DOCSLIB.ORG

Intermediate/Senior Study Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Intermediate/Senior Study Guide 17 Intermediate/Senior 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 - 15 Lesson Plans Artist Biographies Musical Terms Glossary 16 - 23 24 - 25 26 - 27 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 28 - 39 40 - 43 44 - 45 The Toronto Symphony Orchestra gratefully acknowledge Doug Friesen for preparing the lesson plans included in this guide Concert Overview The Firebird Intermediate/Senior: Suitable for students in grades 7–12 Rob Kapilow, conductor & host Join the TSO for an in-depth exploration of Stravinsky’s famous work The Firebird. Conductor & host Rob Kapilow expertly dissects this masterpiece, exposing hidden meaning and delving deeper into the mind of this great composer. Students will have a chance to ask the Orchestra questions in a live Q&A. Immersive, engaging, and one of a kind, this concert is not to be missed! Program includes: Stravinsky Suite from The Firebird (1919 revision) 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. Read the biographies and program notes • Were there any composers you had never heard of before? • Did you learn anything new or interesting about one of the pieces, composers, instruments or TSO musicians? During Look and Listen Look around the orchestra and the hall • Have you been to Roy Thomson Hall before? • Are there any instruments you haven’t seen before? • Do you notice anything interesting about the orchestra? Listen to the orchestra and conductor • Is it different listening to the live orchestra versus a recording? • Think about how the different pieces make you feel. • Is there a particular instrument or part of the piece that you like listening to the best? • What instruments are used to create different sound effects? 4 Concert Preparation After Discuss and Reflect Discuss and reflect with your classmates • Was there anything that surprised you during the concert? • What was your favourite/least favourite piece and why? • Was your experience different from your classmates? • Fill out our Student Feedback form and let us know what you think! Review Rules and Reminders Review these rules and reminders with your classmates • No outside food or drink allowed inside Roy Thomson Hall. • No flash photography or recordings. • Please visit the bathroom before the concert. Audience members walking in and out during the concert can be distracting. • We encourage you to applaud and show appreciation. The orchestra relies on your energy to perform. • If you’re unsure when the piece of music is over, look to the conductor and performers on stage. The conductor will turn and face the audience once the piece of music is over. Have fun and enjoy your experience! 5 Concert Preparation Listening Journals Name: ____________________________ Date: _________________________ Name of the piece ___________________________________ Composer ___________________________________ 1) What kind of instruments do you hear? What type of group or ensemble is playing? 2) What different dynamics do you hear? Do the dynamics stay the same or change? (pp, p, mp, mf, f, ff, crescendo, diminuendo, etc.) 3) How would you describe the mood of the piece? Why? 4) What tempo marking would you give this piece? (ex. Largo, Adagio, Andante, Allegro, Presto) 5) What type of key is this piece in? Major Minor Both Other 6) How does the music make you feel? Why do you think the composer wrote this piece? 7) What two words would you use to describe this piece of music? 6 Program Notes Igor Stravinsky Biography Igor Stravinsky was raised in St. Petersburg by his father, a bass singer, and his mother, a talented pianist. Encouraged to follow another career path, Stravinsky enrolled in law school at the University of St Petersburg. While in school, Stravinsky befriended his classmate Vladimir—whose father was the celebrated composer Nikolai Rimsky-Korsakov. Stravinsky showed some of his early pieces to Nikolai and soon after became Nikolai’s private composition student until the composer's death in 1908. Through encouragement from Nikolai Rimsky- Korsakov, Stravinsky pursued a career as a composer. In 1909, Stravinsky was introduced to Sergei Diaghilev, the founder of Ballet Russes, who invited him to orchestrate some piano works by Chopin for the ballet Les Sylphides. His early commissions of the ballets The Firebird (1910), Petrouchka (1911), and The Rite of Spring (1913) established his place as a leading composer of the early twentieth century. Quick Facts Did you know? Born Stravinsky's original June 17, 1882 score for The Firebird is now over a 100 years old! Died April 6, 1971 Nationality Russian Full Name Igor Fyodorovich Watch & Listen Stravinsky Conversation with Igor Stravinsky from NBC's The Wisdom Series in 1957 7 Program Notes History of The Firebird