DOCSLIB.ORG

Selected Artists

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected Artists SELECTED ARTISTS Outstanding musicians specially chosen for Making Music members Young Artists 2018–20 Selected Artists 2019–20 Contents What is the Selected Artists Guide? 03 About Selected Artists 16 Subsidies and Advice 03 Selected Artists 2018–19 17 About the Philip and Dorothy 04 Sources of affordable artists 52 Green Young Artists and other financial support Young Artists 2018–20 05 Index of Young Artists 2018–20 Lewis Banks 05 Toby Hughes 10 Emma Halnan 07 Alexandra Lomeiko 11 Catriona Hewitson 08 Ugnius Pauliukonis 12 St Martin's Winner 2018 Barbican Quartet 15 Index of Selected Artists 2018–19 Trio Volant 33 Artesian Quartet 34 Dinara Klinton 17 Consone Quartet 35 Luka Okros 19 Emily Askew Band 36 Raphaela Papadakis 20 Laefer Quartet 39 Joo Yeon Sir 21 Cavendish Winds 41 Andrey Lebdev 23 The Bach Players 42 Jamal Aliyev/Jâms Coleman 24 Kosmos Ensemble 43 Lawrence Power/Simon Crawford Phillips 25 Papagena 44 Alexandra Ridout 26 NYJO Ambassadors 45 Dominic Alldis Trio 29 Pleyel Ensemble 46 Effra Music 30 Prince Regent's Band 47 Minerva Piano Trio 31 Christopher Strange 48 Pelléas Ensemble 32 Index of Advertisers Matthew Scott & friends 14 Concert Royal 28 Sara Stowe & Matthew Spring 6 David Owen Norris 18 Classico Latino 37 She'Koyokh 6 Enceladus Ensemble 18 Engegård Quartet 37 Photo: Timothy Ellis The Piatti Quartet 6 Handel Festival 22 Flaugissimo Duo 37 Phileas Flute 9 Kathleen Linton-Ford 27 The Juniper Project 37 Richard Saxel 9 Palisander 27 Aurora Ensemble 38 The Thorne Trio 13 Passacaglia 27 Siriniu 38 Prince Bishop's Brass 13 Sara Stowe 27 Brook Street Band 38 Ruth Rogers 13 Albany Trio 28 Boxwood & Brass 38 Cover photo: Cavendish Winds 2 What is the Selected Artists Guide? Subsidies: small promoters (income under INFORMATION Welcome to the 2018 edition of the Selected £14,500) can claim two subsidies: Artists guide. Whether you are a promoter looking for artists or a performing group • Selected Artist Subsidy: £100 towards the looking for soloists, this guide will help you booking fee for any Selected Artist featured. find excellent, affordable musicians and ensembles. • Artists Expenses Subsidy: £50 to £125 towards the expenses of the artist. It’s not just a list of great artists; there are subsidies available for every artist or Did you know? The Artists Expenses ensemble listed. The guide is split into three Subsidy can be claimed when booking sections: any professional artist, not just the ones 1. The Philip & Dorothy Green Young in this guide. More information is Artists (orange pages 4-12) have been available in the relevant sections at auditioned and chosen by a distinguished makingmusic.org.uk/subsidies panel of experienced musicians. We would like to say a huge thank you to the Subsidy: £150 subsidy for booking a solo Selected Artists Panel for their hard work and artist and £250 with an accompanist expertise in putting this guide together. They 2. The St Martin-in-the-Fields Chamber are: Glynne Stackhouse (Chair), George Music competition winners (red pages 15): Wolfe, Kumi Smith-Gordon, Alexandra Scott, Stephen Leeder, Suzanne Connor, Jolyon Subsidy: available at a fixed fee of £250 per Dodgson, Stuart Isaac and Clive Walkley. performer for the first 12 engagements. Ben Saffell 3. Our Selected Artists (purple pages Membership and Services Manager 16-18) are recommended by the Selected Making Music Artists Panel (formed of Making Music