DOCSLIB.ORG

WOMACK, DMA PO Box 95, Rowena, TX 76875 325-450-0985; Email: [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WOMACK, DMA PO Box 95, Rowena, TX 76875 325-450-0985; Email: Bassoonj@Gmail.Com JAMES J. (JEFF) WOMACK, DMA PO Box 95, Rowena, TX 76875 325-450-0985; Email: [email protected] EDUCATION Louisiana State University, Baton Rouge, LA Doctor of Musical Arts 2003 Major: Bassoon Performance Minor: Musicology Illinois State University, Normal, IL Master of Music 1994 Major: Bassoon Performance Berea College, Berea College, KY Bachelor of Arts 1991 Major: Music Education UNIVERSITY TEACHING EXPERIENCE ANGELO STATE UNIVERSITY, San Angelo, TX 2006- present Associate Professor- primary duties include: • Teach Music History, I, II, III, IV • Teach Introduction to Music • Teach Woodwind Methods • Teach applied lessons in bassoon and oboe • Coach chamber ensembles (woodwind quintet, double-reed ensembles) Secondary duties have included: • Teach Aural Skills • Teach American Music course DICKINSON STATE UNIVERSITY, Dickinson, ND 2001-2006 Assistant Professor - duties included: • Taught Music History I & II • Taught Music Theory II • Taught Music Appreciation • Taught Woodwind Methods class • Taught Music Literature class • Taught applied lessons on flute, clarinet, oboe, bassoon, saxophone • Coached chamber ensembles NORTHERN ARIZONA UNIVERSITY, Flagstaff, AZ 2000-2001 Lecturer (one-year appointment) - duties included: • Taught applied bassoon • Taught Double Reed Methods • Taught Symphonic Music Literature • Taught American Music ILLINOIS STATE UNIVERSITY, Normal, IL Fall 1998 Lecturer (Sabbatical Replacement) - duties included: • Taught applied bassoon • Coached chamber ensemble • Taught Bassoon Methods Class OTHER TEACHING OPERA MAYA MUSIC FESTIVAL • Performing Faculty Summer 2013- present BOCAL MAJORITY DOUBLE REED CAMPS • Featured Clinician Summer 2012- present • Select Masterclasses under the auspices of Bocal Majority AWARDS TEXAS TECH UNIVERSITY SYSTEM • Chancellor’s Medal for Excellence in Teaching Fall 2013 ANGELO STATE UNIVERSITY • President’s Award for Excellence in Teaching Spring 2013 MASTERCLASSES/PRESENTATIONS GIVEN University of North Carolina-Greensboro (residency) Spring 2016 University of North Carolina School of the Arts Spring 2016 Stephen F. Austin University, Nacogdoches, TX Spring 2016 University of Nevada-Las Vegas Spring 1016 The University of Tennessee Fall 2010 The University of Kentucky Fall 2005 Cork Institute of Music, Cork, Ireland Spring 2005 Kansas State University, Manhattan, Kansas Spring 2005 University of Texas, Austin, Texas Spring 2001 Southwest Missouri State University, Springfield, Missouri Spring 2001 Ohio State University, Columbus, Ohio Spring 2000 PERFORMING EXPERIENCE MODERN BASSOON AND CONTRABASSOON ORCHESTRAL Soloist, Le Dernier Chant d'Ophelie for Bassoon and String Orchestra with the San Angelo Symphony Feb. 2017 Principal Bassoon, San Angelo Symphony 2007- present Substitute Bassoon, San Antonio Symphony 2006- present Substitute Bassoon, Abilene Philharmonic 2009- present Substitute Principal Bassoon, Midland-Odessa Symphony Orchestra 2007- present Soloist, Hell’s Angels for Bassoon