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You’re Invited O F S I H O O U U S T T R O I N V UNITEDCelebrating the KINGDOM2017 GALA CONCERT & DINNER The Board of Directors of Virtuosi of Houston HONORARY CHAIRMEN, Margaret Alkek Williams and Monzer Hourani CHAIRMEN, Donna & Tony Vallone and Staci & Dr. Quang Henderson Music Program and ADVISORY CHAIRMEN, Zarine & Dr. Meherwan P. Boyce National Anthem of the United Kingdom The British are Coming! of Great Britain & Northern Ireland arr. Robert Nelson (b. 1941) cordially invite you to (“God Save the Queen”) I. The Who: Overture to Tommy (Townshend) National Anthem of the United States II. The Moody Blues: Nights in White of America Satin (Hayward) Francis Scott Key (1779–1843) III. The Rolling Stones: Brown Sugar (Jagger/Richardson) UNITEDCelebrating KINGDOM the Pineapple Poll: Suite from the Ballet 2017 GALA CONCERT & DINNER Sir Arthur Sullivan (1842–1900) A Beatles Symphony arr. Charles Mackerras arr. Robert Nelson Saturday, May 13, 2017 I. Sgt. Pepper’s Lonely Hearts Club Band The Planets ROYAL SONESTA HOTEL II. With a Little Help from My Friends Gustav Holst (1874–1934) Houston, Texas III. She’s Leaving Home IV. Jupiter, the Bringer of Jollity IV. Eleanor Rigby 6pm to 7pm | Silent Auction & Cocktails 7pm to 10pm | Dinner & Concert V. Ticket to Ride London Suite HONORING Eric Coates (1886–1957) I. Covent Garden (Tarentelle) and II. Westminster (Meditation) Margaret Alkek Williams Monzer Hourani III. Knightsbridge (March) The favor of a reply is requested by May 1, 2017. | 713.807.0888 or [email protected] Blackt tie | Valet parking Menu HORS D'OEUVRES Mini Fish ‘n Chips Welsh Rarebit Scottish Salmon Aubergine on toast APPETIZER Prawns in Marie Rose sauce accompanied by arugula and pearl tomatoes dredged with Cointreau vinaigrette ENTRÉE Beef Wellington enhanced with green peas and mashed potatoes Assorted rolls and butter FINALE Chocolate Crown accompanied by Bread Pudding with brandy Coffee and Cognac.

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Big Ideas Musical Elements
Big Ideas Term: Autumn 1 Year group: 2 Subject: Music Topic: Musical Me: Singing and playing a song Prior Knowledge: Children will have heard the words dynamics, pitch, tempo, rhythm, texture and timbre and will have used some words to describe these inter-related dimensions of music. Subject specific (Tier 3) vocabulary: rhythm, beat, melody, dynamics, timbre, notation, pulse, composition Musical Elements Knowledge and understanding Key Strands Music / Musicians Rhythm - a regular repeated pattern of Performing Once a Man Fell in a Well – Traditional Song sound Listening Beat - the steady pulse that you feel in the Composing melody/ tune Learning though Melody - the main part of a song or piece the inter-related of music, known as the tune dimensions of Dynamics - volume music Timbre - the different sounds of an instrument Notation - symbols used to represent the music played Pulse – the steady beat of the music, like a heartbeat Musical Skills Singing and playing untuned instruments at the same time. Playing a melody from letter notation. Repeating a melody by ear. Listening Choosing appropriate dynamics and timbre for a piece of music. End point Children will experiment with timbre. dynamics and sound effects, and use letter notation to write a melody. Big Ideas Term: Autumn 2 Year group: 2 Subject: Music Topic: Orchestral Instruments: Traditional Stories Prior Knowledge: Children will have heard the words dynamics, pitch, tempo, rhythm, texture and timbre and will have used some words to describe these inter-related dimensions of music. Subject specific (Tier 3) vocabulary: instrument, orchestra, strings, woodwind, brass, percussion, vocals, sound effect, narrator, Musical Elements Knowledge and understanding Key Strands Music/ Musicians An orchestra is a group of musicians who play instruments Performing Eric Coates – Three Bears – A phantasy – together.
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Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
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The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study
The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost).
