Carl Busch Recognition Association Scrapbook
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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. -
A Chant from the Great Plains: an Analysis and Rationale for a Critical Edition
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Spring 4-17-2013 A Chant from the Great Plains: An Analysis and Rationale for a Critical Edition Raul G. Barcenes University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons, Music Pedagogy Commons, and the Other Music Commons Barcenes, Raul G., "A Chant from the Great Plains: An Analysis and Rationale for a Critical Edition" (2013). Student Research, Creative Activity, and Performance - School of Music. 58. https://digitalcommons.unl.edu/musicstudent/58 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A CHANT FROM THE GREAT PLAINS: AN ANALYSIS AND RATIONALE FOR A CRITICAL EDITION by Raul G. Barcenes A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Carolyn Barber Lincoln, Nebraska May, 2013 A CHANT FROM THE GREAT PLAINS: AN ANALYSIS AND RATIONALE FOR A CRITICAL EDITION Raul Guadalupe Barcenes, D.M.A. University of Nebraska, 2013 Adviser: Carolyn Barber This document explores A Chant from the Great Plains by Carl Busch. As the winner of American bandmaster Edwin Franko Goldman’s composition contest in 1919, this work helped launch the tradition of commissioning upon which the repertoire of the modern concert band medium relies. -
American Romantics
american romantics Premiere Recordings of Turn of the Century Works for String Orchestra gowanus arts ensemble & reuben blundell, conductor These premiere recordings promote music by immigrant and homegrown composers, from the rich but underperformed music of the late 19th and 20th century. It’s striking to hear a European Romantic style alongside a homegrown aesthetic, whether the New England styles of Foote, Parker and Converse, or Busch’s incorporation of Native American themes. These composers were born in the USA, France, Germany, Switzerland and Denmark, and were citizens of, or resident in America during this period. carl busch (1862-1943) 1 Omaha Indian Love Song from Four North American Legends | 6:08 paul miersch (1868-1956) 2 Pleasant memories (Gais Souvenirs)—Pizzicato Caprice pour Instruments à cordes | 2:06 Ludwig Bonvin (1850-1939) 3 Christmas Night’s Dream (Christnachtstraum), Op. 10 | 4:22 carl hillman (1867-1930) 4 Lullaby (Wegenlied), Op. 21 | 2:21 Horatio parker (1863-1919) 5 Scherzo, for Strings | 5:15 carl busch (1862-1943) 6 Chippewa Lullaby from Four North American Legends | 4:25 7 Elegie, Op. 30 | 6:22 Eugène arcade dédé (1867-1919) 8 Bees and Bumblebees (Abeilles et Bourdons), Op. 562 | 4:33 Arthur foote (1853-1937) 9 Air | 5:08 bk Gavotte | 3:22 frederick shepherd converse (1871-1940) bl Serenade | 2:57 Henry schoenefeld (1857-1936) bm Scherzo from Characteristic Suite, Op. 15 | 4:51 carl busch (1862–1943) Omaha Indian Love Song & Chippewa Lullaby, from Four North American Legends; Elegie, Op. 30 | Taught by two of its founders, Nils Gade and Johan Hartmann, Carl Busch attended the Royal Danish Academy of Music in Copenhagen. -
Compact Discs / DVD-Blu-Ray Recent Releases - Spring 2017
Compact Discs / DVD-Blu-ray Recent Releases - Spring 2017 Compact Discs 2L Records Under The Wing of The Rock. 4 sound discs $24.98 2L Records ©2016 2L 119 SACD 7041888520924 Music by Sally Beamish, Benjamin Britten, Henning Kraggerud, Arne Nordheim, and Olav Anton Thommessen. With Soon-Mi Chung, Henning Kraggerud, and Oslo Camerata. Hybrid SACD. http://www.tfront.com/p-399168-under-the-wing-of-the-rock.aspx 4tay Records Hoover, Katherine, Requiem For The Innocent. 1 sound disc $17.98 4tay Records ©2016 4TAY 4048 681585404829 Katherine Hoover: The Last Invocation -- Echo -- Prayer In Time of War -- Peace Is The Way -- Paul Davies: Ave Maria -- David Lipten: A Widow’s Song -- How To -- Katherine Hoover: Requiem For The Innocent. Performed by the New York Virtuoso Singers. http://www.tfront.com/p-415481-requiem-for-the-innocent.aspx Rozow, Shie, Musical Fantasy. 1 sound disc $17.98 4tay Records ©2016 4TAY 4047 2 681585404720 Contents: Fantasia Appassionata -- Expedition -- Fantasy in Flight -- Destination Unknown -- Journey -- Uncharted Territory -- Esme’s Moon -- Old Friends -- Ananke. With Robert Thies, piano; The Lyris Quartet; Luke Maurer, viola; Brian O’Connor, French horn. http://www.tfront.com/p-410070-musical-fantasy.aspx Zaimont, Judith Lang, Pure, Cool (Water) : Symphony No. 4; Piano Trio No. 1 (Russian Summer). 1 sound disc $17.98 4tay Records ©2016 4TAY 4003 2 888295336697 With the Janacek Philharmonic Orchestra; Peter Winograd, violin; Peter Wyrick, cello; Joanne Polk, piano. http://www.tfront.com/p-398594-pure-cool-water-symphony-no-4-piano-trio-no-1-russian-summer.aspx Aca Records Trios For Viola d'Amore and Flute. -