Quartet and Orchestra with the March 2007 Bismarck-Mandan Symphony Orchestra Second Bassoon, San Angelo Symphony 2006- 2007 Contrabassoon, Midland-Odessa Symphony Orchestra 2006- present Second Bassoon, Bismarck-Mandan Symphony Orchestra 2003-2006 Utility Bassoon and Contrabassoon, Bismarck-Mandan Sym. Orchestra 2001- 2003 Principal Bassoon, Flagstaff Symphony Orchestra 2000- 2001 CHAMBER Recital, IDRS Conference (Appleton, WI) Summer 2017 Recital, IDRS Conference (Columbus, GA) Summer 2016 • commissioned and premiered three works Contrabassoon Ensemble Recital, IDRS Conference (NYC) Summer 2010, 2012, 2014, 2017 • soloist on one work in 2017 • performed two works of my arranging at Intl. conference (performing experience continued) in 2012, 2014 Mesquite Trio Recital, IDRS Conference Summer 2010 Mesquite Trio Recitals, Angelo State University Spring 2008- present ASU Faculty Chamber Music Recital (annual Spring Recital) 2007- present Bassoon Quartet Recital, IDRS Conference Summer 2007 Kokopelli Wind Quintet (NAU), Northern Arizona University 2000- 2001 SOLO RECITALS Angelo State University, at least one recital performed annually- 2006- present repertoire was mostly solo with occasional chamber works also included in the program Tarleton State University November 2011 The University of Tennessee August 2010 Berea College January 2008 Dickinson State University January 2006 OBOE/ENGLISH HORN ORCHESTRAL Substitute Oboe- occasional (Principal), San Angelo Symphony 2006- present Substitute English Horn- occasional, San Angelo Symphony 2006- present Substitute Oboe (Principal), Bismarck Symphony Orchestra 2001-2006 Substitute English Horn, Bismarck Symphony Orchestra 2001-2006 CHAMBER Mesquite Trio Recital, Angelo State University Spring 2009- present EARLY MUSIC (Period Bassoons) Center for Old Music in the New World, Lexington, KY (occasional) 2004- present Section Bassoon, Tafelmusik Baroque Orchestra/Institute Summer 2002 Principal Bassoon, Texas Early Music Project, Austin, TX 1999-2000 Principal Bassoon, Apollo’s Fire (The Cleveland Baroque Orchestra) 1997-1998 The Old West End Baroque Ensemble, Toledo, OH 1997-1998 PUBLICATIONS Composition: Rustic Celebration, published by Prairie Dawg Press (PDP #193) published June 2010, www.prairiedawgpress.com Review: Bassoon Scales for Reading by Chris Weait (The Ohio State University) published in The Double Reed Vol. 28, No. 1, 2005 PRIVATE STUDY MODERN BASSOON William Ludwig Louisiana State University 1994-1997 Michael Dicker Illinois State University 1992-1994 Peter Simpson University of Kentucky 1994-1996* Dan J. Duncan Eastern Kentucky University 1987-1991 OBOE Judith Dicker Illinois State University 2003-2008* Dan J. Duncan Eastern Kentucky University 1989-1991 BAROQUE BASSOON Michael McCraw Tafelmusik (Toronto) 1996-2002 James Bolyard Smithsonian Chamber Players and 1995-1998* Baroque Performance Inst. (Oberlin) * = Occasional lessons PROFESSIONAL ORGANIZATIONS Phi Mu Alpha- Honarary Member 2012- present Texas Music Educators Association 2006- present Pi Kappa Lambda 1994- present International Double Reed Society 1990- present American Federation of Musicians, San Antonio- Local 23 1998- present .
