DOCSLIB.ORG

Wind Symphony

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wind Symphony Illinois State University ISU ReD: Research and eData School of Music Programs Music Spring 4-28-2018 Wind Symphony Anthony C. Marinello, III Conductor Illinois State University Marykatheryne E. Kuhne Conductor Illinois State University Mark Babbitt Trombone Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Marinello, III, Anthony C. Conductor; Kuhne, Marykatheryne E. Conductor; and Babbitt, Mark Trombone, "Wind Symphony" (2018). School of Music Programs. 3718. https://ir.library.illinoisstate.edu/somp/3718 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University Illinois State University College ofFine Arts College of Fine Arts Jenn M. Miller, Denn, College of Fine Arts Laurie Thompson-Merriman, Associate Denn of Creative Scholarship and PL·mning School of Music Janet Tulley, Assist'lnt Denn of Academic Programs and Student Affairs Steve Parsons, Director, School of l\fosic Janet Wilson, Director, School of Theatre and Dance Michael Wille, Director, School of An Aaron Paolucci, Program Director, Ans Technology Nick Benson, Center for Performing Ans Manager • • Illinois State University School ofMusic A. Oforiwaa Aduonum, Ethnom111irology Marie Labonville, AI111irology Allison Alcorn, M11,irology Katherine J. Lewis, Viola Dcbrn Austin, Voia Roy D. Magnuson, Thmy and Con,po1ition Mark Babbitt, Trombone Anthony Marinello, DimlorofBa11d, Emily Bcinborn, M11,it: Therapy Thomas Marko, Dimtorof]a!:JcSl11diu Glenn Block, Orrlmtro and Cond11cting Rose :t.farshack, M111it B111inm and Ar/1 Technology Shela Bondurnnt Kochler, M11,it: Ed11calion Joseph Matson, M111frology Karyl K. Carlson, Dim/or ofChoral Activitiu Polly Middleton, Aul. Dimtor of Band,/ Dimtor ofDRM.M Renee Chernick, Gro11p Piano Paul Nolen, Saxophon, David Collier, Pemmion and Auodat, Dirrctor L~urcn Palmer, Admini1trativ, Clerk Andrea Crimmins, M11,it: Therapy Stephen B. Parsons, Dirrclor Peggy Dehnvcn, O.flia Srpporl Sp,r:iali11 Adriana Ransom, C,llo/ String Project/ CTA Anne Dcrvin, C/arin,t and Gm,rol Ed11cation Kim Risinger, Fl111, Wind Sympliony Ginn Dew, lvlll1k Edu,alion AdtiJor Cindy Ropp, M,uic Th,rapy Judith Dicker, Oho, Andy Rummc~ E11phoni11m/ T11ba Michael Dicker, BaJJOon Tim Schachtschncider, Facilitiu Manag,r • Anthony C. Marinello, III, condttctor Geoffrey Duce, Piano Carl Schimmel, Theory and Compo1ition Marykatheryne E. Kuhne, gmst co11d11ctor Ellen Elrick, M111it: Education Daniel Peter Schuetz, Voia Tom Faux, Ethnomu1irology Lydia Sheehan, Band1 Admini1tra/ii,, Clerk Mark Babbitt, trombone Angelo Favis, G11itar and Grad11at, Coordi11alor Anne Shelley, Mi/per I.Jbrarian • Tnn Frcdstrom, Cborol M111ic Ed11<r1tion Debrn Smith, M111ic Ed11<r1tion Sarnh Gentry, Violin Matthew Smith, Ar/1 Technology Amy Gilreath, Trump,t David Snyder, M111Zi: Ed11calion Dennis Gotkowski, Voic, Ben Stiers, Ptrt111Jion/ A11/. Dirrdor ofAthletic Band, David Gresham, Clarintl Tuyen Tonnu, Piano Mnrk Grizzard, Theory and Choral M111ic Rick Valentin, Art1 Technology Christine Hansen, Ltad Academk Ad,iJor Justin Vickers, Voia Kevin Hart, ]az.z. Piano and Th,ory Michelle Vought, Voic, Phillip Hash, M11Jic Ed11cation Roger Znre, Thtory and Compo1ilion Manha Horst, Theory and Con,po,ition Mona Hubbard, O.flicr Manag,r Band Grt1d11a1, T,aching A11iila11t1: Lauren Hunt, Hom Jordan Harvey, MaryKate Kuhne, Sean Breast.Joyce John Michael Koch, Vocal Art, Coordinator Choi, Adriana Sosa, Zachary Taylor, and William Kochler, String BaJJ and M111ic Ed11cation Clinton Linkmeycr 0azz) Center for the Performing Ans April 28, 2018 Saturday Evening 8:00 p.m. This is the one hundred and eighty-second program of the 2017-2018 season. Program Notes Program Thank you for joining us for today's performance of the Illinois State University \Y/ind Symphony. \Y/e Please silence all electronic devices for the duration of the concert. Thank you. hope