DOCSLIB.ORG

Scanned Using Book Scancenter 5022

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scanned Using Book Scancenter 5022 mu.die of the University of Hartford presents a FACULTY RECITAL by DANIEL POLLACK Pianist •••• PROGRAM I {!,ffJ ORGAN PRELUDE ING MINOR Bach..Siloti SONATINE Ravel Modere Mouvement de Menuet Anime II FANTAISIE IN C MAJOR OPUS 17 Schumann Durchaus fantastisch und leidenschaf tligh vorzutragen Maessig. Durchaus energisch Langsam g~ragen. Durchweg leise zu halten INTE.RMISSION / -: III ¿ ff t BALLADE IN F MAJOR Chopin TIIREE ETIJDES Chopin OPUS 10, NO. 11 IN E FLAT MAJOR OPUS 25, NO. a IN D FLAT MAJOR OPUS 25, NO. 11 IN A MINOR NOCTIJRNE IN C SHARP MINOR OPUS POSTHUMOUS Chopin IV MEPHISTO WAL1Z BALDWIN PIANO Wednesday, January 4, 1967 Millard Auditorium, 8: 30 p.m. NOTE: If you wish to receive notice of our concerts and are not on our mailing list, please leave your name and address at the lobby desk during intermission. - -··· -· ---------------------- . - . - ... .. -· - ·-~ A CONCERT OF MUSIC BY ARNOLD FRANCHETTI Thu.rsday, Jan:u.ary 12 at 8:30 P.M. PROGRAM -WAR BAI ..I,ADES PreI1.iiere Per:f or.11.-ian.ce ·1 Ballade by Kathleen Lombardo 2 and 3 Ballades by Elizabeth Randall-Mills Richard Provost, guitar Mary Collier*, soprano BRASS QUINTET Ronald Kutik, Roger Murtha, trumpet; Robert Meyers, James Roberts, trombone; Ronald Apperson, tuba Edward Mi I ler, conductor CONCERTINO Canzona Cuckoo Notturno Rondel lo Daniel Kobialka, '66, violin soloist Nancy Turetzky, alto flute, flute, piccolo; Bertram Turetzky, double bass; Tele Lesbines, percussion; Myron Press*, piano Henry Larsen, conductor INTERMISSION *Guest Artist I L -------------------------------------- . CONCERTO IN DO Preniiere Per:for1I1.an.ce IN TWO MOVEMENTS Commissioned by the Library of Congress, 1962, in memory of Natalie and Serge Koussevitzky. Hartt Symphony Orchestra Nathan Gottschalk, conductor Arnold Franchetti, chairman of the department of theory and composition at Hartt, has been affiliated with the College since 1949. He was educated in his native Italy, at the Mozarteum in Salzburg and at the Academy of Music in Munich. He studied with his father, Alberto Franchetti, and with Richard Strauss. Among his many awards have been the Lehmann Prize at Salzburg, National Institute of Arts and Letters Grant, Fromm Award, Library of Congress Commission, Guggenheim Fellowship, Ditson Award, and Cesare Barbieri Center Commission for the premiere of his opera, ''As a Conductor Dreams''. ' ' WINTER CHAMBER ' MUSIC JANUARY 25 - WEDNESDAY HARTT STRING QUARTET FESTIVAL Quartet in C Maior, Opus 54 # 2 J. Haydn Hartt College of Music of the PROGRAMS Vivace University of Hartford is pleased Adagio to announce its third Winter Menuetto: Allegretto Finale: Adagio, Presto, Adagio Chamber Music Series, featur­ ing distinguished musicians and HARTT WOODWIND QUINTET Quartet in G Minor, Opus 10 educators who are in residence Carl Bergner, flute C. Debussy William Goldstein, clarinet Anime et tres decide at the University of Hartford. James Jacobs, french horn Assez vif et bien rythme Andante doucement espressif All concerts will be given in Robert Schaffer, bassoon Tres modere, Tres mouvemente et Millard Auditorium of the Alfred Harvey Goldstein, oboe avec passion• C. Fuller Music Center on the INTERMISSION University of Hartford campus, HARTT STRING QUAR I ET Quartet in F Maior, Opus 59 # 1 200 Bloomfìeld Avenue, West