Sergei Diaghilev’s Ballets Russes took Parisian audiences by storm with its début season in 1909. For the next year’s productions, Diaghilev envisioned a new ballet, its plot adapted from Russian folk tales. His chief choreographer, Mikhail Fokine, devised the scenario for the ballet drawing inspiration from the legend of the Firebird and Kastchei the Immortal, magical creatures from Russian folk tales. Diaghilev wanted completely new music for the ballet and commissioned a brand new score for The Firebird. When agreements fell through with other composers, Diaghilev offered the commission to the young relatively unknown composer, Igor Stravinsky. Stravinsky had previously orchestrated a Chopin nocturne and waltz for Diaghilev’s ballet Les Sylphides. It’s hard to believe, but The Firebird was Igor Stravinsky’s first large-scale work for orchestra. Illustration for the Tale of Ivan Tsarevich, The Firebird and the Grey Wolf, 1899 Diaghilev also commissioned elaborate costumes designed by Léon Bakst and sets designed by Alexan- dre Golovine. The two leading roles, Prince Ivan & the Firebird, were danced by Tamara Karsavina and the main choreographer, Mikhail Fokine. The Firebird premièred on June 25, 1910 at the Paris Opera and was a spectacu- lar success. Stravinsky rose to fame overnight and was launched into the top rank of contemporary composers. Stravinsky returned to The Firebird throughout his career and created three different concert versions in 1911, 1919 and 1945. The 1919 suite is the best known version, and is what you’ll be hearing at the TSO School Concerts in November and May! The 1919 suite uses less than half of the original ballet score and simplifies some of the orchestration. Tamara Karsavina et Mikhaïl Fokine in The Firebird, 1910s 8 Program Notes Set Design by Alexander Golovine Costume by Léon Bakst for The Firebird, 1910 Watch & Listen The Museum of Modern Art's video about Léon Bakst costume design Sketch of King Kastchei by Alexander Golovine 9 Program Notes The Form A suite is a musical work consisting of several shorter pieces which are usually linked thematically and/or tonally. The Firebird is an orchestral suite in five movements using musical material from the original 1910 ballet score. Each movement is a complete work and can be played separately. The Five Movements 1. Introduction and Dance of the Firebird 2. Dance of the Princesses 3. Infernal Dance of King Kastchei 4. Berceuse (Lullaby) 5. Finale A brief history of the suite In the Baroque period, a suite was an important musical form and consisted mainly of a collection of dances, such as a minuet or a gavotte, written in the same key. During the Classical period, dance suites went out of style and symphonies, concertos and sonatas became the more popular forms. The Romantic period revived the term “suite” but in a slightly different form. Composers who had written works for ballets, operas, or incidental music for a play, would often make arrangements of their music for orchestra so that it could be played separately. For example, Tchaikovsky wrote The Nutcracker Suite using musical material from his score for the ballet The Nutcracker. Composers such as Ravel and Debussy composed suites for solo piano during the Impressionist period. Here are some examples of suites based on an opera, ballet, film, theme or incidental music from a play: Opera Film Georges Bizet - Carmen Suite No. 1 & No. 2 John Williams - Stars Wars Suite for Orchestra Sergei Prokofiev - Lieutenant Kijé Suite Ballet Theme or Incidental Music Igor Stravinsky - Pulcinella Suite Gustav Holst - The Planets Aaron Copland - Appalachian Spring Suite Edvard Grieg - Peer Gynt Suite No. 1 & No. 2 10 Program Notes Story of The Firebird The story of The Firebird is an epic journey based off the legends of the Firebird and Kastchei, the Immortal, magical creatures from Russian folk tales. The story and corresponding movements from the 1919 Suite are described below. Watch & Listen Orchestre philarmonique de Radio France perform Suite from The Firebird, (1919 Revision) 1. Introduction and Dance of the Firebird Prince Ivan, the hero of the story, is on a hunting trip when he catches a glimpse of the beautiful firebird. He chases after the bird and finds himself in an enchanted garden outside of a castle. The castle is owned by an immortal demon named King Kastchei, who has secretly hidden his soul inside a magic egg so that he can live forever.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
    Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts.
    [Show full text]
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C. EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS tt wVid SPRING LINES Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore Plazagurlingt '1 .WTwi CONTENTS Program for April 16 1974 Program notes Haydn - Symphony No.
