: Its Historical Significance and an Examination of Existing Editions Kevin R. Manderville Florida State University Recommended Citation Manderville, Kevin R., "Manuel Ponce and the Suite in A minor: Its Historical Significance and an Examination of Existing Editions" (2005). Electronic Theses, Treatises and Dissertations. Paper 2756. http://diginole.lib.fsu.edu/etd/2756 This Treatise - Open Access is brought to you for free and open access by the The Graduate School at DigiNole Commons. It has been accepted for inclusion in Electronic Theses, Treatises and Dissertations by an authorized administrator of DigiNole Commons. For more information, please contact [email protected]. THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MANUEL PONCE AND THE SUITE IN A MINOR: ITS HISTORICAL SIGNIFICANCE AND AN EXAMINATION OF EXISTING EDITIONS By KEVIN MANDERVILLE 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, 2006 The members of the committee approve the treatise of Kevin Manderville defended on December 13, 2005 Charles E. Brewer Professor Directing Treatise James Mathes Outside Committee Member Bruce Holzman Committee Member Mary Brigid Roman Committee Member The Office of Graduate Studies has verified and approved the above named committee members ii ACKNOWLEDGEMENTS I would like to thank my doctoral committee for their support throughout the past few years: Professor Bruce Holzman, Dr. Charles Brewer, Dr. James Mathes, and Professor Mary Brigid Roman.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
    UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.
    [Show full text]
  • Presidents of Latin American States Since 1900
    Presidents of Latin American States since 1900 ARGENTINA IX9X-1904 Gen Julio Argentino Roca Elite co-option (PN) IlJ04-06 Manuel A. Quintana (PN) do. IlJ06-1O Jose Figueroa Alcorta (PN) Vice-President 1910-14 Roque Saenz Pena (PN) Elite co-option 1914--16 Victorino de la Plaza (PN) Vice-President 1916-22 Hipolito Yrigoyen (UCR) Election 1922-28 Marcelo Torcuato de Alv~ar Radical co-option: election (UCR) 1928--30 Hipolito Yrigoyen (UCR) Election 1930-32 Jose Felix Uriburu Military coup 1932-38 Agustin P. Justo (Can) Elite co-option 1938-40 Roberto M. Ortiz (Con) Elite co-option 1940-43 Ramon F. Castillo (Con) Vice-President: acting 1940- 42; then succeeded on resignation of President lune5-71943 Gen. Arturo P. Rawson Military coup 1943-44 Gen. Pedro P. Ramirez Military co-option 1944-46 Gen. Edelmiro J. Farrell Military co-option 1946-55 Col. Juan D. Peron Election 1955 Gen. Eduardo Lonardi Military coup 1955-58 Gen. Pedro Eugenio Military co-option Aramburu 1958--62 Arturo Frondizi (UCR-I) Election 1962--63 Jose Marfa Guido Military coup: President of Senate 1963--66 Dr Arturo IIIia (UCRP) Election 1966-70 Gen. Juan Carlos Onganfa Military coup June 8--14 1970 Adm. Pedro Gnavi Military coup 1970--71 Brig-Gen. Roberto M. Military co-option Levingston Mar22-241971 Junta Military co-option 1971-73 Gen. Alejandro Lanusse Military co-option 1973 Hector Campora (PJ) Election 1973-74 Lt-Gen. Juan D. Peron (PJ) Peronist co-option and election 1974--76 Marfa Estela (Isabel) Martinez Vice-President; death of de Peron (PJ) President Mar24--291976 Junta Military coup 1976-81 Gen.