L. van Beethoven Renato Bonacini, violin Hartford, Connecticut. Bernard Lurie, violin Allegro Allegretto vivace e sempre scherzando Leonello Forzante, viola Performances will begin at Adagio molto e mesto David Wells, violoncello Theme Russe: Allegro 8:30 p.m. HARTT TRIO Raymond Hanson, piano Renato Bonacini, violin David Wells, violoncello GUEST ARTIST Arthur Winograd, violoncello , :JJ,,e uAU6 ..JJ.artt se: º mU6ic OF THE UNIVERSITY OF HARTFORD presents THE JULIUS HARTT READING ORCHESTRA ¡ Willfred Fidlar, conductor / -¡ 1 d \.(} assisted by q li .. Perf orma nee Practice Class John Kelsey, director PROGRAM THREE BROTHERS OVERTURE Cimarosa AVE VERUM CORPUS Mozart FINALE from the FAITHFUL SHEPHERD Handel-Beecham Reading Orchestra ALLEGRO from SONATA INC Breval Jacqueline AuCoin*, 'cello Deborah Goodale, piano SICILIENNE Faure SCHERZINO Andersen David Machell*, flute Stephen Kramer", piano ETUDE, OPUS 10, NO. 2 Chopin Lubov Kohut", piano !\!ARCH: FOLK SONGS FROM SOMERSET Vaughan Williams WALTZ from the MASQUERADE SUITE Khachaturian SLAVONIC DANCE, OPUS 46, NO. 8 Dvorak Reading Orchestra INTERMISSION trULTITO FAIT Claudin de Sermisy JOSIANTE VOCIS (c. 1490-1562) TWO SELECTIONS FROM THE SCHERZI MUSICALI Claudio Monteverdi (1567-1643) REVECY VENIR DU PRINTANS Claude Le] une (c. 1530-1600) MEINS TRAUNS IST Paul Hofhaimer (1459-1537) ICH WEYSS MIR EIN FEINS BRAUNS MEYDELIN Heinrich Finck from the Christian Egendolf collection (1482- ) l\fADRIGAL EL.ABORATIONS (1553) Diego Ortiz arr. fohn Kelsey from "O felici occhi miei felici voi" by Jacob Arcadelt Performance Practice Class THE GYPSY BARON OVERTURE Strauss IRISH TUNE FROM COUNTY DERRY arr. Grainger HULDIGUNGS!\1ARSCH Grieg Reading Orchestra *Sons and daughters of orchestra members Baldwin Piano ~ Thursday, January 26, 1967 Millard Auditorium, 8: 30 p.m. THE JULIUS HARTI READING ORCHESTRA VIOLIN OBOE Ruth Cochran Mary Beth Zimmerman Bonita Francis Alice Gordon Harry Karpman CLARINET Alfred Lindenberg Donald Cagenello Benjamin Lurie Charles Chapman Ernest Machel!, Jr. Robert Fletcher Elva Medzig Jan Kenesten Robert Meyer Franciszek Nozka Charles Norwood Sidney Rome Marie Peters Mike Zetoff Sam Pinkes, M.O. Albert Rubin Joseph Schubauer FRENCI-I HORN John Soule Salvatore Guardo Camilla Wojtyna Stefan Kohut VIOLA TRUMPET Stephen Kramer Arthur Perkins Charles Burdg Frank Cantafi 'CELLO Ernest Cirillo Abe Cohen Linda Churchill James Peters George Einstein Joseph Rosenthal Margaret Haberman I-Iy Saltzman Kary1 Kramer Edith Perkins Vladimir Steucek TROlv.fBONE Phoebe Burdg BASS Fred Harnisch Paul AuCoin Edward DuBrule PERCUSSION John Wells, M.D. Royce Rickert FLUTE Wendell Chantry PIANO Russell Foster Jane Lemaire Christina Muller David Machel! Noreen Sylvia PERFORMANCE PRACl1CE CLASS Frank Van Cleef, Jr., viol Joy Van ·Cleef, recorders Constance Sattler, viols William Sattler, bass Barbara Roscoe, soprano John Kelsey, director, recorders, kortholt HARTr COJ,J,EGB OF MUSIC of the University of Hartford ® presents THE MIXOLYDIAN QUINTET • in A Concert of 20th Century Woodwind Music Shirley Jackson, flute Peter Cokkinias, clarinet Barry Nudelman, bassoon Steven Davis, oboe Emery Tapley, horn PROGRAM PASTORAL Persichetti DIVERTISSEMENT for Flute, Oboe and Bassoon Franca ix Prelude Allegretto Assai Elegie Scherzo MARCH for Woodwind Quintet Barrows INTERMISSION SUITE Schuller Prelude Blues Toccata QUIN'l1ET Carter Allegretto Allegro giocoso BALDWIN PIANO