    [Show full text]
  • Igor Strav Thursday 21 & Sunday 24 September
    Thursday 21 & Sunday 24 September Igor Stravinsky in Profile 1882–1971 / profile by Paul Griffiths LSO SEASON CONCERT hird in a family of four sons, Before that was completed, a ballet based In 1939, soon after the deaths of his wife STRAVINSKY INTRODUCTION from Paul Griffiths he had a comfortable upbringing in on 18th-century music, Pulcinella (1919–20), and mother, he sailed to New York with St Petersburg, where his father opened the door to a whole neoclassical period, Vera, whom he married, and with whom he Stravinsky The Firebird (original ballet) Writing back to a Russian friend in 1912, was a Principal Bass at the Mariinsky Theatre. which was to last three decades and more. settled in Los Angeles. Following his opera Interval – 20 minutes as he worked in Switzerland on The Rite In 1902 he started lessons with Rimsky- He also began spending much of his time The Rake’s Progress (1947–51) he began to Stravinsky Petrushka (1947 version) of Spring, Stravinsky remarked: ‘It is as Korsakov, but he was a slow developer, in Paris and on tour with his mistress Vera interest himself in Schoenberg and Webern, Interval – 20 minutes if twenty and not two years had passed and hardly a safe bet when Diaghilev Sudeikina, while his wife, mother and children and within three years had worked out a Stravinsky The Rite of Spring since The Firebird was composed’. commissioned The Firebird. The success lived elsewhere in France. Up to the end of new serial style. Sacred works became more STRA This evening we have the rare opportunity of that work encouraged him to remain the 1920s, his big works were nearly all for and more important, to end with Requiem Sir Simon Rattle conductor to relive those packed and extraordinary in western Europe, writing scores almost the theatre (including the nine he wrote for Canticles (1965–66), which was performed two years in two hours, following the annually for Diaghilev.
    [Show full text]
  • 22 by Gretchen Horlacher a Fundamental Issue in the Analysis Of
    Sketches and Superimposition in Stravinsky’s Symphony of Psalms by Gretchen Horlacher A fundamental issue in the analysis of Stravinsky’s music is to describe how the composer juxtaposes and superimposes repeating motivic fragments. Do layered ostinati spin out in opposition to one another or do they interact? Does the progress of one affect the progress of another? Do they create for- mal relationships beyond their own repetitions? Evidence in sketches for works spanning the Russian period through the early serial work Agon (1953–57) suggests that this issue was a primary concern for the composer: many sketches and drafts are dedicated to working out the relationships be- tween and among simultaneously sounding strata so that they jointly shape passages of music. These documents share a common working method. Early in the composi- tional process, Stravinsky seems often to have drafted short “phrases” where the constituent motivic fragments are placed in relationship but repeated only briefly or not at all; subsequent drafts expand the lengths of phrases by in- serting repetitions of existing material into the original phrases.1 Such a pro- cedure allows us to compare the longer (and most often retained) versions with their shorter predecessors, giving us insight both into how Stravinsky develops his material and what might constitute a complete formal unit. In other words, we can trace the expansions of phrases through interpolation in order to identify how later versions have a more continuous formal shape and fit more easily into larger formal units. Consider as an example two sketches for a passage from the third move- ment of the Symphony of Psalms (1929–30); the two sketches are reproduced as Examples 1a and 1b and the final score is reproduced as Example 2.2 A pre- liminary description of the passage might go as follows.