that you will enjoy our concert, and that you might consider joining us again for future rformances here at the ISU School of :tvlusic. Please visit www.bands.illinoisstate.edu for more In This Broad Earth (2015) Steven BryaA ormation. Thank you for your support! (born 197'!' • Marykatheryne E. Kuhne, conduclor Steven Bryant's music is chiseled in its structure and intent, fusing lyricism, drama, technology, and humor into lean, skillfully-crafted works that enthrall listeners and performers alike. His seminal work Ecstatic \Vaters, for \vind ensemble and electronics, has become one of the most performed works of Concerto for Trombone (2016) Steven Bryant its kind in the world, receiving over 250 performances in its first five seasons. Recently, the orchestral version was premiered by the Minnesota Orchestra to unanimous, rapturous acclaim. The son of a I. professional trumpeter and music educator, he strongly values music education, and his creative II. output includes a number of works for young and developing musicians. ill. Mark Babbitt, trombone John Corigliano states Bryant's "compositional virtuosity is evident in every bar" of his 34' Concerto for \Y/ind Ensemble. Bryant's first orchestral work, Loose Id for Orchestra, hailed by composer Samuel Adler as "orchestrated like a virtuoso," was premiered by The Juilliard Symphony and is featured on a CD release by the Bowling Green Philharmonia on Albany Records. "Akhemy i11 Si/mt ~ Intermission ~ Spacd', a large-scale work commissioned by James DePreist and The Juilliard School, was premiered by the Juilliard Orchestra in !\fay 2006. The Chicago Symphony Orchestra's MusicNO\Y/ series featured his brass quintet, Loose Id, conducted by Cliff Colnot, on its 2012-13 concert series. Endowed Scholarship Presentation Notable recent and upcoming projects include a Concerto for Alto Saxophone for Joseph Lulloff and the Michigan State University \Y/ind Symphony (winner of the 2014 American Bandmasters Sousa Ostwald Award), and a Concerto for Trombone for Joseph Alessi and the Dallas Wind Symphony, Ecstatic Waters (2008) Steven Brya. emiered in February 2016. Other commissions have come from the Gaudete Brass Quintet I. Ceremony of Innocence hicago), cellist Caroline Stinson (Lark Quartet), pianist Pamela Mia Paul, the Amherst Saxophone uartet (funded by the American Composers Jerome Composers Commissioning Program), the II. Augurs University of Texas -Austin \Y/ind Ensemble, the U.S. Air Force Band ofJ\,lid-America, the Japanese ill. The Generous Wrath of Simple Men Wind Ensemble Conductors Conference, and the Calgary Stampede Band, as well as many others. IV. The Loving Machinery ofJu stice V. Spiritus Mundi Steven studied composition \vitl1 John Corigliano at The Juilliard School, Cindy McTee at the University of North Texas, and Francis McBeth at Ouachita University, trained for one summer in the mid-1980s as a break-dancer, was the 1987 radio-controlled car racing Arkansas state champion, and has a Bacon Number of 1. He resides in Durham, NC with his wife, conductor Verena l\l6senbichler-Bryant From the composer: COI\IE, said the Muse, Sing me a song no poet yet has chanted, Sing me the Universal. In this broad Earth of ours, Amid the measureless grossness and the slag, Enclosed and safe within its central heart, Nestles the seed Perfection . from Walt Whitman's "Song of the Universal" from uaves of Grass • • In This Broad Earth is a short fanfare written for and dedicated to Kevin Sedatole and the J\,lichigan State University Wind Symphony. Inspired by beauty I \vitnessed when hiking in tl1e Austrian Alps witl1 my \vife, Verena, tl1e music celebrates the eartl1, our only home (for now). The fanfare embodies the numerous threads that have connected my life with simplicity evolves into a full-throated brashness bordering on dangerous l'vlichigan State University over the past decade. V crcna was one of Dr. arrogance and