Load more

Recommended publications
  • UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA
    UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
    [Show full text]
  • Choose Yourfavorite Three Concerts
    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
    [Show full text]
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com
    Kimberlie Rose Dillon Oboe & English Horn teamdillonmusic.wordpress.com I. Education & Training McLennan Community College | Teacher Certification in Early Childhood-Grade 12 Music 2013 Baylor University | Teaching Certificate in Higher Education 2012 Baylor University | Master of Music Degree in Oboe Performance 2012 Oboe Professor: Doris DeLoach, DMA University of Minnesota Duluth (UMD) | Bachelor of Music Degree in Oboe Performance 2010 Oboe Instructor: Laurie Van Brunt Jeanne Inc. | Oboe Gouger Assembly & Maintenance Workshop 2009 Other Primary Teachers Julie Gramolini Williams | Minnesota Orchestra 2015-Present Susan Tomkiewicz, DMA | Luther College 2005-2006 Jennifer Gookin, DMA | Luther College 1999-2005 II. Employment UMD Fine Arts Academy | Community Music Teaching Specialist 2014-Present teach weekly private oboe lessons to middle and high school students Rock Hill Community Church | Administrator 2013-2015 assisted pastoral staff with organizational functions coordinated volunteer schedules, supported bookkeeping efforts, and helped with event planning Waco Baptist Academy | Preschool-Grade 6 General Music Educator 2012-2013 taught Prekindergarten – Grade 6 general music classes and directed school performances Baylor University Golden Wave Marching Band | Administrative Assistant 2012 supported the Golden Wave Marching Band Director by serving in an administrative role Baylor University Fine Arts Library | Student Assistant 2011-2012 assisted patrons in research and checking out materials and shelved books and scores Baylor University School of Music | Graduate Assistant 2010-2012 co-instructed oboe methods, taught secondary oboe lessons, and coached chamber music ensembles coordinated student music recitals and performed secretarial tasks III. Performance Experience Ensembles Mesabi Symphony Orchestra, Sub. Oboe & English Horn 2016-Present, 2013 Itasca Symphony Orchestra, Sub. Oboe & English Horn 2013-Present Lake Superior Chamber Orchestra, Sub.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Doctoral Recital
    Department of Music College of Fine Arts presents a Doctoral Recital Kim Kehau Chai II, bassoon Albina Asryan, piano Tiana Harjo, viola Tallyn Wesner, clarinet Clinton L. Williams, conductor Allison McSwain, trumpet Kim Weller, dancer PROGRAM Antonio Vivaldi Concerto for Bassoon in D minor, RV 480 (1678-1741) I. Allegro II. Larghetto III. Allegro motto John Williams The Five Sacred Trees (b. 1932) I. E6 Mugna - Freely II. Tartan - Energico III. E6 Rossa- Slowly IV. Craeb Uisnig- With Intensity V. Dathi- Slowly and Reflectively INTERMISSION John Steinmetz Tango for Solo Bassoon (b. 1951) Gabriel Faure Piece (1845-1924) I. Adagio, motto tranquil/a David Diamond Chamber Symphony (1915-2005) I. Lento sostenuto II. Scherzo III. Passacaglia IV. Motto allegro This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Applied Music. Kim Kehau Chai II is a student ofDr . Janis McKay. Monday, October 31, 2011 5:30p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas Program Notes Antonio Vivaldi worked most of his life in Venice, employed by one of the four Ospedali, orphanages/schools mostly for illegitimate daughters of the Italian nobility. These Osepdali became four of the finest music conservatories in the world at that time. Vivaldi composed at least 37 works for the bassoon, more than any other instrument except the violin. Typical of the baroque style, this work uses light and quick articulations and ornaments expected of players from that period in the first and third movements. The second movement is lyrical, exploiting the singing qualities of the bassoon.
    [Show full text]
  • Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
    -* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo­ gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn­ ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar­ by her mother, Mrs Ruth Pat­ ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side.