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Ronald Binge
th SUNDAY 18 MARCH 2018 £1 Friends of the Havering Concert Orchestra Mr P Brown Mrs B Soar Mrs M Dennis Ms Dal Strutt Mrs I M Hall Mrs D Todd Mr R Harvey Mrs K Turl Mrs M C Hider Mr P Winger Mr and Mrs B Luck Mr D E Woods Mr R Ratnage Mrs M D Wright The Havering Concert Orchestra is a registered charity (No. 1076663). We are most grateful to the Friends of the Havering Concert Orchestra, who help to support the orchestra and its activities. If you would like to become a Friend of the Orchestra, please e-mail [email protected] or speak to any member of the orchestra. Our conductor BILL BROOKS was born in Hornchurch, making his early conducting debut at the age of 7 when he conducted the Suttons Infant School Percussion Band at the Hornchurch Infant Schools Music Festival. After primary school he attended Hornchurch Grammar School and the Royal College of Music, where he studied under Joan Dickson and Anna Shuttleworth. Graduating in 1970, after a postgraduate teaching course at Bretton Hall he had a lengthy teaching career in Oxford, Havering and Essex. He conducted the Havering Youth Training Orchestra for 5 years, and from 1981–92 conducted the Upminster Bach Society, performing many of the major works of the choral repertoire, including Verdi’s Requiem and The Dream of Gerontius. He was Musical Director of St Andrew’s Church, Hornchurch for 12 years, and has been conductor of the Havering Concert Orchestra for over 10 years, having previously been a member of the Cello section and also serving as our Chairman.
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NEW RELEASE RECORDING of the MONTH for the Second Volume of the Music of Eric Coates, John Wilson Has Built His Programme Around Three Contrasting ‘Major’ Works
Coates: Orchestral Works, Vol. 2 BBC Philharmonic | John Wilson OCTOBER 2020 NEW RELEASE RECORDING OF THE MONTH For the second volume of the music of Eric Coates, John Wilson has built his programme around three contrasting ‘major’ works. The Suite Summer Days was premiered in October 1919, shortly after Henry Wood had fired Coates from his position as lead viola in the Queen’s Hall Orchestra. An immediate hit, the suite received rave reviews and many more performances. It was recorded in 1926, Sir Edward Elgar telling Coates that he had played it so often that he had worn out the disc! The Selfish Giant, from 1925, based on Oscar Wilde’s story, was the first in a series of highly successful musical retellings of fairy tales. The Enchanted Garden originated in a commission from the Swedish Broadcasting Company. Although he described The Enchanted Garden as a ballet, Coates conceived it principally as a concert work. Composed in June and July 1938, it was premiered in a BBC radio broadcast in November that year, immediately before Coates took it on tour to Stockholm. Of the other, shorter pieces on the album, Calling All Workers is arguably Coates’s best-known work, composed in the summer of 1940 and dedicated ‘to all RELEASE DATE: 2 October 2020 who work’. The march was adopted by the BBC as the Cut-off date: 21 September 2020 signature tune for their new daily radio show ‘Music While You Work’, and was heard twice daily for twenty- seven years – clocking up more than 16,000 broadcast Reference • CHAN 20148 performances.
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THE GREEN HEART Festival S UM on M ATI ER CELEBR
THE GREEN HEART festival S UM ON M ATI ER CELEBR PROGRAMME LAUNCH WEEKEND WELCOME TO THE GREEN HEART FESTIVAL LAUNCH WEEKEND! We are delighted you have chosen to join us for the launch of the Green Heart, a stunning space in the centre of our campus. Please take a few minutes to study our programme to plan your time with us this weekend! #GREENHEARTFESTIVAL 2 The Green Heart Festival HAVE A QUESTION? Ask one of our many Student Ambassadors, who you will recognise by their hi-vis jackets – and smiling faces, of course! You can find them either by the Information Booths, or wandering (purposefully!) throughout the event. PHOTOGRAPHY ENVIRONMENTAL SUSTAINABILITY You are, of course, more than welcome to Environmental sustainability is very important take photographs of your families and friends. to us. Can you guess how many trees there are We would love you to share your images with us. in the Green Heart? (Answer on back page). #greenheartfestival From our catering outlets, drinks cups are reusable and branded University of Birmingham for you FOOD AND DRINK to take away and reuse (a small deposit applies). Feeling peckish?! Visit one of our street food Our recyclable, eco friendly coffee cups are stalls, close to the main stage, and see what made from recycled paper. Plates are made whets your appetite! Choose from Mexican, from sugar cane which is compostable and Middle Eastern or Jamaican inspired meat, bowls are made from recycled PET and can be vegetarian and vegan dishes. Visit one of our re-recycled. Black forks, knifes and spoons are all outdoor bars for hot and cold drinks, or venture recyclable too.