promoter members). About Making Music Since 1935, Making Music has championed leisure-time music groups across the UK with William Howard 40 practical services, artistic development Trio Derazey / Chaconne Brass 49 opportunities and by providing a collective YCAT 50 voice for its members. We now represent over Abel Selaocoe 51 3,300 groups made up of around 180,000 Charivari Agreable 51 musicians of all types, genres and abilities. Fontanella 51 We help them run their group so they can get Anneke Scott 54 on with making music! James Lisney 55 makingmusic.org.uk Warren Mailley-Smith / Picadilly Piano Trio / 56 [email protected] Susan Parkes 020 7939 6030 3 Philip and Dorothy Green Young Artists The Philip and Dorothy Green Young Artists How to book the Young Artists award celebrates the best of the UK’s young musical talent, at the same time as A limited number of subsidies are available providing Making Music member groups so you must check before booking an artist. with an affordable way of booking the stars • Contact us to check a subsidy is of tomorrow. Each year the award is available (telephone 020 7939 6030 or presented to six of the UK’s most talented email [email protected] young musicians. Making Music members can book these Young Artists for a set fee of • Once this is confirmed, book the artist £250 (or £500 with accompanist) and then as you usually would claim a £150 subsidy for a solo artist or • Once the booking is confirmed, let us £250 if the soloist comes with an know the date of the concert accompanist. • After the concert pay the artist(s) and The award was created in 1961 and has contact us to claim the subsidy helped to launch the careers of dozens of young musicians including Steven Isserlis, Please note you can only claim a subsidy Elizabeth Watts and Craig Ogden. It is made for one P&DG Young Artist in this guide; possible by the generosity of the Philip and contact us for advice if you would like to Dorothy Green Music Trust, which book more than one, as sometimes promotes young artists and composers. exceptions apply. You will have to follow certain guidelines to acknowledge the subsidy in your promotional material and send in a copy of the signed contract to secure the subsidy. If you would like to pay the artist more than £250, it is fine to do so, but please note the subsidy remains the same. 4 Saxophone Lewis Banks Fee £250 Subsidy available. See page 4. SAMPLE REPERTOIRE See full repertoire details at www.makingmusic.org.uk/PDGYA RECITAL PROGRAMMES 1. Debussy 'Prélude à l'après midi d’un faun'; MacMillan 'After the Tryst'; Creston Sonata; Piazzolla 'Histoire du Tango'; Fitkin Gate; Ravel Sonatine; Schuman Adagio and Allegro; Libby Larsen 'Holy Roller' PHILIP AND DOROTHY GREEN YOUNG ARTISTS 2018–20 PHILIP AND DOROTHY GREEN YOUNG ARTISTS 2. Villa-Lobos 'Fantasia'; Debussy 'Syrinx'; Ravel 'Piece en forme de Habanera'; Francaix 'Cinq Danses Exotiques'; Schulhoff 'Hot Sonata'; Jolivet 'Fantasie Impromptu'; Bozza Photo: John Cooper Photography Aria; Baez 'L’Arlesienne Fantasy Scottish saxophonist Lewis Banks studied at the Concerto' Royal Conservatoire of Scotland where he won 3. David 'Heath On Fire'; Rachmaninov 'Vocalise'; Ryo Noda most major prizes and was awarded full marks Mai; Andrew Norman 'The Garden of in his final undergraduate recital, graduating Follies'; Debussy 'Prélude à l'après with a Bachelor of Music with Honours (First midi d’un faun'; Fitkin 'Glass'; MacMillan 'After the Tryst'; Rorem Class). In the same year, while