Orchestra Bells As a Chamber and Solo Instrument: a Survey Of
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(The Bells), Op. 35 Sergei Rachmaninoff (1873–1943) Written: 1913 Movements: Four Style: Romantic Duration: 35 Minutes
Kolokola (The Bells), Op. 35 Sergei Rachmaninoff (1873–1943) Written: 1913 Movements: Four Style: Romantic Duration: 35 minutes Sometimes an anonymous tip pays off. Sergei Rachmaninoff’s friend Mikhail Buknik had a student who seemed particularly excited about something. She had read a Russian translation of Edgar Allen Poe’s The Bells and felt that it simply had to be set to music. Buknik recounted what happened next: She wrote anonymously to her idol [Rachmaninoff], suggesting that he read the poem and compose it as music. summer passed, and then in the autumn she came back to Moscow for her studies. What had now happened was that she read a newspaper item that Rachmaninoff had composed an outstanding choral symphony based on Poe's Bells and it was soon to be performed. Danilova was mad with joy. Edgar Allen Poe (1809–1849) wrote The Bells a year before he died. It is in four verses, each one highly onomatopoeic (a word sounds like what it means). In it Poe takes the reader on a journey from “the nimbleness of youth to the pain of age.” The Russian poet Konstantin Dmitriyevich Balmont (1867–1942) translated Poe’s The Bells and inserted lines here and there to reinforce his own interpretation. Rachmaninoff conceived of The Bells as a sort of four-movement “choral-symphony.” The first movement evokes the sound of silver bells on a sleigh, a symbol of birth and youth. Even in this joyous movement, Balmont’s verse has an ominous cloud: “Births and lives beyond all number/Waits a universal slumber—deep and sweet past all compare.” The golden bells in the slow second movement are about marriage. -
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. -
CL2 Notes Bartók Concerto for Orchestra/Beethoven Symphony No
Notes for Classics 5: Dvořák & Rachmaninoff Saturday, January 19 and Sunday, January 20 Eckart Preu, conductor — Mateusz Wolski, violin — Spokane Symphony Chorale • Miguel del Águila – Chautauquan Summer Overture • Antonin Dvořák – Violin Concerto in A minor, Op. 53 • Sergei Rachmaninoff – The Bells, Op. 35 Miguel del Águila Chautauquan Summer Overture THE VITAL STATS Composer: born September 5, 1957, Montevideo, Uruguay Work composed: commissioned by the Chautauqua Institution in celebration of the 75th anniversary of the Chautauqua Symphony Orchestra. World premiere: Uriel Segal led the Chautauqua Symphony Orchestra on July 3, 2004, at the Chautauqua Institution Summer Festival in Chautauqua, New York Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, bird whistle filled with water, crash cymbals, cuckoo whistle, glockenspiel, gun shot, metal wind chimes, police whistle, snare drum, suspended cymbals, tambourine, tam-tam, triangle, wind machine, harp, and strings. Estimated duration: 13 minutes Three-time Grammy nominated American composer Miguel del Águila has established himself as one of the most distinctive composers of his generation. del Águila’s music, hailed by the New York Times as “elegant and affectionate … with genuine wit,” combines drama and propulsive rhythms with nostalgic nods to his South American roots. Numerous orchestras, ensembles, and soloists around the world have performed del Águila’s music, which has been featured on more than 30 CDs from several different recording labels, including Naxos, Telarc, and Albany. “Chautauquan Summer, a work that portrays the moods and changing landscape around Chautauqua Lake, NY, from autumn to summer, was conceived as a short concert opener (or closer),” del Águila writes. -
INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community. -
Rental Catalog Orchestra, Band, and Opera