Sunday, February 5, 1967 Berlanan Recital Room, 8:30 p.m. The Julius Hartt School of Music of the University of Hartford presents the Greater Hartford Youth Orchestra Bernard Lurie, conducter Charles Palmer, assistant conductor Soloists Gary Shulze, tuba Cyrus Stevens, violin xxxxxxxxxx Program Benvenuto Cellini Overture, Opus 23 Berlioz Concertino For Tuba and Strings Frackenpohl Moderato Lento Allegro Gary Shulze, tuba Synphonie Espagnole Lalo Allegro non troppo Cyrus Stevens, violin .:rntermission Symphony in D minor Franck Lento Allegretto Allegro non troppo Sunday, Februrary 5, 1967 Millard Auditorium, 8:00 P.M. HARTT COJ,I,EGE OF MUSIC of the University of Hartford presents a STUDENT COMPos:~TIOtl CO!~l!ERT _....,,.,_._......_ • r.(),... .., "'M P--L\. .; '-'·-·~\---t¡ VARIATIONS FOR VIOLIN, CL.i\RitlET i\ND 'CELLO Eric Nisula Mary Kollat, violin · Jara~s Wise, clarinet Ãndrea Graffam, 'cello PRELUDE FOR GUIThR Clifford Morris Clifford Morris, guitar INVENTION FOR PIANO Louise Schulman Chester Swiatkowski, piano PbSSÃc.óGLI.A FOR ORGAN Mark Kasmin Mark Kasmin, organ THREE SONGS Troy Tyson Deborah Hutchings, violin Peter LaBombard, flute Harriet Morris, voice INTERRUPTED NOCTURNE Chester Swiatkowski Chester Swiatkowski, piano STRING QUARTET Leonard Banazak Jean Tai, violin Ronald Oakland, violin John Kella, viola Richard Locker, 'cello IN'l'ERMISSION THREE PIECES FOR PERCUSSION Clifford Smales Hartt Percussion Ensemble Alexander Lepak, conductor là PM'YER Warren Pinckney Peter LaBombard, flute Barry Nudelman, bassoon 'rnREE SONGS i\llen Hoffman Joan Forbes-Davis, voice Stephen Kramer, .Piano STRING QUJ\RTET ·Martin Bresnick Jean Tai, violin Ronald Oakland, violin John Kella, .viola Richard Locker, 'cello Bl~LDWIN PUNO Wednesday, February 8, 1967 Millard ~uditorium, 8:30 p.m. - • PROGMM NOTES " -· THREE SONGS Troy Tyson Innortality I shall give you my shoelace to keep So when I am ready for everlasting sleep You shall show the lace and repeat You see, here is proof he did exist. Uncertainty Yes, pure he is, but, for how long Be brave my child, be tall and strong Uncertainty lurks, you know not where It's in the grass and a love so fair. Damn Rain I shall build a house of mud and clay Hurry, hurry, fast I say The time I spend enduring pain Oh, oh, I felt a drop. THREE SONGS /ìllen Hoffman I Our Rose was but in blossom, Our Life was but in spring, When down the solemn midnight We heard the spirits sing, ''lànother bud of infancy with holy dews impearled ! '' hnd in their hands they bore Our Wee White Rose of all the world. Gerald Massey II Underneath this wooden cross • There lies a Christian killed in battle. You, who read, remember that this stranger died in pain. ~nd passing here, if you can lift your eyes upon a peace kept by the human creed, Know that one soldier has not died in vain. Karl Shapiro -2- Program Notes, cont. III For wars his life and half a world away The soldier sells his family and days. He learns to fight for freedom and the State; He sleeps with seven men within six feet. He picks up matches and he cleans out plates; Is lied to like a child, cursed like a beast. They crop his head, his dog tags ring like sheep ~s his stiff limbs shift wearily to sleep. Recalled in dreams or letters else forgot, His life is smothered like a grave, with dirt; ~nd his dull torment mottles like a fly's The lying amber of the histories. Randall Jarrell C/l 7.17~ Hartt Opera - Theater q~ J.