Exploring the Impact of the Railroad on the Development of Musical Culture
GOING OFF THE RAILS: EXPLORING THE IMPACT OF THE RAILROAD ON THE DEVELOPMENT OF MUSICAL CULTURE IN KANSAS CITY, MISSOURI (1869–1905) A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by GABRIELLA RODERER B.M., Manhattan School of Music, 2012 M.M., Bowling Green State University, 2014 D.M.A., University of Missouri-Kansas City, 2021 Kansas City, Missouri 2021 © 2021 GABRIELLA RODERER ALL RIGHTS RESERVED GOING OFF THE RAILS: EXPLORING THE IMPACT OF THE RAILROAD ON THE DEVELOPMENT OF MUSICAL CULTURE IN KANSAS CITY, MISSOURI (1869–1905) Gabriella Roderer, Candidate for the Master of Musicology Degree University of Missouri-Kansas City, 2021 ABSTRACT Kansas City, Missouri, is a musical oasis in the United States. In addition to being considered one of the four original jazz centers, local audiences also enthusiastically welcome art music and experimental music of all kinds.1 This deep appreciation for music and the arts can be traced to the development of the railroad in Kansas City and how it connected the city to the artistic lifeblood of the country. This thesis explores the existing research about the establishment of Kansas City as a railroad hub and the subsequent cultural blossoming experienced in the city at the turn of the century. This thesis project makes a connection between the railroad and the growth of music culture. The development of various aspects of music in Kansas City including, band, orchestra, opera, theater, vaudeville, music education, and music publications which the research in this thesis indicates is traced back to the societal impacts the railroad had on the frontier town in the last three decades of the nineteenth century. -
Volume 33, Number 10 (October 1915) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1915 Volume 33, Number 10 (October 1915) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 33, Number 10 (October 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/618 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE 693 THE EMERSON AUTOMATIC PLAYER PIANO Edited by James Francis Cooke not used is returned'to u's but or are to be made at least once a or July. ON SALE ) organ07his inciua d ^i™ li W £nd use~ ^ USED WORKS IN MU SENT ON EXAMINATION TO F PIANO COLLECTIONS human of Player” Piano^ "eWeSt’ m°St a“istic and accomplished :“pla“nrth‘eV keys6 ‘ “Meehan"cal touch has disappeared. It reproduces the interpreta parricular musk! “ ‘X themselves P^ed that and S'16 °f unique deIights is the ability to regulate the illustration, XSringermisar)/«-an?‘ AS Sh°Wn in mnt. With •w SstSBf ”” “ »• “EMPTY, BY Painted by Edward V. -
AMERICAN SYMPHONIES Composers
AMERICAN SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-F LEE ACTOR (b. 1952) Born in Denver, Colorado. He received a degree in music composition from San Jose State University and has studied composition with Donald Sur, Brent Heisinger, Charles Jones, and Andrew Imbrieas well as conducting with Angelo Frascarelli, David Epstein and Higo Harada. He was a violinist with the Albany Symphony Orchestra and was assistant conductor of the Palo Alto Philharmonic and the Nova Vista Symphony. He has composed orchestral, band and chamber works. Symphony No. 1 (2001) Kirk Trevor/Slovak Radio Symphony Orchestra ( + Prelude to a Tragedy, Redwood Fanfare and Variations and Fugue for Orchestra) MMC RECORDINGS 2147 (2005) Symphony No. 2 (2006) Kirk Trevor/Slovak Radio Symphony Orchestra ( + Violin Concerto and Concerto for Timpani and Orchestra) ALBANY RECORDS TROY 1017 (2008) Symphony No. 3 (2013) Kirk Trevor/Slovak National Symphony Orchestra;. ( + Piano Concerto and , Divertimento for Small Orchestra). NAVONA RECORDS V5986 (2015) JOHN ADAMS (b. 1947) Born in Worcester, Massachusetts. His father taught him how to play the clarinet, and was a clarinetist in community ensembles and later studied the instrument further with Felix Viscuglia, clarinetist with the Boston Symphony Orchestra. He began composing as a child and then studied composition at Harvard University with Leon Kirchner, Roger Sessions, Earl Kim and David Del Tredici. In addition, he worked in the electronic music studio at the San Francisco Conservatory of Music having built his own analogue synthesizer. He went on to become one of America's leading composers whose works are constantly performed. -