still an 'Picnic on the Marne'; Muczynski undergraduate student, Lewis appeared with Sonata the Royal Scottish National Orchestra as soloist CONCERTOS in Jacques Ibert’s Concertino da Camera. Lewis Ibert, Glazunov, Baez, Capperauld, has since continued his masters studies at the Larsson, Graham, Villa-Lobos and Conservatoire, during which time he became a Jacob ter Veldhuis Yeoman of the Worshipful Company of EDUCATIONAL WORK Musicians. In March 2019, Lewis will appear in Lewis is saxophone tutor at Hamilton recital at the Southbank Centre's Purcell Room. College School and has taught as a deputy teacher of saxophone at the Royal Conservatoire of Scotland Junior Department, in addition to taking performance classes. Find Lewis on: Glasgow 07526 572206 @lewisbankssax [email protected] www.lewisbankssax.com 5 Advertisement Sara Stowe and Matthew Spring ‘Shall we go walk the woods so Wilde?’ Popular Songs and Instrumental Variations from the Elizabethan Court and the London Stage “Performances throughout are exemplary, with Stowe’s bright captivating voice, full of longing and loss, life and lustiness”. CD Review of their Chandos CD £250 per artist. For further details see www.stoweandspring.com and call 07986 933532 S h e ´ K o y o k h “ “Breathtaking instrumental skills… …great musicianship” BBC Music Magazine *****Evening Standard **** The Guardian **** fRoots ****Songlines She'Koyokh is "one of London's musical treasures playing the best klezmer and Balkan music in Britain" (The Evening Standard). The band's performances include WOMAD, Amsterdam Concertgebouw, Cheltenham festival, Purcell Room, LSO St Luke’s, the Snape Proms and live sessions on BBC radio. www.shekoyokh.co.uk 6 Flute Emma Halnan Fee £250 Subsidy available. See page 4. SAMPLE REPERTOIRE See full repertoire details at www.makingmusic.org.uk/PDGYA RECITAL PROGRAMMES 1. Donizetti Sonata; Tchaikovsky 'Lensky’s Aria' arr. Braunstein; Karl Jenkins 'Ryers Down' (written for Emma, 2016); Martinu Sonata; James Francis Brown Sonatina (commissioned by Emma, 2018); Debussy 'Syrinx'; Prokofiev Sonata in A major No. 6 PHILIP AND DOROTHY GREEN YOUNG ARTISTS 2018–20 PHILIP AND DOROTHY GREEN YOUNG ARTISTS 2. Hüe 'Fantasy'; Burton Sonatina; Barber 'Canzone'; York Bowen Sonata; CPE Bach 'Hamburger' Sonata; Clara Schumann 'Three Romances'; Brotons Sonata; Borne Photo: Ian Dingle 'Carmen Fantasy' Emma first came to prominence when she won 3. JS Bach Sonata in G minor; the BBC Young Musician of the Year's Woodwind Mozart Andante in C major; Mácha 'Variace'; Taffanel 'Freischutz award. She has performed worldwide and played Fantasy'; Lili Boulanger 'Nocturne' concerti with orchestras including BBC NOW, the Berio Sequenza No.1; Franck Sonata in A major (arr. flute/piano) EU Chamber Orchestra and London Mozart Players. Emma studied at the Royal Academy of CONCERTO Music, where her flute-viola-harp trio held a Arnold, CPE Bach, Vivaldi, Mozart, Chaminade, Reinecke, Ibert, prestigious fellowship from 2014-16.
Load more

Recommended publications
  • LEON BOTSTEIN, Conductor
    Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage presents LEON BOTSTEIN, Conductor Performance #141: Season 5, Concert 12 ARTHUR HONEGGER Rugby (1928) (1891–1955) OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone Intermission DIMITRI MITROPOULOS Concerto Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC – TON’S KADEN HENDERSON ON ARTHUR HONEGGER’S RUGBY MATT DINE MATT Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile.