naivete, though it retreats from the brink and ends by returning to the opening innocence. Scdatole's first conducting students at MSU, which coincided with the beginning of our relationship. I spent n great deal of time at Verena's apartment in Spartan In Movement II, "Augurs," the unsustainable nature of the previous Ceremony Village where I wrote the opening section of my Concerto for Wind Ensemble becomes apparent, as the relentless tonic of B-flat in the crystal water glasses on a makeshift desk (a card table given to her by Director of Bands Emeritus slowly diffuses into a microtonal cluster, aided and abetted by tl1e trumpets. John \Vhitwell). Over the years since, the MSU bands have performed a many Chorale-like fragments appear, foretelling the wrathful self-righteousness of of my works, always at the very highest level, and though I was never a student Movement III. The movement grows inexorably, spiraling ,vider and wider until there, I have great affection and loyalty to this extraordinary school on the the center cannot hold, erupting with supreme force into "The Generous \Vratl1 • • of Simple Men." banks of the Red Cedar. Movement III is deceptive, musically contradicting what one might expect of its Note: In This Broad Earth intentionally shares musical material with my title. While it erupts at the outset ,vith overwhelming wrath, it quickly collapses Concerto for Trombone, which I was writing simultaneously, coincidentally for into a relentless rhytl1rn of simmering 16'h notes. Lyric lines and pyramids unfold Dr. Scdatole's conducting teacher and close friend, Jerry Junkin. around tl1is, interrupted briefly by tl1e forceful anger of a chorale, almost as if trying to drown out and deny anything but its own existence. J\ moment of The composer includes the following note for his Concerto for Trombone: delicate lucidity arrives amidst this back-and-forth struggle, but the chorale ultimately dominates, subsuming everything, spiraling out of control, and The first inkling of an idea to write a concerto for Joe Alessi came when we exploding. shared a program at the University of lvliami in November, 2011.
Load more

Recommended publications
  • Concert Band Symphonic Band Percussion Ensemble
    School of Music PRESENTS THE Percussion Ensemble Chris Moore, conductor Concert Band Dr. Brandon Houghtalen, conductor AND Symphonic Band Benjamin J. Diden, conductor February 20, 2014 7:30pm Ferst Center for the Arts www.music.gatech.edu PROGRAM Percussion Ensemble Crown of Thorns........................................................................................David Maslanka Concert Band Second Suite in F for Military Band Op. 28 No. 2....................................Gustav Holst I. March II. Song Without Words III. Song of the Blacksmith IV. Fantasia on the ‘Dargason’ Vesuvius.............................................................................................................Frank Ticheli INTERMISSION Symphonic Band Ecstatic Fanfare...............................................................................................Steven Bryant First Suite in Eb for Military Band Op. 28 No. 1..........................................Gustav Holst I. Chaconne II. Intermezzo III. March Suite Dreams....................................................................................................Steven Bryant Two-Lane Blacktop ............................ ..............................................................James David Premiere- Commissioned by the GT Symphonic Band as part of an international consortium of Wind Ensembles There will be a reception hosted by the sisters of Tau Beta Sigma Sorority in the lobby immediately following the concert. Visit us online at: www.georgiatechband.com or follow us on Facebook (Georgia
    [Show full text]
  • Virtual Musical Field Trip with Maestro Andrew Crust
    YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make.
