PROGRAM NOTES April 11 2021
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Jennifer Higdon-Large Full
Pulitzer Prize and three-time Grammy-winner Jennifer Higdon (b. Brooklyn, NY, December 31, 1962) taught herself to play flute at the age of 15 and began formal musical studies at 18, with an even later start in composition at the age of 21. Despite these obstacles, Jennifer has become a major figure in contemporary Classical music. Her works represent a wide range of genres, from orchestral to chamber, to wind ensemble, as well as vocal, choral and opera. Her music has been hailed by Fanfare Magazine as having “the distinction of being at once complex, sophisticated but readily accessible emotionally”, with the Times of London citing it as “…traditionally rooted, yet imbued with integrity and freshness.” The League of American Orchestras reports that she is one of America's most frequently performed composers. Higdon's list of commissioners is extensive and includes The Philadelphia Orchestra, The Chicago Symphony, The Atlanta Symphony, The Cleveland Orchestra, The Minnesota Orchestra, The Pittsburgh Symphony, the St. Paul Chamber Orchestra, as well such groups as the Tokyo String Quartet, the Lark Quartet, Eighth Blackbird, and the President’s Own Marine Band. She has also written works for such artists as baritone Thomas Hampson, pianists Yuja Wang and Gary Graffman, violinists Nadja Salerno-Sonnenberg, Jennifer Koh and Hilary Hahn. Her first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere in 2016; the first American opera to do so in the award’s history. Upcoming commissions include a chamber opera for Opera Philadelphia, a string quartet for the Apollo Chamber Players, a double percussion concerto for the Houston Symphony, an orchestral suite for the Made In America project, and a flute concerto for the National Flute Associations’ 5oth anniversary. -
Annotated Bibliography of African American Carillon Music by Tiffany Ng
Revised February 20, 2020 Annotated Bibliography of African American Carillon Music by Tiffany Ng User’s Guide his comprehensive annotated bibliography lists carillon scores by African American composers and/or based on T African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonneurs are invited to use this resource to identify music to perform and teach. Despite the length of this bibliography, there is currently only one published original carillon work by an African American composer. The vast majority of items are arrangements by White composers, and most of these arrange- ments are of spirituals, revealing an essentialization of African American music that omits major genres (ex. jazz, soul, and rhythm and blues, to name a few) and freezes musical development in the 19th century. These imbalances point to a serious need for the commissioning of original works by Black composers. This survey also reveals that there are only four original carillon works by Black women, all of which I helped com- mission. Furthermore, of the 55 carillon arrangements of works that can be attributed to specific composers, only seven arrangements (13%) are of works originally composed by women—Katherine Stockwell Hazzard and Florence Price. Carillonneurs seeking to commission composers are thus encouraged to explore the intersection of race and gender when identifying potential collaborators, and to ask colleagues of races and genders other than their own for outside referrals to composers who will diversify their collaborative relationships. The bibliography is arranged into five sections: 1) Original carillon works by African American composers (sorted by composer last name) 2) Arrangements of African American music (by title) 3) Arrangements of Scott Joplin’s works (by title)1 4) Arrangements of Florence Price’s works (by title) 5) Original carillon works honoring African American history, culture, and identity (by composer last name) Each entry follows the format below. -
Rep List 1.Pub
Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; Please contact Anne Hoffler, contest coordinator, at aahoffl[email protected] for repertoire approval no later than November 30. VIOLIN Faure Elegy, Op. 24 Bach All Violin concerti Haydn Cello Concerto No. 1 in C major Beethoven Violin Concerto in D major Haydn Cello Concerto No. 2 in D major Beethoven Romance No. 1 in G major Lalo Cello Concerto in D minor Beethoven Romance No. 2 in F major Rubinstein Cello Concerto No. 2 in D minor, Op.96 Bériot Scéne de Ballet, Op. 100 Saint-Saëns Cello Concerto No. 1 in A minor, Op.33 Bériot Violin Concerto No. 7 in G major Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bériot Violin Concerto No. 9 in A minor Schumann Cello Concerto in A minor Bruch Violin Concerto No. 1 in G minor Shostakovich Concerto for Cello No. 1 Haydn All Violin concerti Stamitz All Cello concerti Kabalevsky Violin Concerto in C Major, Op. 48 R. Strauss Romanze in F major Lalo Symphonie Espagnole Tchaikovsky Variations on a Rococo Theme, Op.33 Massenet Méditation from Thaïs Vivaldi All Cello concerti Mendelssohn Violin Concerto in E minor, Op.64 Mozart Violin Concerto No. 1 in B-flat major BASS Mozart Violin Concerto No. 2 in D major Bottesini Double Bass Concerto No.2 in B minor Mozart Violin Concerto No. 3 in G major Capuzzi Double Bass Concerto in D major Mozart Violin Concerto No. -