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Arnold Bax and the Poetry of Tintagel
ARNOLD BAX AND THE POETRY OF TINTAGEL A Dissertation submitted to the College of Fine Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by William B. Hannam December, 2008 HANNAM, WILLIAM B., PH.D., DECEMBER, 2008 MUSIC ARNOLD BAX AND THE POETRY OF TINTAGEL (213PP.) Director of Dissertation: Theodore J. Albrecht The latter part of the nineteenth and the early part of the twentieth centuries saw what is commonly accepted as a resurgence in music from the British Isles, but to this day, most of the actual music of this resurgence remains unknown to all but the most knowledgeable of art music aficionados. Among the composers active during this period, one of the most heralded in his day but little recognized now is Sir Arnold Bax (1883 – 1953). To the aforementioned aficionados, he is known for several substantial yet infrequently performed contributions to the symphonic repertoire, among them the tone poem Tintagel. Known in England as a composer, Bax carried on a separate life as a writer of poetry and drama in Ireland, working under the name Dermot O’Byrne. At the time of composition of the tone poem, Bax also wrote a four- stanza verse poem titled “Tintagel Castle.” Both were written for and dedicated to the pianist Harriet Cohen, with whom he was having an affair. The focus of this dissertation is an extensive look at the circumstances surrounding the composition of Tintagel, examining factors of development in Bax’s compositional style, his personal life including the affair with Harriet Cohen, and the influence of Yeats and Irish culture on Bax’s writings as Dermot O’Byrne.
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T Heselsey Heritage Trail
Manhood Wildlife and Her itage Group draws volunteers together in positive action and Her Wildlife Manhood Joe Savill, Selsey Heritage Trail Coordinator, who is responsible for the display of Coordinator, Trail Joe Savill, Selsey Heritage With thanks to Kim Leslie, former Director of the West Sussex Blue Plaques West thanks to Kim Leslie, former Director of the With RAF SELSEY 1943 - 1945 Used as a private aerodrome in the 1930s, this site was adopted as an ALG [Advanced Landing Ground] in 1942 in 1 the face of strong opposition from the Ministry of Agriculture. On D-Day squadrons fl ew from here to support the assault on the beaches. In the ensuing weeks they provided escorts for bombing raids and continued to attack enemy bases and lines of communication. Units using ALGs were highly mobile and tents provided basic accommodation © 2011 Text J Savill, M Smith, G Smith, D Wakeham J Savill, M Smith, G D Text © 2011 next to the churchyard at Church Norton. Planes were serviced in the fi elds. In 1945 the site was returned to grazing. ERIC COATES 1886 - 1957 © 2011 Manhood Wildlife and Heritage Group Wildlife Manhood © 2011 for wildlife and the benefi t of the community. for wildlife and the benefi Coates and his family lived in several different homes in Selsey between 1922 and 1957. His love of the area is © 2011 Illustrations P White and E Savill Illustrations P © 2011 2 highlighted in his autobiography. He considered the sea at Selsey to be ‘as clear and warm as you would fi nd in any south sea lagoon’.