    [Show full text]
  • Bloom PERUSAL SCORE - NOT for PERFORMANCE USE Program Note Bloom Is a Celebration of Springtime
    PERUSAL SCORE - NOT FOR PERFORMANCE USE STEVEN BRYANT Bloom PERUSAL SCORE - NOT FOR PERFORMANCE USE Program Note Bloom is a celebration of springtime. The bright, sunny days, with nature in bloom all around, give me a powerful sense of well-being, simultaneously tranquil and exuberant. Bloom is my attempt to recreate that feeling. Performance Tips The work should be warm and sustained. The biggest challenges are intonation (because of the sustained tones and cluster chords, which should have a minimum of vibrato), and endurance (for younger groups). The tempo change at measure 30 shouldn’t rush - let the music flow smoothly with an unhurried sense of tranquility. Stress the overall arc of the piece, focusing on a gradual build to the climax in measure 131. The tempos are not rigid throughout, though abrupt deviations aren’t appropriate. Let it breathe. I intend for this piece to provide an atypical and more mature musical experience for younger bands than that to which they’re accustomed. Although commissioned for a middle school honor band, the piece is intended to be rewarding for ensembles of all levels. About the Composer Steven Bryant (b. 1972, Little Rock, AR) is an active composer and conductor with a varied catalog, including works for wind ensemble, orchestra, electronic and electro-acoustic creations, chamber music, and music for the web. Steven's music has been performed by numerous ensembles across the United States, as well as in England, Japan, Canada, Australia, Singapore and Germany. His first orchestral work, Loose Id for Orchestra, hailed by celebrated composer Samuel Adler as “orchestrated like a virtuoso,” was premiered by The Juilliard Symphony and will be featured on an upcoming release by the Bowling Green Philharmonia on Albany Records.
    [Show full text]
  • Stage Acoustics for Symphony Orchestras in Concert Halls This Is the Medium Resolution (96Dpi) Version
    akuTEK www.akutek.info PRESENTS The PhD thesis by Jens Jørgen Dammerud: Stage Acoustics for Symphony Orchestras in Concert Halls This is the medium resolution (96dpi) version. Click for full resolution (5.5MB) akuTEK navigation: Home Papers Title Index Stage Acoustics Concert Hall Acoustics STAGE ACOUSTICS FOR SYMPHONY ORCHESTRAS IN CONCERT HALLS Submitted by Jens Jørgen Dammerud for the degree of Doctor of Philosophy of the University of Bath September 2009 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no information derived from it may be published without the prior written consent of the author. This thesis may be made available for consultation within the University library and may be photocopied or lent to other libraries for the purposes of consultation. Acknowledgments I would like to thank everyone who has generously contributed to the work forming this thesis: First of all the musicians of professional symphony orchestras who have taken part in discussions (in alphabetical order): David Daly, Chris Gale, Gunnar Ihlen, Kevin Morgan, Finn Orestad, Torbjørn Ottersen, Mike Smith, Geir Solum and Bengt Arstad.˚ I would also like to thank all the musicians who responded to questionnaires, the contact persons within all the symphony orchestras who kindly collaborated in this project and my wife Silje Marie Skeie for all useful input as
    [Show full text]
  • LEONARD BERNSTEIN Symphony No
    GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians.