Pre-Assessment
Name: _________________________________________________ Date: ____________________________ Film Music Unit Pretest 6th Grade Music Multiple Choice 1. What is a melody? a. The main line in music b. The background line in music c. A song that we sing d. The rhythmic drive in music. 2. The line of music associated with Luke Skywalker in the movie Star Wars is called a ___________________. a. Sequence b. Ostinato c. Leitmotif d. Melody 3. What was the first movie with an entire original score? a. Gone with the Wind b. King Kong c. Casablanca d. Star Wars 4. What year did synthesizers become introduced as a part of film music? a. 1958 b. 1968 c. 1978 d. 1980 True or False 5. Music was included as a part of film starting with the first motion picture. True False 6. Film composers are not always well-respected in their careers. True False 7. Film music is played by a symphony. True False 8. Ascending melodies are generally happy, while descending melodies are generally sad. True False Matching Match each film with the composer who wrote the film score. 9. ___________ Star Trek a) Hans Zimmer 10. ___________ Edward Scissorhands b) Jerry Goldsmith 11. ___________ Titanic c) Max Steiner 12. ___________ The Lion King d) Danny Elfman 13. ___________ The Pink Panther e) John Williams 14. ___________ King Kong f) James Horner 15. ___________ Star Wars g) Henry Mancini Name: _________________________________________________ Date: ____________________________ Fill in the Blank Insert the best word into each blank. Not all words will be used. character consonance dissonance geographic harmony historic piano tension timbre 16. -
John Barry • Great Movie Sounds of John Barry
John Barry - Great Movie Sounds of John Barry - The Audio Beat - www.TheAudioBeat.Com 29.10.18, 1431 Music Reviews John Barry • Great Movie Sounds of John Barry Columbia/Speakers Corner S BPG 62402 180-gram LP 1963 & 1966/2018 Music Sound by Guy Lemcoe | October 26, 2018 uring his fifty-year career, composer John Barry won five Oscars and four Grammys. Among the scores he produced is my favorite, and what I consider his magnum opus, Dances with Wolves. Barry's music is characterized by bombast tempered with richly harmonious, "loungey," often sensuous melodies. Added to those are dramatic accents of brass, catchy Latin rhythms and creative use of flute, harp, timpani and exotic percussion (such as the talking drums, which feature prominently in the score from Born Free). The Kentonesque brass writing (trumpets reaching for the sky and bass trombones plumbing the lower registers), which helps define the Bond sound, no doubt stems from Barry’s studies with Stan Kenton arranger Bill Russo. I also hear traces of Max Steiner and Bernard Hermann in Barry's scores. When he used vocals, the songs often became Billboard hits. Witness Shirley Bassey’s work on Goldfinger, Tom Jones’s Thunderball, Matt Monro’s From Russia With Love and Born Free, Nancy Sinatra’s You Only Live Twice and Louis Armstrong’s On Her Majesty's Secret Service. Side one of Great Movie Sounds of John Barry features a half-dozen Bond-film flag-wavers -- two each from Thunderball and From Russia With Love and one each from Goldfinger and Dr. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Program Notes | South American Sounds
27 Season 2018-2019 Thursday, October 4, at 7:30 The Philadelphia Orchestra Friday, October 5, at 2:00 Saturday, October 6, at 8:00 Miguel Harth-Bedoya Conductor Elizabeth Hainen Harp Gershwin Cuban Overture Ginastera Harp Concerto, Op. 25 I. Allegro giusto II. Molto moderato III. Liberamente capriccioso (solo cadenza)— Vivace Intermission Piazzolla Tangazo First Philadelphia Orchestra performances López Perú negro First Philadelphia Orchestra performances This program runs approximately 1 hour, 45 minutes. These concerts are sponsored by Ken Hutchins. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the October 5 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. Villa-Lobos Quintet in the Form of a Chôros (in one movement) Patrick Williams Flute Peter Smith Oboe Socrates Villegas Clarinet Angela Anderson Smith Bassoon Ernesto Tovar Torres Horn Ginastera from String Quartet No. 1, Op. 20: I. Allegro violento ed agitato II. Vivacissimo Dara Morales Violin Yu-Ting Chen Violin Meng Wang Viola John Koen Cello Piazzolla “Oblivion” and “Libertango” Dara Morales Violin Yu-Ting Chen Violin Meng Wang Viola John Koen Cello 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in -