    [Show full text]
  • Sunday 31 January 2016 David Owen Norris, Piano & Adrian
    Sunday 31 January 2016 David Owen Norris, Piano & Adrian Chandler, Violin Revised Programme Sonata for piano and violin in B flat major K378 Wolfgang Amadeus Mozart (1756-1791) Allegro Moderato Andantino sostenuto e cantabile Rondeau: Allegro – Allegro – Come prima Variations for solo piano on Robin Adair (see note) George Kiallmark (1781-1835) Andante semplice. Var:1 Gayment Var:2 Siciliano Var:3 Marcia risoluto Var:4 Brillante Var:5 A Tempo 6 variations on Hélas, j’ai perdu mon amant in G minor K360 Wolfgang Amadeus Mozart Sonata for fortepiano and violin in A major op 12/2 Ludwig van Beethoven (1770-1827) Allegro vivace Andante più tosto allegretto Allegro piacevole INTERVAL Piano solo: Rondo capriccioso op 14 (Vienna, 1830) Felix Mendelssohn (1809-1847) Sonata for fortepiano and violin in F major op24 Ludwig van Beethoven (1770-1827) Allegro Adagio molto espressivo Scherzo – Allegro molto Rondo – Allegro mà non troppo Note: Kiallmark’s Variations on Robin Adair (the only piece of music actually named in Jane Austen’s novels) appears in the novelist’s own music collection as a cherished and carefully bound print. In Emma, Frank Churchill and Emma listen to Jane Fairfax playing the new piano which Frank has anonymously presented to her: the engagement between Jane and Frank is a secret. Frank’s remarks to Emma are full of double meanings as they discuss Jane’s supposed infatuation with the married Mr. Dixon. Despite the fact that Frank says: ‘She is playing Robin Adair at this moment – his favourite’, many assume that Jane was singing as well (Peter F.
    [Show full text]
  • Folklore______Mmihhhhihhflhi Box 19114,20Th Street Station, W Ashington, DC 20036
    Ibe Folklore_______ MMIHHHHIHHflHi Box 19114,20th Street Station, W ashington, DC 20036 j UNBBIHTHI VOLUM E X V I I , NO. 8 APRIL 1981 PHONE (703) 281-2228 Nancy Schatz, Ed it o r Roy Harris Featured in April 10 Program Our April program w ill feature folksinger Roy Harris, Roy, who comes from Nottingham, England, is one of the finest sing­ ers of traditional songs and ballads. His repertoire is about 80# traditional song with the rest being a mixture of contem­ porary material, parodies, music hall numbers, even an occa­ sional popular song from the 1930*s. A ll are presented with a warm, sometimes humorous st yle t h a t 's a l l Royf s own. Roy has been singing full-tim e since 196^ in folk clubs a ll over Europe, Canada, and the United States, He has served as director of the National Folk Festival in Loughborough, Eng­ land, for four years. He founded the Nottingham tradition al Music Club, He has six solo albums, five of them on the Topic label and one on F e lls id e . The program begins at 8i30 p.m., Friday, April 10, The place* the Washington Ethical Society auditorium, 7750 16th St., N.W. (at Kalmia Rd.) Admission is free to FSGW members, $2 for non-members. Come early to be sure of getting a seat. Battlefield Band to Perform April 18 Battlefield Band can best be described as a high-energy Scottish band. They have just completed their sixth album (Horae Is Where the Van Is, for the Flying Fish label).
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Britten EU 572706Bk Britten EU 02/06/2011 12:29 Page 1
    572706bk Britten EU_572706bk Britten EU 02/06/2011 12:29 Page 1 Mark Wilde David Owen Norris The tenor Mark Wilde studied at the Royal College of Music in David Owen Norris studied in Oxford, London and Paris. He was London. His rôles have included Ferrando in Così fan tutte repetiteur at the Royal Opera House, harpist at the Royal BRITTEN (Glyndebourne), Frederic in Pirates of Penzance (ENO), Shakespeare Company, Artistic Director of Festivals in Cardiff Albert Herring (Perth Festival), Il Campanello (Buxton and Petworth, Chairman of the Steans Institute for Singers in Festival), Ottone in La Serenissima (BBC Radio 3), Jacquino Chicago, and the Gresham Professor of Music in London. He is in Fidelio (Glyndebourne Touring Opera), Seven Deadly Sins currently preparing a third series of his iPod programmes for Complete Scottish Songs (WNO), Cat in Jonathan Dove’s Pinocchio (Opera North), BBC Radio 4, and his current engagements include performances A Birthday Hansel • Who are these children? Ottavio in Don Giovanni (Mostly Mozart Festival), Male in Norway, Holland, France, Taiwan, Mexico, Canada, and across Chorus in The Rape of Lucretia (European Opera Centre), the United States. His discography includes recordings of Giannetto in La gazza ladra (Garsington Opera), Rudolf in concertos by Elgar, Phillips, Arnell and Lambert, of the complete Mark Wilde, Tenor Euryanthe (Netherlands Opera), Ottavio, Alfredo in La travia- piano music of Elgar, Quilter and Dyson, Jane Austen’s music ta, Candide, and Idamante in Idomeneo (Birmingham Opera), collection, and many song collections, including the première Lucy Wakeford, Harp • David Owen Norris, Piano Count Almaviva in The Barber of Seville (Savoy Theatre Photo: www.simonweir.com recording of Schubert’s first song-cycle, the Kosegarten Opera), Adelaide de Borgogna (Edinburgh International Liederspiel, and of Elgar’s last song.