Load more

Recommended publications
  • Free Jazz in the Classroom: an Ecological Approach to Music Educationi
    David Borgo Free Jazz in the Classroom: An Ecological Approach to Music Educationi Abandon Knowledge About Knowledge All Ye Who Enter Here. Bruno Latourii Conventional Western educational practice hinges on the notion that knowledge— or at least knowledge worth having—is primarily conceptual and hence can be abstracted from the situations in which it is learned and used. I recently came across a helpful illustration of this general tendency while watching Monty Python reruns. The sketch involved a caricature of a British talk show called “How to Do It.” John Cleese served as the show’s host: Well, last week we showed you how to become a gynecologist. And this week on “How to Do It” we're going to show you how to play the flute, how to split an atom, how to construct a box girder bridge, how to irrigate the Sahara Desert and make vast new areas of land cultivatable, but first, here’s Jackie to tell you all how to rid the world of all known diseases. After Eric Idle solves the global health crisis in a sentence or two, John Cleese explains “how to play the flute”: “Well here we are. (Picking up a flute.) You blow there and you move your fingers up and down here.” Turning again to the camera, he concludes the show with a teaser for the next installment: Well, next week we’ll be showing you how black and white people can live together in peace and harmony, and Alan will be over in Moscow showing us how to reconcile the Russians and the Chinese.
    [Show full text]
  • NEA-Annual-Report-1980.Pdf
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor­ In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro­ far more rhetorical than expressive of a national pic sources.
    [Show full text]
  • Too Many Notes: Complexity and Culture in Voyager Lewis, George E
    Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
    Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations Thomas Botting This thesis is submitted in partial requirement for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 i Statement of Originality This is to certify that, to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Thomas Botting November 8th, 2018 ii Abstract This research focuses on the development of a personal musical idiolect for solo double bass through the assimilation of extended techniques and preparations. The research documents the process from inception to creative output. Through an emergent, practice-led initial research phase, I fashion a developmental framework for assimilating new techniques and preparations into my musical vocabulary.The developmental framework has the potential to be linear, reflexive or flexible depending on context, and as such the tangible outcomes can be either finished creative works, development of new techniques, or knowledge about organisational aspects of placing the techniques in musical settings. Analysis of creative works is an integral part of the developmental framework and forms the bulk of this dissertation. The analytical essays within contain new knowledge about extended techniques, their potential and limitations, and realities inherent in their use in both compositional and improvisational contexts. Video, audio, notation and photos are embedded throughout the dissertation and form an integral part of the research project.
    [Show full text]
  • 2008 Bios and Abstracts
    1-17 Speaker Biographies and Abstracts 2008 Guelph Jazz Colloquium Melvin Backstrom Panel: “Free Improvisation, Education, and Cultural Dynamics” Bio Melvin Backstrom is presently a masters of Musicology student at McGill University with his research focusing on theoretical and practical understandings of contemporary musical communities (jambands, electronica, post-rock/jazz most notably) in which improvisation plays an integral role. His undergraduate studies were at Grant MacEwan College, where he received diplomas in jazz guitar performance and recording engineering/composition, and the University of Alberta—receiving a BA (Combined Honours) in music and philosophy, and writing his honours thesis on a critical examination of Adorno’s views on popular music. Prior to his arrival at McGill in the Fall of 2007 he lived in Taiwan for two years teaching English to pre-school children through adults while also being heavily involved in a number of different musical groups performing a wide variety of musical styles. He has worked as a tree planter in Western Canada over six seasons, as a showband guitarist on cruise ships, and has also hitchhiked over large parts of North America. While the (non-classical) guitar is his primary instrument, he also plays keyboards, does a great deal of work with the real-time musical manipulation software Ableton Live and plays a mean jaw- harp. Abstract “Improvisation as Freedom? A Bourdieuian Critique of Creative Action” Given the, at least rhetorical, importance of improvisation in various contemporary