The History of the Ladies Musical Club Is Like the Biography of a Great Man”: Women, Place
“The History of the Ladies Musical Club is Like the Biography of a Great Man”: Women, Place, Repertory, Race, and the Ladies Musical Club of Seattle, 1891-1950 Whitney Ann Henderson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Lawrence Starr, Chair Christina Sunardi Judy Tsou Program Authorized to Offer Degree: Music ©Copyright 2018 Whitney Ann Henderson University of Washington Abstract “The History of the Ladies Musical Club is Like the Biography of a Great Man”: Women, Place, Repertory, Race, and the Ladies Musical Club of Seattle, 1891 – 1950 Whitney Ann Henderson Chair of the Supervisory Committee: Lawrence Starr Department of Music The Ladies Musical Club of Seattle (LMC) was formed in 1891 by an all-female group of classically-trained musicians with two stated aims: to provide music of a high standard to the still-burgeoning town of Seattle, and to maintain their own substantial performance skills.1 Beginning in 1900, the LMC cemented the fulfillment of its first aim by bringing hundreds of diverse, world-famous artists in its annual Artist Concert Series to the initially remote Seattle stage. These artists include Sergei Rachmaninoff, Marian Anderson, Percy Grainger, Igor Stravinsky, Jose Iturbi, Winifred Christie, Pablo Casals, Amelita Galli-Curci, Nelson Eddy, Dorothy Maynor, Walter Damrosch and the New York Symphony Orchestra, Todd Duncan, Marilyn Horne, Bidu Sayão, Teresa Carreño, Artur Rubenstein, and many, many others. In 1 The quotation in the title of this paper is taken from “Ladies’ Musical Club’s Success Represents Years of Striving,” Seattle Sunday Times, June 3, 1934, 15. -
The Aesthetics of Florence Price: Negotiating the Dissonances of a New World Nationalism
The Aesthetics of Florence Price: Negotiating the Dissonances of a New World Nationalism Samantha Hannah Oboakorevue Ege Ph.D. by Thesis University of York Music April 2020 Abstract As an African-American woman, Florence Price (1887–1953) embodied the antithesis of Eurocentric American creative thought in the first half of the twentieth century. As a practitioner who synthesized black musical idioms and classical conventions in pursuit of a distinctly American school of music, her compositional voice clashed against an aesthetic that rendered whiteness and maleness as the absolute signifiers of citizenship and, therefore, a national school. Price had little choice but to negotiate the dissonances of race and gender and, as a result, these negotiations are inherent in her compositional outlook and performance contexts. “The Aesthetics of Florence Price: Negotiating the Dissonances of a New World Nationalism” presents a historical narrative that foregrounds the junctions at which Price’s artistic, intellectual, and cultural callings converged. Focusing on the formative years and key works that led to Price’s national recognition as a composer, I largely engage her life and musical activity after her 1927 arrival in Chicago. Through the lens of a pianist, I present an analysis and interpretation that theorizes Price’s negotiations of cultural dissonances in the score and I suggest possibilities for realization in performance. This culminates in a study that examines the path to Price’s resolution of Old and New World ideals amid African retentions in her aesthetic. Table of Contents Abstract Table of Contents List of Tables List of Musical Examples List of Illustrations List of Accompanying Material Acknowledgements Declaration Chapter One: Introduction 11 Chapter Two: From Family Origins to the Wanamaker Era 36 Chapter Three: The “Virtual Agency” of the Vernacular in 74 Price’s Sonata in E minor Chapter Four: Composing the Black Chicago Renaissance 114 Epilogue: Legacy 147 Bibliography 154 List of Tables 2.1 History of training at the New England Conservatory. -
HER SONGS/HER STORIES Sunday, November 1, 2020 Streamed, 7:30 PM