Rental Catalog Orchestra, Band, and Opera E. C. Schirmer • Galaxy • MorningStar Edition Delrieu-Hexamusic • Layali Music Publishing • Randol Bass Music • Stainer & Bell, Ltd. • Vireo Press Casa Gian-Antonio 2 THIS CATALOG contains all orchestral and instrumental works (with and without voices) available through the rental department of ECS Publishing Group; includes the combined catalogs of E. C. Schirmer Music Company, Galaxy Music Corporation, Highgate Press, Ione Press, Edition Delrieu-Hexamusic, Layali Music Publishing, MorningStar Music Publishers, Randol Bass Music, Stainer & Bell Ltd, and Vireo Press. Part One (pp. 3–28) is a master list of all works arranged alphabetically by composer and containing arranger’s name (if any), approximate duration (in minutes), instrumentation, soloists, and choral voicing. Part Two (pp. 2–46) contains subject and genre indices. Please direct all inquiries to RENTAL DEPARTMENT ECS Publishing Group 1727 Larkin Williams Road Fenton, MO 63026 Phone (636) 305-0100 | (800) 647-2117 Fax: (636) 305-0121 www.ecspublishing.com [email protected] European customers may contact Stainer & Bell, Ltd., London. European inquiries for Randol Bass Music or Layali Music Publishing (Kareem Roustom) may contact ECS directly. The ECS Publishing Rental Department will be happy to supply detailed information about instrumentation, versions, fees, perusal scores, and more. If you are planning a performance, please visit our website to submit a rental request form (http://ecspublishing.com/rental/rental-request-form). Frequently asked questions: www.ecspublishing.com/rental/rentalfaq How to read instrumentation Instrumentation is arranged in groups. Flute Oboe Clarinet Bassoon — Horn Trumpet Trombone Tuba — Timpani+Percussion Players — Harp, Key- boards — Strings — Special Instruments — Solo Instruments, Solo Voices, Chorus, Other A period separates players, and a slash indicates doublings. -
Season 2013-2014
23 Season 2013-2014 Thursday, February 13, at 8:00 The Philadelphia Orchestra Friday, February 14, at 8:00 Saturday, February 15, at 8:00 Vladimir Jurowski Conductor Vsevolod Grivnov Tenor Alexey Zuev Piano Sherman Howard Speaker Tatiana Monogarova Soprano Sergei Leiferkus Baritone Westminster Symphonic Choir Joe Miller Director Rachmaninoff/ Songs orch. Jurowski I. “Christ Is Risen,” Op. 26, No. 6 II. “Dreams,” Op. 38, No. 5 III. “The Morn of Life,” Op. 34, No. 10 IV. “So Dread a Fate,” Op. 34, No. 7 V. “All Things Depart,” Op. 26, No. 15 VI. “Come Let Us Rest,” Op. 26, No. 3 VII. “Before My Window,” Op. 26, No. 10 VIII. “The Little Island,” Op. 14, No. 2 IX. “How Fair this Spot,” Op. 21, No. 7 X. “What Wealth of Rapture,” Op. 34, No. 12 (U.S. premiere of orchestrated version) Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 I. Allegro vivace II. Largo III. Allegro vivace Intermission 24 Rachmaninoff The Bells, Op. 35 I. Allegro, ma non tanto II. Lento—Adagio III. Presto—Prestissimo IV. Lento lugubre—Allegro—Andante— Tempo I This program runs approximately 1 hour, 45 minutes. These concerts are presented in cooperation with the Sergei Rachmaninoff Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Concerts for Kids
Concerts for Kids Study Guide 2014-15 San Francisco Symphony Davies Symphony Hall study guide cover 1415_study guide 1415 9/29/14 11:41 AM Page 2 Children’s Concerts – “Play Me A Story!” Donato Cabrera, conductor January 26, 27, 28, & 30 (10:00am and 11:30am) Rossini/Overture to The Thieving Magpie (excerpt) Prokofiev/Excerpts from Peter and the Wolf Rimsky-Korsakov/Flight of the Bumblebee Respighi/The Hen Bizet/The Doll and The Ball from Children’s Games Ravel/Conversations of Beauty and the Beast from Mother Goose Prokofiev/The Procession to the Zoo from Peter and the Wolf Youth Concerts – “Music Talks!” Edwin Outwater, conductor December 3 (11:30am) December 4 & 5 (10:00am and 11:30am) Mussorgsky/The Hut on Fowl’s Legs from Pictures at an Exhibition Strauss/Till Eulenspiegel’s Merry Pranks (excerpt) Tchaikovsky/Odette and the Prince from Swan Lake Kvistad/Gending Bali for Percussion Grieg/In the Hall of the Mountain King from Peer Gynt Britten/Storm from Peter Grimes Stravinsky/Finale from The Firebird San Francisco Symphony children’s concerts are permanently endowed in honor of Mrs. Walter A. Haas. Additional support is provided by the Mimi and Peter Haas Fund, the James C. Hormel & Michael P. NguyenConcerts for Kids Endowment Fund, Tony Trousset & Erin Kelley, and Mrs. Milton Wilson, together with a gift from Mrs. Reuben W. Hills. We are also grateful to the many individual donors who help make this program possible. San Francisco Symphony music education programs receive generous support from the Hewlett Foundation Fund for Education, the William Randolph Hearst Endowment Fund, the Agnes Albert Youth Music Education Fund, the William and Gretchen Kimball Education Fund, the Sandy and Paul Otellini Education Endowment Fund, The Steinberg Family Education Endowed Fund, the Jon and Linda Gruber Education Fund, the Hurlbut-Johnson Fund, and the Howard Skinner Fund. -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