    [Show full text]
  • Wind Band Classics
    572129 bk Wild Nights US 2/2/09 10:59 Page 8 Also available: WIND BAND CLASSICS WILD NIGHTS! Frank Ticheli • David Dzubay • Steven Bryant Roshanne Etezady • John Mackey Vince Gnojek, Soprano Saxophone University of Kansas Wind Ensemble • Scott Weiss 8.570074 8.572129 8 572129 bk Wild Nights US 2/2/09 10:59 Page 2 Wild Nights! PICCOLO CLARINET TRUMPET TROMBONE TIMPANI Frank Ticheli • David Dzubay • Steven Bryant • Roshanne Etezady • John Mackey Ann Armstrong* Pete Henry* William Munoz* Frank Perez* Greg Haynes* Larkin Sanders Orlando Ruiz Brett Bohmann Frank Ticheli (b. 1958) David Dzubay (b. 1964) FLUTE Mike Gersten Emily Seifert Stuart Becker PERCUSSION Laura Marsh* Mike Fessenger James Henry Marie Byleen- Cory Hills* Frank Ticheli joined the faculty of the University of David Dzubay is currently Professor of Music, Chair of Alyssa Boone Diana Kaepplinger Patrick Higley Miguel Rivera Southern California’s Thornton School of Music, where the Composition Department, and Director of the New Julia Snell Kayla Slovak Hunninghake Julie Wilder Paul Shapker he is Professor of Composition, in 1991. He is well Music Ensemble at the Indiana University Jacobs Emma Casey Hannah Wagner Evan Hunter Nick Mallin known for his works for concert band, many of which School of Music in Bloomington. He was previously on Ali Rehak Elizabeth Moultan EUPHONIUM Calvin Dugan have become standards in the repertoire. In addition to the faculty of the University of North Texas in Denton. Quin Jackson FRENCH HORN Dan Freeman* composing, he has appeared as guest conductor of his Dzubay has conducted at the Tanglewood, Aspen, and OBOE Steven Elliott Allison Akins* PIANO music at Carnegie Hall, at many American universities June in Buffalo festivals.
    [Show full text]
  • John Corigliano Was Born Into a Musical
    Symphony No. 1 John Corigliano ohn Corigliano was born into a musical represented the first time in two decades Jfamily; his father (John Corigliano, Sr.) that the company presented a new work it served for more than two decades as con- had commissioned. In March 2000 Corigli- certmaster of the New York Philharmonic. ano won another notable honor: an Acade- As a young composer, he studied with Otto my Award for The Red Violin, his third film Luening at Columbia University and Vit- score, music that has gone on to become torio Giannini at the Manhattan School of popular as a concert work quite apart from Music and worked for nearly a decade with its original cinematic context. This was not Leonard Bernstein on the CBS broadcasts of the only distinction accorded to his music the New York Philharmonic Young People’s for The Red Violin; it also won the Canadian Concerts. Following an early period during Genie Award for best film score, the Quebec which his music — as he has described it Jeutra Award, and the German Critics’ Prize. — was a “tense, histrionic outgrowth of the With his Symphony No. 2 (an expanded ‘clean’ American sound of Barber, Copland, re-composition of his 1995 String Quartet) Harris, and Schuman,” he embraced a pos- he was awarded the Pulitzer Prize for Mu- ture in which Romantic grandeur can rub sic in 2001. Since 1991 Corigliano has been elbows with a modernist musical vocabu- a member of the American Academy of Arts lary. The New York Philharmonic has a long and Letters; in 1992 Musical America named and deep history with his work, having per- him its first Composer of the Year; and in formed 15 of his symphonic compositions 2002 he was honored with the Gold Medal since 1980.