    [Show full text]
  • Igor Stravinsky
    Igor Stravinsky Source: http://www.8notes.com/biographies/stravinsky.asp ‘Even during his lifetime, Igor Stravinsky (1882-1971) was a legendary figure. His once revolutionary work were modern classics, and he influenced three generations of composers and other artists. Cultural giants like Picasso and T. S. Eliot were his friends. President John F. Kennedy honored him at a White House dinner in his eightieth year. 'Stavinsky was born in Oranienbaum, Russia, near St. Petersburg (Leningrad), grew up in a musical atmosphere, and studied with Nikolai Rimsky-Korsakov. He had his first important opportunity in 1909, when the impresario Sergei Diaghilev heard his music. Diaghilev was the director of the Russian Ballet, an extremely influential troupe which employed great painters as well as important dances, choreographers, and composers. Diaghilev first asked Stravinsky to orchestrate some piano pieces by Chopin as ballet music and then, in 1910, commissioned an original ballet, The Firebird, which was immensely successful. A year later (1911), Stravinsky's second ballet, Petrushka, was performed, and Stravinsky was hailed as a modern master. When his third ballet, The Rite of Spring (a savage, brutal portrayal of a prehistoric ritual in which a young girl is sacrificed to the god of Spring.), had its premiere in Paris in 1913, a riot erupted in the audience--spectators were shocked and outraged by its pagan primitivism, harsh dissonance, percussiveness, and pounding rhythms--but it too was recognized as a masterpiece and influenced composers all over the world. 'During World War I, Stravinsky sought refuge in Switzerland; after the armistice, he moved to France, his home until the onset of World War II, when he came to the United States.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
    [Show full text]
  • World Première Stravinsky's Les Noces August
    World première Stravinsky's Les Noces August & September 2009 The performances of Svadebka! The Village wedding which take place in Augustus and September during a tour of The Netherlands, can be seen in Amsterdam, Utrecht, The Hague and Electra in Groningen. The performances in the Hermitage in Amsterdam are nearly sold out. Ninety years after its conception the 1919 version of Stravinsky's Les Noces will finally be performed in a recently completed and approved version. After a long procedure, the Stravinsky heirs have recently granted permission for the 1919 version of Les Noces to be completed, resulting in the long awaited fulfillment of artistic director Peppie Wiersma's dream. In 1919 Igor Stravinsky started his second draft of Svadebka (Les Noces) in an instrumentation for the unusual scoring of pianola, two cimbaloms, harmonium and percussion. He finished the first two tableaux and then, due to problems with synchronization with the pianola and the unavailability of two good cimbalom players, abandoned this version. It took him four years to finish the final score for 4 piano’s and six percussions. The version of 1919 has since never been finished even though it offers great possibilities for a much more appropriate staging than the 1923 version with it’s 4 grand piano’s and large percussion set-up. The idea arose to re-create the 1919 version and to instrumentate the last two tableaux. With its small band-like appearance and twangy Balkan cimbalom sound the 1919 seems ideal to create a real village wedding atmosphere. The balance problems that almost always occur in the 1923 version would be easily solved and the choir could be much smaller and take part of the theatrical action.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • Eino Tamberg: a Catalogue of the Orchestral Music 1954
    EINO TAMBERG: A CATALOGUE OF THE ORCHESTRAL MUSIC 1954: Oratorio “For the Liberty of the Nation” for mezzo-soprano, baritone, chorus and orchestra, op.1: 46 minutes 1955: Symphonic Suite “Prince Gabriel” for orchestra, op.2: 19 minutes 1955/2002: “To the Fatherland” for chorus and orchestra, op.116: 6 minutes 1956: Concerto Grosso for chamber orchestra, op.5: 24 minutes + (Bis and Antes cds) 1957: Symphonic Dances for orchestra, op.6: 21 minutes + (Bis cd) 1959: Ballet-Symphony, op.10: 40 minutes (and Ballet) 1962: “The Moonshine Oratorio” for soprano, baritone, two reciters, chorus and orchestra, op. 17: 46 minutes 1963: Ballet “The Boy and the Butterfly”, op.20: 36 minutes 1964: Suite “King Oedipus” for chorus and orchestra, op.11a 1967: Toccata for orchestra, op. 31: 5 minutes 1970: Ballet “Joanna Tentata”, op.37: 85 minutes (and 1972 Ballet Suite, op.37a: 30 minutes- + (Bis cd)) 1970/2006: Music for Trumpet and String Orchestra, op.126 1972: Trumpet Concerto No.1, op. 42: 16 minutes + (Bis cd) 1975: Cantata “Victory Fanfares” for baritone, chorus and orchestra, op.46: 7 minutes 1975/2001: Opening Fanfares for orchestra, op.112: 3 minutes 1977: Overture “October Fanfares”, op. 54: 8 minutes 1978: Symphony No.1, op.57: 22 minutes + (Antes cd) 1979: Cantata “To the Music” for chorus and orchestra, op.60: 12 minutes 1981: Violin Concerto, op. 64: 17 minutes + (Antes cd) Oratorio “Amores” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.65: 32 minutes Cantata “Vivat Estonia” for six soloists, chorus and orchestra, op.66: 6 minutes 1982: Cantata “Alma Mater” for bass, chorus and orchestra, op.67: 12 minutes 1983: Cantata “People in Soldiers’ Coats” for baritone, chorus and orchestra, op.
    [Show full text]
  • A Level Schools Concert November 2014
    A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter.
    [Show full text]