View Program As a .Pdf File
Hotel Bristol Warsaw, Poland Printed Program & Logo Design: David Motak Hotel Bristol Warsaw, Poland September 6 - 8, 2019 Printed Program & Logo Design: David Motak PRESIDENT’S MESSAGE Best wishes to the American Council for Polish Culture for a productive 71st Annual Convention Życzymy owocnych obrad Officers President .................... Dr. Geraldine Balut Coleman Past President ..................................... H. Anne Oerke 1st Vice President ................. Thaddeus Makarewicz 2nd Vice President ........................ Piotr Wolodkowicz Recording Secretary .......................... Mitchell Kmiec Treasurer .................................Robert F. Dutka, D.D.S. Financial Secretary ............................. Alicia L. Dutka Directors Czeslawa Kolak Constance Malinowski Camille Kopielski Jolanta Pawlikowski Robert Maycan Kasia Szczesniewski Edward Kunzman Promoting Polish Arts & Culture since 1926 Affiliate #1 of the ACPC Greetings from your 71st Annual ACPC Convention Commitee! FROM THE PLANNING COMMITTEE FROM THE PLANNING September, 2019 Dear Members, Delegates and Friends, We return to Poland for our 71st annual convention and to Warsaw, in particular, to reconnect with our heritage. It is ftting that we convene in Poland’s raised-from-the- ashes historic capital city in the renowned neo-Renaissance Hotel Bristol, which is con- nected to the statesman and pianist, Ignacy Jan Paderewski, as Poland commemorates the 80th anniversary of the outbreak of World War I and the 75th anniversary of the Warsaw Uprising. As proud Americans with Polish roots, we also commemorate the Jamestown Polish artisans, who, 400 years ago, led the frst successful strike for equal rights, the right to vote, in the New World. We wish to thank all who have contributed to the success of this 71st annual conven- tion and supported our endeavors, particularly our hard-working, dedicated commit- tee: Mark Dillon, Mary Flanagan, Wanda Grzesik, Dave Motak, Ted Mirecki and Peter Obst. -
2001-2002 North American Music Festival-Chamber Music Concert
NORTH AMERICAN · MUSIC FESTIVAL CHAMBER Music CONCERT 7:30 p.m. April 10, 2002 Amarnick-Goldstein Concert Hall Simply Grand Those who know ... choose Kretzer • Ballet Florida • Crest Theatre • Old School Square • • Colony Hotel • Florida Stage • Four Seasons Resort· • Governors Club • Kravis Center· Lynn University• • Palm Beach County Cultural Center • • Palm Beach County School of the Arts • • Palm Beach Opera • Renato's • • Tommy Smith • The Backstreet Boys • kretzer P A N 0 860 North Military Trail* West Palm Beach, FL* 33415 * (561) 478-5320 www.kretzerpiano.com April 10, 2002 CHAMBER Music Through a GI.ass Darkly ................................ Warren Gooch Chao Li, trombone Douglas Goldberg, percussion Wind River Country ..................................... Greg Steinke David Suarez, flute Alexander Plotkin, bassoon Lee Berger, oboe Stas Pomerants, clarinet Sharon Case, horn INTERMISSION Sonatina ...................................................... Timothy Melbinger Tlffiothy Melbinger, piano Insect Politics ................................................ Timothy Melbinger Uncreated Light ........................................... Kurt Sander Arthur Weisberg, conductor Andrei Bacu, violin Danut Muresan, violin Simona Hodrea, viola Adrian Teodorescu, cello Hideki Sunaga, bass ElizabethAlvorado, flute Simon Kovacs, clarinet Heidi Kristensen, bassoon Yi Zhang, piano Doug Goldberg, percussion Gustavo Beaujardin, percussion INTERMISSION Black Angels ................................................. George Crumb I. Departure 1.