Faculty Recital Series 2020–2021 Season Virtual Performance – Sunday, November 1, 7:30 PM HER SONGS/HER STORIES Sunday, November 1, 2020 Streamed, 7:30 PM Der Herbst, Op. 12 no. 5 Josephine Lang (1815–1880) Christian Reinhold Köstlin (1813–1856) Steven Groth, baritone & piano Josephine Caroline Lang was a German composer, who was the daughter of a violinist, and an opera singer, and from age five it became apparent that Josephine was possessed with great potential as a composer. As early as age eleven Josephine started giving piano lessons herself. Felix Mendelssohn used his connections to publish Lang's music. Even Robert Schumann published a song of Lang’s in 1838. Clara Schumann occasioned a benefit concert, with herself as the pianist, featuring Lang's music. Lang become a prominent composer successful enough to have her work published. A Working Woman Libby Larsen from Songs from Letters: (b. 1950) Calamity Jane to her daughter Janey (1880-1902) Kathleen Miller, soprano Ling Lo, piano Libby Larsen is leading American composer celebrated for her vocal and orchestral works. She is co-founder of the American Composer’s Forum which provides funding for up and coming composers. A prolific and frequently performed composer, Libby Larsen’s compositions are innovative and yet accessible to the average audience. She won a Grammy for Best Producer of a Classical Performance. “Music exists in an infinity of sound. I think of all music as existing in the substance of the air itself. It is the composer’s task to order and make sense of sound, in time and space, to communicate something about being alive through music.” In the Springtime Betty Jackson King (1928–1994) Nicholas Kilkenny, baritone Emily Kilkenny, piano Betty Jackson King was an award-winning educator, pianist, singer, publisher, composer, and conductor from the Chicago area. -
The Life and Work of Robert Russell Bennett
''KJ, 'n THE LIFE AND WORK OF ROBERT RUSSELL BENNETT by ROY BENTON HAWKINS, B.M.Ed., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved, August, 1989 • he Copyright 1989 Roy Benton Hawkins ACKNOWLEDGMENTS Anyone who has ever undertaken a project of this nature is surely aware that its completion would have been impossible without the kind ness, assistance, patience, and support of many people. This study stands as an example of one that could not even have begun without the cooperation of several key persons. Foremost among these is Kean K. McDonald, the grandson of Robert Russell Bennett. Mr. McDonald's kind permission to allow the author access to Bennett's memoirs was the central element in the decision to attempt this study. Only marginally less important was the contribution of Gayle T. Harris, whose compilation of two thick binders of material about Bennett amounted to a head start for the author of months, or perhaps years. Her catalogue, "Another Russell Bennett Notebook," gave structure to the wealth of information that she had collected. In fact, the appendix of this study should be considered an updated version of a portion of the Harris catalogue. Finally, and perhaps most importantly, her lively intellectual curiosity, the thoroughness of her scholarship, her cooperativeness, and her devotion to the memory of Bennett (whom she knew) served as both object lesson and inspiration to the author. Gratitude must also be expressed to Barbara G. -
A Directory of Music Collections in the Midwestern United States
A Directory of Music Collections in the Midwestern United States Second Edition H. Stephen Wright, General Editor Kimberly Armstrong, Grace Fitzgerald, Laura Gayle Green, Ruth Inman, Anna Sylvester, Associate Editors Music Library Association Midwest Chapter 1996 Contents Introduction .................................................................... v Iowa (Grace Fitzgerald, Editor) .................................................... 1 Illinois (Kimberly Armstrong, Editor) ............................................... 11 Indiana (Grace Fitzgerald, Editor) .................................................. 23 Kentucky (Ruth Inman, Editor) .................................................... 33 Michigan (Kimberly Armstrong, Editor) ............................................. 38 Minnesota (Anna Sylvester, Editor) ................................................ 47 Missouri (Anna Sylvester, Editor) .................................................. 58 Ohio (Laura Gayle Green, Editor) .................................................. 65 Wisconsin (Laura Gayle Green, Editor) ............................................. 83 Index ........................................................................ 93 Introduction In 1990, the Publications Committee of the Music Library Association's Midwest Chapter prepared the first edition of A Directory of Music Collections in the Midwestern United States. That edition was edited by Carolyn Rabson and compiled by the members of the Publications Committee, using a survey form designed by the MLA