    [Show full text]
  • The Poetics of a Multiphonic Landscape – Reflections on the Project.Torben Snekkestad 2016.Pdf
    ________________________________________________________________________________ THE POETICS OF A MULTIPHONIC LANDSCAPE ________________________________________________________________________________ -! reflections on the project Torben Snekkestad January 2016 Research fellow at Norwegian Academy of Music 2012-2016 The National Norwegian Artistic Research Fellowship Programme Table of Contents Introduction………………………………………………………………………………..4 1. Entering the Multiphonic Landscape ……………………………………………….15 1.1 Acoustical aspects of saxophone multiphonics………………………………………..15 1.2 Interlude – personal note………………………………………………………………17 1.3 Historical Survey……………………………………………………………………....19 1.4 Daniel Kientzy - Les sons multiples aux saxophone…………………………………..23 1.5 Marcus Weiss & Giorgio Netti’s The techniques of saxophone playing……………...24 1.6 Other contributions…………………………………………………………………….26 1.7 So where are we now?…………………………………………………………………29 References……………………………………………………………………………..34 2. Exploring the Territory of Multiphonics …………………………………………...36 2.1 The philosophy behind………………………………………………………………...37 2.2 Step by Step (Factors, parameters and manipulations)………………………………..40 2.3 Method – different levels of manipulation……………………………………………44 2.4 Classification?………………………………………………………………………...45 2.5 The Archive Box………………………………………………………………………46 2.5 Excerpts (from archive box, sketchbooks and recordings)……………………………49 References……………………………………………………………………………..64 3. The Reed Trumpet - a gratifying obstruction……………………………………….65 3.1 Background……………………………………………………………………………65
    [Show full text]
  • View 2008 Program
    Third Annual Conference December 5-7, 2008 Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Keynote Address: Roscoe Mitchell Featured Performers and Speakers: Joëlle Léandre and India Cooke isim INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC THIRD ANNUAL CONFERENCE About ISIM Mission Statement ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Narrative Reflecting the melding of diverse cultures, ethnicities, disciplines, and ideas that shapes society at large, today’s musical world is increasingly characterized by creative expressions that transcend conventional style categories. Improvisation is a core aspect of this global confluence, and in recent years the phrase “improvised music” has emerged as a kind of an overarching label for much of this eclectic musical activity. Initially used to describe jazz and its offshoots, the phrase now encompasses a broad spectrum of formats—from computer music and multi-media 1 collaborations to string quartets, bebop quintets and multiethnic fusion. Enabling spontaneous interactions between musicians from the most disparate backgrounds, the dissolution of boundaries between performers and listeners, and access to the transcendent dimensions of creative experience, improvisation is at the heart of a new musical paradigm that is uniquely reflective of contemporary life. Musical improvisation may also shed light on creativity in a wide variety of fields, as corporate executives, educators, athletes, medical professionals and other practitioners recognize an improvisatory core to success, progress, and fulfillment in their respective disciplines.
    [Show full text]
  • Angel City Jazz Festival
    angelcityjazz.com Angel City Jazz Festival When Rocco Somazzi started the Angel City Jazz Festival at Barnsdall Art On September 28 at Barnsdall Park, free outdoor performances by local Park in September 2008, his vision was informed by youthful experiences legends Azar Lawrence, Michael White and Brad Dutz with up-and- attending outdoor music festivals in his native Switzerland. In 2008, coming artists Daniel Rosenboom and Gavin Templeton, pave the way Barnsdall Park was a forgotten and somewhat neglected landmark, and for ticketed programming at the indoor Gallery Theater by Josh Nelson’s since the first festival was produced entirely on Rocco’s credit cards, Discoveries, Aruán Ortiz Trio, Craig Taborn and Taylor Ho Bynum’s West there were only two benefactors -- Visa and MasterCard. However, Coast Ensemble. Rocco’s vision had resonance, and his idea to feature local musicians in To close this all-day event, the festival honors its original headliner, a festival atmosphere struck a chord with both audiences and the music Arthur Blythe, whose health issues no longer allow him to perform, but community. One of the highlights of that two-day event was a set by whose spirit continues to inspire those around him. An all-star cast of L.A. virtuoso saxophonist Arthur Blythe, who had been living in near obscurity artists has been gathered to honor this influential musician, and health in the desert outside of L.A.. Bassist Nick Rosen and drummer Gust Tsillis permitting, he will be in the audience to receive these accolades. discovered Blythe, who had been battling health issues, and persuaded him to come out of semiretirement to perform at the first festival.