    [Show full text]
  • Investigation of the Use of the Fandango in Ponce's
    INVESTIGATION OF THE USE OF THE FANDANGO IN PONCE’S GUITAR WORKS Adil Koray BARUT1 Lilian Maria TONELLA TÜZÜN2 1Anadolu University, State Conservatory, Music Department, akbarut(at)anadolu.edu.tr ORCID: 0000-0003-4363-839X 2Anadolu University, State Conservatory, Music Department, lmtuzun(at)anadolu.edu.tr ORCID: 0000-0001-8443-6511 Barut Adil Koray, Tonella Tüzün Lilian Maria. “Investigation of The Use of The Fandango in Ponce’s Guitar Works”. ulakbilge, 34 (2019 March): s. 225- 237. doi: 10.7816/ulakbilge-07-34-02 Abstract Fandango is an ancient form of dance originating in the region of Andalusia, southern Spain, whose rhythmic structure inspired several composers of different periods and nationalities through the history of music. This study brings to light fandango rhythmic structures applied in selected works, using literary research and data collection techniques. After the literary research, the study limited to investigate the rhythmic structures of fandango used by the Mexican composer Manuel Ponce (1882-1948) in the following works for guitar: Prelude A minor, Theme Varie et Finale, Variations sur “Folia de Espana” et fugue, Prelude E Major, Vespertina, Variations on a Theme of Cabezón and Concerto del Sur for guitar and orchestra. It was noted that the works mentioned were written after the meeting with Spanish classical guitarist Andrés Segovia (1893-1987) whose artistic influence was fundamental for the use of this famous popular dance by the composer. It is concluded that Ponce did not conceive the fandango as a dance, unlike the other composers; he developed a gestural technique of the rhythmic element of the fandango in singular works, thus enriching the classical guitar repertoire.
    [Show full text]
  • The Transcriber's
    The Transcriber’s Art - #47 Manuel Ponce, Malgré tout By Richard Yates MEXICO CITY – A routine trip has ended in disaster for a local resident, Jesús Contreras. Although full details of the incident are not available at this time, the injuries suffered by Señor Contreras were so severe as to require the amputation of his right arm. The full depth of this tragedy could be grasped only when it was discovered that Senor Contreras is a successful sculptor. Despite everything this implied for his career, Contreras continued to sculpt and soon produced a statue that can be seen today in the Museo Nacional de Arte which he titled Malgré tout or, “despite everything.” Although many of his previous works were cast in bronze (after having been molded in clay), Malgré tout is a life-sized figure carved in marble. Meanwhile … Manuel Ponce, while perhaps best-known for his guitar compositions, was also a highly accomplished pianist. Indeed, his compositions for piano outnumber those for guitar, and he also wrote songs, orchestral works and arrangements of folk songs. Although he studied in Bologna, Berlin and Paris, Ponce’s affinity for the folk idioms of his native country were a foundation of his musical imagination. Heitor Villa-Lobos, wrote: “I remember that I asked him at that time if the composers of his country were as yet taking an interest in native music, as I had been doing since 1912, and he answered that he himself had been working in that direction. It gave me great joy to learn that in that distant part of my continent there was another artist who was arming himself with the resources of the folklore of his people in the struggle for the future musical independence of his country.” One of Ponce’s earliest published compositions—the first version appeared when he was eighteen years old—borrows the title from Contreras’ sculpture and is dedicated: A la memoria del malogrado escultor Jesús Contreras [“To the memory of the ill-fated sculptor Jesús Contreras”].