    [Show full text]
  • Holiday Cheer Holiday Cheer
    At Home Holidwiath they Jun eauC Symhpheoney r VIRTUAL CONCERT In Collaboration with Sitka Fine Arts Camp's Holiday Brass Premiers Sunday, December 20, 3:00 PM 2:30 pm Pre-Concert Talk with Franz Felkl & Roger Schmidt Performed at the State Library, Archives, & Museum String and Brass Chamber ensembles juneausymphony.org At Home with the Juneau Symphony Welcome and thank you for joining us for the 58th season of the Juneau Symphony! We are thrilled to share with you the third virtual concert of the season – Holiday Cheer, featuring the Juneau Symphony String Chamber Ensemble and a special collaborative Brass Ensemble made up of the Juneau Symphony Brass and the Sitka Holiday Brass under the leadership of Roger Schmidt and our At Home with the Juneau Symphony fall season Artistic Director, Franz Felkl. During these challenging times of the COVID-19 2020 Board and Staff pandemic, we are grateful for the opportunity Beth Giron Pendleton to continue to share music with you from some President of the most iconic locations in Juneau. We value Connie McKenzie our community and recognize the many Vice President Stan Lujan contributions of businesses and individuals who Past President support us and have included those in this Myrna Elgee digital program as a way of thanking them for Secretary Margaret MacKinnon their ongoing commitment to our mission to Treasurer “foster and create high-quality musical experiences Sharon Barton that contribute to the cultural diversity and vitality Annie Carpeneti Cherie Curry of Alaska’s Capital City.” Nancy Jones Heather Parker We look forward to the day when we can meet Deborah Rudis Neil Slotnick together to share in mainstage concerts at the Christian Veliz Juneau-Douglas High School auditorium, and until then we hope you enjoy this special Franz Felkl Strings Artistic Director concert in the comfort and safety of your home.
    [Show full text]
  • WIND INSTRUMENT USAGES in the SYMPHONIES of GUSTAV MAHLER ' by Donald Irvin Caughill a Thesis Submitted to the Faculty of the SC
    Wind instrument usages in the symphonies of Gustav Mahler, by Donald Irvin Caughill Item Type text; Thesis-Reproduction (electronic) Authors Caughill, Donald I. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 04:43:50 Link to Item http://hdl.handle.net/10150/318086 WIND INSTRUMENT USAGES IN THE SYMPHONIES OF GUSTAV MAHLER ' by Donald Irvin Caughill A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the. Requirements For the Degree of . MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1972 STATEMENT BY AUTHOR This thesis has heen submitted in. partial fulfillment of re- • guirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that, accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. 'SIGNED: APPROVAL BY THESIS.DIRECTOR This thesis has been approved on the date shown below: E.
    [Show full text]
  • Shepherd School Symphony Orchestra
    " .. r • SHEPHERD SCHOOL • > SYMPHONY ORCHESTRA ,J ty LARRY RACHLEFF, music director JEFFREY NEUFELD, piano Friday, March 2 6, 2004 8:00 p.m. Stude Concert Hall • ... - ..., • • .. RICE UNIVERSITY .. t• PROGRAM Symphonic Metamorphosis on Paul Hindemith ,. Themes of Carl Maria von Weber (1895-1963) ... ' Allegro < t• Turandot, Scherzo - Moderato Andantino Marsch Piano Concerto No. 2 Bela Bart6k •· Allegro (1881-1945) r. Adagio Allegro molto Jeffrey Neufeld, soloist INTERMISSION La Mer Claude Debussy De l'aube a midi sur la mer- Tres lent (1862-1918) Jeux de vagues - Allegro -,. Dialogue du vent et de la mer -Anime et tumultueux • ... The reverberative acoustics of Stude Concert Hall magnify the slightest .._ sound made by the audience. Your care and courtesy will be appreciated. ~ ~ The taking ofphotographs and use of recording equipment are prohibited. ~ ,. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin l Viola (cont.) English Horn Tuba Cristian Macelaru, Marissa Winship Adam Dinitz Aubrey Ferguson concertmaster Karen Raizen William Samson Caroline Shaw Erin Nolan Clarinet > Victoria Lindsay Leah Biber Harp Virginie Gagne Cello Alexandra Bond Megan Levin Brittany Boulding Marieve Bock, Louis DeMartino Nuiko Wadden Jennifer Driskill Jessica Blackwell principal Timpani and Justin Bruns Leanne Zacharias Brian Hermanson Percussion ~ Martin Shultz Alexander Friedhojf Brandon Bell Bass Clarinet Jacqueline Metz Marina Comas Evan Bertrand Louis DeMartino Laura Geier Elise Pittenger Spencer Doty Jennifer Driskill Maria Evola Aaron Merritt Daniel Gould Turi Hoiseth Matthew Dudzik Seth Rowoldt ~ Bassoon Elizabeth Bakalyar Ryan Sweeney Brian Smith Nicholas Akdag '( Matthew Detrick Kathryn Bates Brian Vogel Ellen Connors Andrew Williams Laura Love Erin Irvine Jessica Tong Meng Yang Orchestra Manager Catherine Luczkiw Jennifer Humphreys Martin Merritt Carin Miller ..