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Eric Coates Orchestral Works
ERIC COATES ORCHESTRAL WORKS VOL. 1 JOHN WILSON Maurice Besly, Bournemouth, 1923 Besly, Maurice Eric Coates, left, with Roger Mrs Quilter, Besly, Carrie and Tubb, Royal College of Music / ArenaPAL Eric Coates (1886 – 1957) Orchestral Works, Volume 1 1 The Merrymakers (1922 – 23) 4:32 A Miniature Overture Molto vivace – Grazioso – A tempo, appassionato – Appassionato – Brilliante – Tempo I – Broadly – Allargando – Allegro molto The Jester at the Wedding (1932) 24:34 Suite from the Ballet To Phyllis 2 1 March. The Princess arrives. Tempo di Marcia allegro 3:42 3 2 Minuet. The Dance of the Pages. Rather slowly and stately – Più mosso (Scherzando) – Tempo I 4:00 4 3 Humoresque. The Jester. Allegretto – Andante – Animato – Tempo I – Broadly – Calando 3:05 5 4 Valse. The Dance of the Orange Blossoms. Tempo di Valse allegro 4:20 3 6 5 Caprice. The Princess. Allegretto – Scherzando – Andante – Poco più mosso – Tempo I. Allegretto – Scherzando – Andante – Poco scherzando 4:44 7 6 Finale. The Princess and the Jester. Andante – Poco agitato – Broadly – Tempo di Marcia allegro – Andante – Più lento 4:41 8 Dancing Nights (1931) 7:20 Concert Valse Moderato – Tempo di Valse allegro – A tempo, scherzando – Broadly – Scherzando – Animato – Meno mosso – Tempo di Valse allegro – Allegro molto – Presto 9 Ballad, Op. 2 (1904) 5:52 for String Orchestra To Georg Ellenberger Andante cantabile – Poco più mosso – Tempo I – Lento – A tempo – Con fuoco – Lento – Tempo I 4 Two Symphonic Rhapsodies (1933) 9:34 on Popular Songs 10 I I Pitch My Lonely Caravan. Maestoso – Poco più mosso – Meno mosso – Andante – Allegretto scherzando – Più mosso – Broadly – Poco lento – Allegretto – Calando 4:38 11 II Bird Songs at Eventide / I Heard You Singing.
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British Orchestral Music
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The Up-Hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work
2014 © Valerie Dart, Context 38 (2014): 53–57. RESEARCH REPORT The Up-hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work Valerie Dart My research began with an interest in finding new viola repertoire. Realising that there was a wealth of British viola music that didn’t get much attention, and finding it often to be out of print, I started to become interested in researching this field. Being British myself, and having studied with Cecil Aronowitz, one of Britain’s finest viola and chamber music players, I have a natural connection with this music and have become quite passionate about this research and am excited by every new discovery. The research will look at the difficulties facing British viola players and composers in the late nineteenth and the early twentieth centuries; how performers and composers worked together to raise the standard of viola playing in Britain, inspiring and encouraging writing for the viola, both as a solo instrument and as a more prominent orchestral instrument; and how they brought about a change of attitude in the musical community towards the viola. The leading figures, Lionel Tertis and William Primrose, are well known. Their autobiographies and the writings of scholars such as John White, David Dalton and Maurice Riley, give insight into the plight of the viola at this time. British viola repertoire went through a stage of being neglected until only fairly recently. Some of today’s foremost viola soloists—Roger Chase, Lawrence Power, Martin Outram, Sarah Jane Bradley, Simon Rowland Jones and others—have lately revived some of this beautifully lyrical and passionate music.
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Journal January 1986
I I The Elgar Society JOURNAL ) I \ t li JANUARY 1986 Contents 1 Page Editorial - News Hems and International News Articles A Walk around the Elgars' Worcester. Pt III f } Elgar and Eric Coates 4 « 'Moriah' and the introduction and Allegro 2t) Concert Diary 25 Record & Book Reviews 2G Branch News 29 I Letters Subscription Details 22 . J The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility lor such views 'I i The cover portrait Is reproduced by kind permission of RADIO TIMES V i ELGAR SOCIETY JOURNAL ISSN 0143-1269 ( * 2 t The Elgar Society Journa 104 CRESCENT ROAD. NEW BARNET. HERTS. EN4 9RJ 01-440 2651 Vol. 4. no.4 EDITORIAL January 1966 The publication of so many important works on British music in general, and on Elgar in particular - especially Jerrold Northrop Moore’s definitive work - may persuade many people that there is little else to say. However, a glance through the pages of the last few issues of the Journal will show that there is still quite a lot to examine and research. The investigations into nineteenth century Worcester, and the Elgars' forbears, by Dr & Mrs. Simmons shows that original research can still be important. Over the years we have often noted individual efforts, and have published some of their findings. However, some of our previous appeals lor help and information have not been successful, so I think it a suitable moment to repeat some of these appeals, or to indicate where new researches are proceeding.
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