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title New Compositions for the Double Bass Permalink https://escholarship.org/uc/item/1gw6w19h Author Kline, Matthew Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO New Compositions for the Double Bass A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Matthew Kline Committee in charge: Professor Mark Dresser, Chair Professor Anthony Davis Professor John Fonville 2015 The thesis of Matthew Kline is approved, and is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________ ___________________________________________________ _____________________________________________________________ Chair University of California, San Diego 2015 iii TABLE OF CONTENTS Signature Page…………………………………………………………. iii Table of Contents……………………………………………………… iv List of Examples………………………………………………………. v Abstract of the Thesis………………………………………………….. vi Chapter 1 Too Big for the Door………………………………… 1 Chapter 2 imAge/imagE………………………………………… 7 Chapter 3 Gliding Wind…………………………………………. 12 Chapter 4 INSIDE……………………………………………….. 16 Chapter 5 Capriccio per Siegfried Palm…………………………. 20 Chapter 6 Inarritu………………………………………………… 25 Bibliography…………………………………………………………….. 27 iv LIST OF EXAMPLES Example 1…………………………………………………………………………. 2 Example 2…………………………………………………………………………. 3 Example
    [Show full text]
  • Interactive Computer Music for Double Bass Jeremy C
    University of Nebraska at Omaha DigitalCommons@UNO Music Faculty Publications Department of Music 2004 Interactive Computer Music for Double Bass Jeremy C. Baguyos University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/musicfacpub Part of the Composition Commons Recommended Citation Baguyos, Jeremy C., "Interactive Computer Music for Double Bass" (2004). Music Faculty Publications. 9. https://digitalcommons.unomaha.edu/musicfacpub/9 This Article is brought to you for free and open access by the Department of Music at DigitalCommons@UNO. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. Jeremy Baguyos playing Museau de Singe (photo by Craig Sapp) Interactive Computer Music for Double Bass By Jeremy Baguyos the emerging technologies and aesthetics. Christos Hatzis, Three Pieces for Double For the double bass, this new repertoire Bass and Tape (1990) by Orlando Jacinto The rise of the academy as patron of art included compositions like Jacob Garcia, Radio Sonata (1982) by James music, the philosophical underpinnings of Druckman's Synapse/Valentine (1969), Sellars, and Mist (1997) by Robert Gibson. "futurists" like Russolo and Busoni, the Charles Whittenberg's Electronic Study II Additionally, a number of double bass increasing power and cost-effectiveness of (1962), and Donald Erb's Basspiece (1969). soloists have championed the cause by com­ computer-based systems and the new com­ In recent decades, composers have added to missioning, promoting and regularly per­ positional directions of the Post World War II the repertoire.
    [Show full text]
  • Alumni Festival January 20-22, 2011
    UC San Diego Department of Music SonicDiasporas Alumni Festival January 20-22, 2011 OFFICIAL PROGRAM UC SAN DIEGO DEPARTMENT OF MUSIC Thanks to the UC San Diego Alumni Assocation for their support. This festival is also supported by the Department of Music, and UCSD music faculty. Thanks also to The Loft for hosting some events--we highly recommend this excellent restaurant/night club as a place to experience performances and to refuel and caffeinate between Sonic Diasporas events. Special thanks to the Department of Music staff: Barbara Jackson: Chief Administrative Officer Brady Baker: Facilities Assistant Neal Bociek: Facilities Manager Doug Dutson: HR Manager Maureen Fahey: Event Manager Trevor Henthorn: Manager of Audio Computing Linda Higgins: Fiscal Manager Alison Holman: Event Manager Josef Kucera: Recording Engineer Nick Patin: Event Manager Diana Platero: Student Affairs Manager Rebecca Saltzman: Assistant Student Affairs Officer Jenn Stauffer: Production Manager Dirk Sutro: Program Promotion Manager Eileen Voreades: Undergraduate Advisor Clarissa White: Fiscal Assistant Others working on the Festival: Steven Berkley: Event Manager Scott Levine, Devin Ronneberg, Jeremiah Peevyhouse : Recording Engineer Jason Ponce, Paul Feyertag, Steve Solook: Graduate Assistants FOREWORD THE VIBRANT TRADITION of experimental music at U.C. San Diego is now almost half a century old. As UCSD cel- ebrates its 50th anniversary during the 2010-11 academic year, the Department of Music is proud to present Sonic Diasporas, the first ever alumni festival and symposium. Our call for entries prompted a tremendous response and we are pleased to present this diverse array of events. We thank everyone who submitted a proposal as well as all of our participants, many of whom traveled great distances to be here.
    [Show full text]