    [Show full text]
  • Primary—The Animated Orchestra Study Guide
    17 Primary 18 Study Guide The Toronto Symphony Orchestra’s School Concerts are generously supported by Mrs. Gert Wharton and an anonymous donor. Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 10 Lesson Plans Artist Biographies Musical Terms Glossary 11 - 19 20 - 23 24 - 25 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 26 - 37 38 - 41 42 - 43 The Toronto Symphony Orchestra gratefully acknowledges Robin Malach for preparing the lesson plans included in this guide Concert Overview The Animated Orchestra Primary: Suitable for students in grades K–4 Dina Gilbert, conductor Greg Smith, narrator Join the TSO on an adventure where students discover the magic of music. Through storytelling and one-of-a-kind characters, students will be introduced to orchestral favourites that allow their imagination to soar. Meet a creative ferret named Ari who will tell the story of The Animated Orchestra with narrator Greg Smith. There will even be an audience sing-along where students get to perform alongside the TSO! Program to include excerpts from*: Georges Bizet Aragonaise from Carmen Suite No. 1 Traditional Mister Sun Audience Sing-Along Georges Bizet Les Toréadors from Carmen Suite No. 1 Greg Smith The Animated Orchestra *Program subject to change 3 Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience! Before Listen and Read Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations.
    [Show full text]
  • Duke University Wind Symphony and KSU Wind Ensemble, "The Duke
    Kennesaw State University College of the Arts School of Music presents The Duke Blue Devils meet the KSU Owls Duke University Wind Symphony KSU Wind Ensemble Verena Moesenbichler-Bryant, guest conductor Steven Bryant, special guest composer Monday, October 14, 2013 8:00 p.m Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Seventeenth Concert of the 2013-14 Concert Season Program Duke University Wind Symphony Verena Moesenbichler-Bryant, conductor SCOTT LINDROTH (b. 1958) Spin Cycle (2001) ERIC WHITACRE (b. 1970) October (2000) David Kehler, guest conductor STEVEN BRYANT (b. 1972) Ecstatic Waters (2008) I. Ceremony of Innocence II. Augurs III. The Generous Wrath of Simple Men IV. The Loving Machinery of Justice V. Spiritus Mundi Intermission KSU Wind Ensemble David Thomas Kehler, conductor STEVEN BRYANT Ecstatic Fanfare (2012) JOSEPH SCHWANTNER (b. 1943) … and the mountains rising nowhere (1977) STEVEN BRYANT Idyll (2013) Verena Moesenbichler-Bryant, guest conductor STEVEN BRYANT Solace (2012) Georgia Premiere Program Notes Spin Cycle SCOTT LINDROTH born 1958 Scott Lindroth earned degrees from the Eastman School of Music and the Yale School of Music. He has been the recipient of many awards and fellowships, including the Rome Prize, a Guggenheim Fellowship, a Revson Fellowship, an Academy Award from the American Academy of Arts and Letters, and the Howard Foundation Fellowship. His music has been performed by the Chicago Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Nether- lands Wind Ensemble, and many other chamber ensembles in the United States and Europe. A recording of Lindroth's chamber music, Human Gestures, is avail- able on CRI, and a recording of Spin Cycle, performed by the University of Michi- gan Wind Ensemble was released on the Equilibrium label in December 2002.
    [Show full text]