    [Show full text]
  • Faculty Recital: Judith Cole, Piano
    SCHOOL of MUSIC Where PASSION is heard An Evening with Friends Faculty Recital Judith Cole, collaborative pianist Nancy Conley, viola Helen Kim, violin Charae Krueger, cello John Lawless, percussion Douglas Lindsey, trumpet Chani Maisonet, soprano Marc Miller, bass Kenn Wagner, violin John Warren, clarinet Thursday, January 14, 2021 | 7:30 PM Presented virtually from Morgan Concert Hall of the Bailey Performance Center PROGRAM Three Duets for Two Violins and Piano DMITRI SHOSTAKOVICH (1906 - 1975) Praludium, Gavotte, Walzer Trio for Clarinet, Cello, and Piano, Opus 11 LUDWIG VAN BEETHOVEN (1770 - 1827) III. Theme & Variations Trio for Trumpet, Violin, and Piano ERIC EWAZEN (b. 1954) II. Suite for Cello & Jazz Piano Trio CLAUDE BOLLING (b. 1930) I. Baroque in Rhythm 1 SCHOOL of MUSIC Where PASSION is heard Jazz Caprice RANDALL CUNNINGHAM (b. 1944) III. Theme & Variations Square Root of Possible from Jingle Jangle MICHAEL DISKINT, PHILIP LAWRENCE, & DAVY NATHAN Piazonore for Vibraphone & Piano ALEXEJ GERASSIMEZ (b. 1987) Septet Opus 65 CAMILLE SAINT–SAËNS (1835 - 1921) I. Préambule II. Menuet III. Intermède IV. Gavotte et Finale PROGRAM NOTE The KSU School of Music boasts an amazing faculty of performers, teachers, composers and researchers who are among the finest musicians to be found. Getting to perform with them and call them my friends is a particular joy for me as a professional pianist - and getting to include two of my favorite golf buddies in tonight's program is an added bonus! My goal with this program was to present music that has not previously been performed on this stage; to the best of my knowledge, only the Beethoven trio has been heard here before - everything else is new to our KSU audience.
    [Show full text]
  • 5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
    5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds.
    [Show full text]
  • MOSAIC: FACULTY SPOTLIGHT ' " O R
    University of Washington ,~ B THE SCHOOL OF MUSIC lW , 20 '-I ,..... Presents _-/2. iI'" .. ...... MOSAIC: FACULTY SPOTLIGHT ' " o r With performances by Michael Brockman Kyung Sun Chee Tom Collier Jay Easton Arthur Grossman Don Immel David Kappy Robin McCabe William McColl Doug Miller Steven Novacek Christopher Olka Marc Seales Craig Sheppard Vern Sielert Allen Vizzutti 7:30PM February 12,2004 MEANY THEATER "D,/'f-f.:n:- It,S-~ 1­ CD.1F lit, 5S'j .... ,,~ PROGR A M [0 KvnIN MCCABE and CRAIG SHEPPARD, piano four-hands '2... H UNGARIAN D ANCE NO 6 IN IY MA JOR ........................... JOHANNES BRAHMS CD1F 1 ~.:)5'$ 3 SLA VONIC D ANCE No 1 IN C M AJOR. OPUS 46 ................ ANTONIN DVORAK FACULTY JAZZ ENSEMBLE I SLA VONIC DANCE NO. 8 IN G MINOR, 'FURIAlvT' ............. ANTONIN DVORAK 1- €/y\[c (e.. []JCOWl~~, ~~1Wt1 . @ SqV~ l l.(\. 1;' . • L. Bc~ lO __ - d Y' t, c;,. Sm ve~'"; ~&')ne..(,.! . FACULTY BRASS QUINTET t ,.31­ Don Immel, trombone David Kappy, French horn Christopher Olka, tuba Vern Sielert, trumpet Allen Vizzutti, trumpet KYUNG SUN CHEE, violin ~ PRELUDE AND PRESTO FOR BRASS QUlNTET.. .... :/~Z~.. I .............. ALLEN VIZZUTTI ~(O'{G '~~~S A- PI .eV\T~ I { ; Lfj- ~OMAN ..........•.• .... h/..\t.'f.?............... ......... ........... .JOEL-FRAN<;:OIS DURAND The TUBAX MIRABILIS TRIO is made up of artists who have mastered STEVEN NOVACEK, guitar these unusual instruments, old and new: William McColl will perform on his sopranino clarinet in G, an 3 J.7OYUNBABA ............., '..2........'' :,­ .I. CARLO DOMENICONI instrument he has built himself in reference to mid-19th century Vien­ nese examples. It was used in folk music and military music.
    [Show full text]