    [Show full text]
  • An English Requiem — Issue 118, 1 February 2018
    C L A S S I C A L M U S I C D A I L Y An English Requiem — Issue 118, 1 February 2018 CD SPOTLIGHT — BRAHMS IN LONDON Gerald Fenech: 'One of Brahms' most popular works and undoubtedly his greatest choral piece is Ein deutsches Requiem. Premiered in its complete seven movements on 18 February 1869 in Leipzig, the Requiem was a great success despite some initial critical reservations. 'The work was soon enthusiastically sought out by choral societies all over Europe not least in Britain, where choral singing is regarded as the lifeblood of the nation. Indeed, there are records of its being performed some thirty times between the full Leipzig premiere and the 1873 Philharmonic Society performance. But, oddly enough, the Philarmonic's was not the first English performance. This took place on 7 July 1871 in a private performance in London with reduced forces using Brahms' four-handed arrangement instead of an orchestra. The records show the choir was of about thirty voices and the piano duettists were the veteran English composer Cipriani Potter and Kate Loder, a prominent pianist at the Royal Academy of Music. This version subsequently became known as the "London Version" and the composer and scholar George Alexander Macfarren, in his notes to the Philarmonic's performance of 2 April 1873, dubbed the work "An English Requiem".' (Johannes Brahms: An English Requiem, Delphian DCD34195) Gerald also listens to Ástor Piazzolla and Horacio Ferrer's María de Buenos Aires (Delphian DCD34186) and to Jorge Federico Osorio — Final Thoughts (Cedille CDR 90000 171).
    [Show full text]
  • Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
    Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs.
    [Show full text]
  • The Heavens and the Heart James Francis Brown
    THE HEAVENS AND THE HEART CHORAL AND ORCHESTRAL MUSIC BY JAMES FRANCIS BROWN BENJAMIN NABARRO VIOLIN RACHEL ROBERTS VIOLA GEMMA ROSEFIELD CELLO CATRIONA SCOTT CLARINET THE CHOIR OF ROYAL HOLLOWAY ORCHESTRA NOVA GEORGE VASS CONDUCTOR The Heavens and the Heart Choral and Orchestral Music by James Francis Brown (b. 1969) Benjamin Nabarro violin 1. Trio Concertante [20:46] Rachel Roberts viola for violin, viola, cello and string orchestra Gemma Rosefield cello Clarinet Concerto Catriona Sco clarinet (Lost Lanes – Shadow Groves) The Choir of Royal Holloway for clarinet and string orchestra Orchestra Nova 2. Broad Sky – Interlude I [7:03] 3. Dark Lane – Interlude II [5:28] George Vass conductor 4. Around the Church – Interlude III [5:52] 5. The Far Grove [5:20] The Heavens and the Heart Three Psalms for chorus and small orchestra 6. Caeli enarrant gloriam Dei (Psalm 19) [6:05] 7. Si vere utique justitiam loquimini (Psalm 58) [6:48] 8. Bonum est confiteri Domino (Psalm 92) [6:40] Total playing time [64:07] About Orchestra Nova & George Vass: ‘Playing and recorded sound are both excellent. It’s a fascinating achievement, beautifully done’ Gramophone ‘[...] an outstanding recording of a powerful and absorbing work’ MusicWeb International James Francis Brown has been a close friend the age.’ The music on this recording for over twenty years. I first heard his music abundantly proves the connuing when, as Arsc Director of the Deal Fesval, truth of Tippe’s words from eighty I programmed his String Trio in 1996 and years ago. immediately recognised in him a kindred spirit. James is commied to the renewal David Mahews of tonality, but not the simplisc sort one finds in minimalism, rather one that uses real voice leading, modulaon and lyrical The Heavens and the Heart: Orchestral melody.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • Soprano Cornet
    SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor
    [Show full text]
  • Vol.21 No 2 August 2018
    Journal August 2018 Vol. 21, No. 2 The Elgar Society Journal 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2018 Vol. 21, No. 2 Cross against Corselet: Elgar, Longfellow, and the Saga of King Olaf 3 President John T. Hamilton Julian Lloyd Webber FRCM Elgar’s King Olaf – an illustrated history 15 John Norris, Arthur Reynolds Vice-Presidents To the edge of the Great Unknown: 1,000 Miles up the Amazon 27 Diana McVeagh Martin Bird Dame Janet Baker, CH, DBE Leonard Slatkin Book reviews 41 Sir Andrew Davis, CBE Barry Collett Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 43 Andrew Neill Barry Collett, Andrew Neill, Michael Schwalb Sir Mark Elder, CBE Martyn Brabbins DVD reviews 54 Tasmin Little, OBE Ian Lace Letters 56 Jerrold Northrop Moore, Andrew Neill, Arthur Reynolds Chairman Steven Halls Elgar viewed from afar 58 Alan Tongue, Martin Bird Vice-Chairman Stuart Freed 100 Years Ago 69 Martin Bird Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Front Cover: Edward William Elgar (1857-1934; Arthur Reynolds’ Archive) and Henry Wadsworth Longfellow (1807-1882; Charles Kaufmann’s Archive). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Cross against Corselet required, are obtained. Elgar, Longfellow, and the Saga of King Olaf Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions.
    [Show full text]
  • FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members As at 12Th April 1981 Abbreviations: F in Left-Hand Margin Denotes Fellow
    FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members as at 12th April 1981 Abbreviations: F in left-hand margin denotes Fellow. After the name: M - maker; R - restorer; C - collector; P - performer; L - lecturer/teacher; W - writer; D - dealer; res - research (not yet W or L) NB: No distinction is made between amateur and professional, nor between the beginner and the highly experienced. This is a list of members and their interests; it is not a trade list nor a professional register. Richard W.Abel, Beatty Run Road, RD no.5, Franklin, PA 16525, USA; tel: (814) 574-4H9 (woodwind; R,C,P). Ian Abernethy, 21 Bridge Street, Kelso, Roxburghshire, Scotland TD5 7HT, UK; tel: 5805 (recorder, P; keybds, M). Bernard Adams, 2025-55 St. SW, Calgary, Alberta, Canada T5E 2X5; tel: (405) 242-8946 (string instrs, ww; M,R). Gerald Adams, 252 Queens Road, Norwich, Norfolk, UK (plucked str. instrs, hurdy-g, bar. guitar; M). Robin Adams, 2 Tunbridge Court, Sydenham Hill, London SE26 6RR, UK. Gilliam Alcock - see Terence McGee (dulcmr, banjo, hpschd, M; dulcmr, hpschd, concertina, P). Christopher Allworth, RR5-1110, Yarmouth, Nova Scotia, Canada B5A 4A7 (med. string instrs; M,P). AMLI Central Library for Music & Dance, 26 Bialik Street, POB 4882, Tel-Aviv, Israel; tel: Tel-Aviv 58106 (all instrs). Susan Elizabeth Andersen - see Theo Miller (psalteries, M; recorders, P). Lars H.Andersson, Vaisalavagen 8, 02150 Esbo 15, Finland; tel: 9O-46444O (viol; M,P). Peter B.Armitage, 52 Downs Road, Epsom, Surrey KT18 5JN, UK; tel: Epsom 22560 (violin fam. & other string instrs).
    [Show full text]