Amazing Grace
GOODSPEED MUSICALS TEACHER’S INSTRUCTIONAL GUIDE Goodspeed’s Teacher’s Instructional Guide Instructional Teacher’s Goodspeed’s is madepossiblethroughthegenerosity of The Max Showalter Centerfor Education inMusical Theatre AMAZING GRACE The Norma Terris Theatre May 17 - June 10, 2012 _________ MUSIC AND LYRICS BY CHRISTOPHER SMITH BOOK BY ARTHUR GIRON Teacher’s Instructional Guide & CHRISTOPHER SMITH TABLE OF CONTENTS SCENIC DESIGN BY How To Use The Guides.......................................................................................3 BEOWULF BORITT ABOUT THE SHOW: COSTUME DESIGN BY Show Synopsis........................………………………………………………...4 TONI-LESLIE JAMES Character Summary.........................………………………………………..6 LIGHTING DESIGN BY Meet the Writers.........................................................................................7 KEN BILLINGTON Behind the Scenes: Creating the Set......................................................8 MUSIC DIRECTION BY JODIE MOORE BACKGROUND AND THEMATIC MATERIAL: Slavery...............................................…....…...…………………………….9 MUSIC SUPERVISION AND ARRANGEMENTS BY The Slave Trade......................…………....…………………………………10 KIMBERLY GRIGSBY Modern-Day Slavery..............……………..………………………………..12 FIGHT MOVEMENT John Newton.................…………………………………………….……….13 AND MILITARY DIRECTOR DAVID LEONG “Amazing Grace”...................................................................................15 LESSONS: CHOREOGRAPHED BY BENOIT-SWAN POUFFER Middle School Language Arts.....….………………………………..........16 -
Claude Achille Debussy Bewitching in Music, Bastard in Love
finaldeb.doc 14,506 Claude Achille Debussy Bewitching in music, Bastard in Love Born: Saint-Germain-en-Laye (near Paris), 22 August 1862 Died aged 55: Paris, 25 March 1918 There is a woman at each crossroad of Debussy’s life. Certainly women of all ages seemed fascinated by him, and they attached themselves to him like ivy to a wall. [Marcel Dietschy: A Portrait of Claude Debussy] He was - it’s all in his music - a very sensual man. [Maggie Teyte, soloist in Pelléas et Mélisande, 1908] Claude has still not recovered from the nibbles of your dear little mouth. [Debussy to Lilly Texier, 24 April 1899] She knew what she wanted and had come prepared. When, in reply to her knock, Claude opened the door, he saw that she was nude under her fur coat. [from Pierre La Mure’s novel: Clair de Lune] Let’s not mince words. Where most of his many women were concerned Debussy was a bastard! After his death there was a roaring trade in grotesque wax effigies, demanded by screaming feminists, of this monster with the renowned bulging cranium and double-forehead. I made that up about the effigy, of course, though it’s true that Debussy’s double forehead was always his most distinguishing physical feature. Double forehead or not, Oliver Reed was certainly the right man to play Debussy in Ken Russell’s BBC Omnibus Classic documentary of 1963, The Debussy Film, scripted by Melvyn Bragg. Russell selected Reed after seeing him on Juke Box Jury and being stunned by his physical resemblance to the composer. -
Information to Users
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<I>Rapsodie Pour Orchestre Et Saxophone</I>, by Claude Debussy
Western Kentucky University TopSCHOLAR® Student Research Music 4-7-2008 Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/mus_stu_res Part of the Music Commons Recommended Citation Blum, Jonathon, "Rapsodie pour Orchestre et Saxophone, by Claude Debussy" (2008). Student Research. Paper 1. http://digitalcommons.wku.edu/mus_stu_res/1 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Student Research by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Music Student Research Western Kentucky University Year Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] This paper is posted at TopSCHOLAR. http://digitalcommons.wku.edu/mus stu res/1 Rapsodie pour Orchestre et Saxophone, by Claude Debussy, Jonathon Blum The Rapsodie pour Orchestre et Saxophone composed by Claude Debussy is a very intriguing work that for all its musical merit remains pushed aside by many musicologists and ignored by the mainstream orchestral repertoire. Composed by Debussy in Paris in 1904 and published by Durand, this work lasts a duration of about ten minutes and features an orchestra with solo saxophone. 1 The piece was commissioned in 1903 by a wealthy Boston aristocrat/amateur saxophonist Mrs. Richard J. Hall, often referred to as Elise Hall. The Rapsodie was composed at the same time that Debussy was working on La Mer and when he was in a period of great distress in his own life.