    [Show full text]
  • Mark Maxwell, Director
    Sunday, June 3, 2018 • 2:00 P.M. GUITAR ENSEMBLE Mark Maxwell, director DePaul Concert Hall 800 West Belden Avenue • Chicago Sunday, June 3, 2018 • 2:00 P.M. DePaul Concert Hall GUITAR ENSEMBLE DePaul University Guitar Ensemble and Students from the Studio of Mark Maxwell PROGRAM Girolamo Frescobaldi (1583-1643); arr for three guitars by Bruno Henze Five Dances (arr. 1967) Balletto in F# minor Passacaglia in F# minor Corrente in F#minor Corrente in A minor Corrente in G minor Amon Sahelijo Bridget Steibris Mark Maxwell Frank Martin (1890-1874) Quatre Piéces Bréves (1933) Prélude Air Plainte Comme une Gigue Cameren DeCaluwe Manuel Maria Ponce (1882-1948) Sonata III (1927) Canción Allegro non troppo Benjamin Sullivan INTERMISSION GUITAR ENSEMBLE • JUNE 3, 2018 PROGRAM Manuel Maria Ponce Sonatina Meridional (1939) Copla Fiesta (Allegretto) Amon Sahelijo Mario Castelnuovo-Tedesco (1895-1968) Prelude and Fugue in E Major No. 4 from the Well-Tempered Guitars (1962) Cameren DeCaluwe Benjamin Sullivan Manuel de Falla (1876-1946) Danse Espagnole No. 1 from “La Vida Breve” (1913 Premiere); Arrangment by combining those of Fritz Kreisler (1926) and Emilio Pujol (1957) Diana Ortiz, violin Benjamin Sullivan, guitar Leo Brouwer (b. 1939) Toccata (for guitar ensemble, 1994) Patrick Roux (b. 1962) Tango Contretemps Go (1993-94) III – L’Épisode des Lamentations IV – Le Tango des Réconciliations Cameren DeCaluwe Benjamin Sullivan Amon Sahelijo Bridget Steibris Mark Maxwell GUITAR ENSEMBLE • JUNE 3, 2018 PERSONNEL DEPAUL UNIVERSITY GUITAR ENSEMBLE Mark Maxwell, director Diana Ortiz, violin* Cameren DeCaluwe Amon Sahelijo Bridget Steibris Benjamin Sullivan *GUEST GUITAR ENSEMBLE • JUNE 3, 2018 PROGRAM NOTES Girolamo Frescobaldi (1583-1643) Five Dances (1967) Duration: 6 minutes Girolamo Frescobaldi was one of the most important keyboard composers of the first half of the 17th century.
    [Show full text]
  • MANUEL MARÍA PONCE, FATHER of MEXICAN MUSIC by José Miramontes Zapata and Rodolfo Ritter Arenas
    MANUEL MARÍA PONCE, FATHER OF MEXICAN MUSIC by José Miramontes Zapata and Rodolfo Ritter Arenas Manuel María Ponce1 developed an extraordinary array of talents, fourishing as composer, pianist, conductor, lecturer, researcher, teacher, writer and founder of diverse institutions and publications. Ponce is the most performed Mexican composer worldwide, particularly because of his music for guitar, and yet the bulk of his output – and thus his true standing as a composer – is generally unknown. His works were performed by some of the major musicians of the twentieth century, among them Ernest Ansermet, Enrico Caruso, Pau Casals, Gaspar Cassadó, Giuseppe Di Stefano, Jascha Heifetz, Erich Kleiber, Ruggiero Ricci, Andrés Segovia, Leopold Stokowski, Henryk Szeryng and John Williams. Ponce also enjoyed the friendship of many of the important cultural fgures of the day – not only those involved in music, but also other leading personalities in the arts: Claudio Arrau, Marco Enrico Bossi, Julián Carrillo, Alejo Carpentier, Alejandro García Caturla, Carlos Chávez, Paul Dukas, Manuel de Falla, Edwin Fischer, Julian Krein, Nikolai Medtner, Arthur Rubinstein, György Sándor, Lyubomir Pipkov, Marc Pincherle, Silvestre Revueltas, Joaquín Rodrigo, Albert Roussel, Florent Schmitt, Edgard Varèse, José Vasconcelos, Heitor Villa-Lobos and countless others. Te current association of Ponce with the guitar has resulted in an underestimation of the scope of his legacy, in both its quality and its sheer size. Te complete œuvre of the man known as the ‘father of Mexican musical nationalism’ covers almost every genre of classical music – solo piano, guitar, chamber music, vocal, incidental, concertante and orchestral scores – and the most recent, and most complete, catalogue of his output2 lists some 500 works.
    [Show full text]