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SUGGESTED YACC AUDITION REPERTOIRE VIOLIN Major works by Bach, Beethoven, Brahms, Bruch, Dvorak, Haydn, Prokofiev & Tchaikovsky. Glazunov, Violin Concerto in A minor, Op. 82 Kabalevsky, Concerto Khachaturian, Concerto in D minor Lalo, Symphonie Espagnole Mendelssohn, Concerto in D minor or E minor Mozart, Concerto in G major, No.3 Mozart, Concerto in D major, No.4 Mozart, Concerto in A major, No.5 Ravel, Tzigane Saint-Saëns, Concerto No. 3 in B minor Sarasate, Zigeunerweisen “Gypsy Airs” Wieniawski, Concerto in D minor Paganini Violin Concerto No. 1 or 2 VIOLA J.C. Bach, Concerto in C minor Bartok, Concerto for Viola Handel/Casadesus, Concerto in B minor Hindemith, Der Schwanendreher Hummel, Fantasia on Mozart Theme Stamitz, Concerto in D major, Op. 1 Walton, Concerto for Viola CELLO Boccherini, Concerto (any mvt.) Bruch, Kol Nidrei Dvorak, Concerto (mvt. 1, 2, or 3) Elgar, Concerto (mvt. 1, 2, or 4) Haydn, Concerto in C major Haydn, Concerto in D major Kabalevsky, Concerto in G minor Lalo, Concerto in D minor Saint-Saëns, Allegro Appassionato Saint-Saëns, Concerto No.1 in A minor, Op. 33 (1st mvt. and 3rd mvt. coda) Shostakovich, Concerto No. 1 in E-flat major Continued on next page ... SUGGESTED YACC AUDITION REPERTOIRE BASS Concertos by Bottesini, Capuzzi, or Cimator Dragonetti, Concerto for Double Bass Koussevitzky, Concerto, Op. 3 von Dittersdorf, Concerto for Double Bass in E major FLUTE Chaminade, Concerto in D major, Op. 107 Gordelli, Concerto for Flute & Orchestra, Op. 8 Hanson, Serenade Ibert, Concerto Kennan, Night Soliloquy Martin, Ballade Mozart, Concerto No.1 in G major & No. 2 in D Major Reinecke, Concerto in D major Quantz, Concerto in G major CLARINET Debussy, Rhapsody for Clarinet & Orchestra Mozart, Concerto in A major, K. 622 Weber, Concertino, Op. 26 Weber, Concerto No. 1, Op. 73, mvt. 1 Weber, Concerto No. 2, Op. 74 BASSOON Mozart Concerto in B-flat Major, K. 191 Vivaldi Any concerto with orchestral accompaniment Weber Concerto in F major OBOE Any concerto by Albinoni, Handel, Telemann, Vivaldi or Marcello Fisher, Concerto in C major Foss, Oboe Concerto Haydn, Concerto in C major Strauss, Oboe Concerto in D major, AV 144 Mozart, Concerto in C major, K. 314 V. Williams, Concerto Continued on next page ... SUGGESTED YACC AUDITION REPERTOIRE FRENCH HORN Haydn, Concerto No. 1 or 2 Mozart, Any concerto Strauss, Concerto No. 1 in E-flat major TRUMPET Haydn, Concerto in E-flat major Hummel, Concerto in E-flat major L. Mozart, Concerto in D major Arutunian, Concerto TROMBONE Albrechtsberger, Concerto for Trombone Guilmant, Morceau Symphonique Handel/Dishinger, Concerto in G minor Wagenseil, Concerto Tomasi, Concerto David, Concertino in E major, Op. 4 TUBA V. Williams, Concerto for Tuba PIANO J.S. Bach, Concerto in D major or D minor Beethoven, Concerto No. 1, 2, 3, 4 or 5 Francaix, Concerto Grieg, Concerto in A minor, 1st mvt. Haydn, Concerto in D, Hob. XVIII: 11 MacDowell, Concerto No. 2 Mendelssohn, Concerto in G minor Mendelssohn, Capriccio Brillant, Op. 22 Mozart, Any concerto Prokofiev, Concerto No. 3 in C major, Op. 26 Prokofiev, Piano Concerto No. 1 Rachmaninoff, Concerto No. 2 Saint-Saëns, Concerto in G minor, No. 2, 2nd mvt. Schumann, Concerto in A minor, Op. 54 Shostakovich, Concerto No. 1, Op. 35 Shostakovich, Concerto No. 2, Op. 102, 1st mvt. Tchaikovsky, Concerto No. 1 in B-flat minor, Op. 23 Tchaikovsky, Concerto No. 3 in E-flat major, Op. 75 Continued on next page ... SUGGESTED YACC AUDITION REPERTOIRE PERCUSSION Basta, Concerto for Marimba Creston, Concerto for Marimba Hovhaness, Fantasy on Japanese Woodprints Milhaud, Concerto for Percussion Rosauro, Concerto for Marimba Toshiro, Mayuzumi Concertino for Xylophone and Orchestra SAXOPHONE Glazunov, Concerto Ibert, Concertino Creston, Concerto Milhaud, Scaramouche.

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On the Question of the Baroque Instrumental Concerto Typology

Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
Boston Symphony Orchestra Concert Programs, Season 88

BOSTON SYMPHONY v^Xvv^JTa Jlj l3 X JlVjl FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M.
PROGRAM NOTES Witold Lutosławski Concerto for Orchestra

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Pastiche for Piano on Kaikhosru Shapurji Sorabji Op 6 Sheet Music

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9. Vivaldi and Ritornello Form

The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op.
Flint Orchestra

Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change.
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University of Oklahoma

UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities.
Elliott Carter Works List

W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
Senior Recital: Xu Xiao, Viola

Senior Recital: Xu Xiao, Viola 20th April, Friday, 6pm, Conservatory Concert Hall _______________________________________________________ JOHANNES BRAHMS (1833-1897) Brahms' Sonata For cello and piano No. 1 in E minor, Op. 38 ( Viola Transcription) l. Allegro non troppo ll. Allegretto quasi Minuetto lll. Allegro INTERMISSION (10’) PAUL HINDEMITH (1895-1963) Der Schwanendreher l. "Zwischen Berg und tiefem Tal" ll. "Nun laube, Lindlein, laube!“ lll. “Seid ihr nicht der schwanendreher” Program Notes: Johannes Brahms (1833-1897) Brahms' Sonata No. 1 in E minor, Op. 38 is the first of two sonatas for piano and cello. It was begun in 1862 during Brahms' stay in the mountain village of Bad Munster am Stein-Ebernburg, where he wrote the first two movements and an Adagio movement, which was later dropped. After the existing finale was added in 1865, Brahms dedicated the completed sonata to his friend Josef Gansbacher, an amateur cellist and professor at the Singing Akademie in Vienna. The deep sonorities and the haunting melodies of the Allegro non troppo create a mood throughout the movement that is melancholic and sometimes wistful. The opening theme is a beautiful melody which rises from the depths of the cello's low E, soars for a few moments, then wanders its way back down the G and C strings to give way to the piano entrance. Brahms uses chromaticism to charm in the Allegretto quasi Minuetto. Chromatic melodies in F-sharp minor and A major sweep through the cello line, creating appropriately edgy dissonances on the strong beats of the measure. Sighing figures played three times in succession make up the only asymmetrical phrases in the entire piece.
Focus 2020 Pioneering Women Composers of the 20Th Century

Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance

CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K.