DOCSLIB.ORG

Highnotes Brest Van Kempen Technical Advisor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Highnotes Brest Van Kempen Technical Advisor We’re about to leave chilly Chicago, so have your tickets or boarding passes ready and don’t forget to bring a snack! This month the ESO invites you on a musical tour of eight European countries. However, the pieces of music chosen for March are not the grand German symphonies, French oratorios or Italian operas. Rather, they’re works in the Musical Notes and Activities for Seniors classical style that we hope will give you a vivid impression of the country. We’ve cho- from the Evanston Symphony Orchestra sen pieces called “tone poems” or “sound pictures” as well as works based on the folk music of each country, Itinerary the music that comes from the earth and lives on in the bones and the souls of the people. These selections include music inspired by Scotland, England, 2 Scottish bagpipe and fiddle tunes, English Morris dances, Spanish gardens, French nursery rhymes, Italian pines and others. So, find Ireland & St. Patrick’s Day 4 a comfortable seat and settle in for the trip. All aboard! By the way, all of the travel posters in this High- France, 6 Notes date from the 1950s, many from airlines that no longer exist like TWA (Trans World Norway, Armenia 8 Airlines) and Pan Am (Pan American), which couldn’t keep up with changing travel demands Italy 10 and went out of business. Braniff, the airline that produced this colorful Chicago poster, Spain 12 suffered the same fate. Others managed to adapt and some of those have just changed Bygones, Puzzles, Jokes names; BOAC, British Overseas Airways Cor- & Other Amusements 14 poration, is now just plain “British Airways.” Vol. 1, No. 9 March 2021 March 2021 Editor ..............................................................................................KellyHighNotes Brest van Kempen Technical Advisor..................................................................................................David Ellis Puzzle & Maze Checkers …………………………..Connor, Addison, Ryan, Calli, Ciara & Gus Hi hN t © C 2021 SO ( f ’ ESOA makes no claim to copyrights held by others and uses such materials for educational purposes only under the “fair use” exception to copyright law. xxX X First stop on our armchair travels is bonny From Scotland we’ll head south to England, Scotland, the northern half of the island of where so many of our American musical Great Britain and home to bagpipes, tartans, traditions started out, including that of the wild scenery and wonderfully warm people. local brass band. (Think The Music Man!) The bagpipe is the national instrument of Scot- Ralph (pronounced “Rafe”) Vaughan Williams land, but, like kale, you either love the sound (1872-1958) was born into a minister’s family or hate it. We won’t get into that discussion in Gloustershire, which borders Wales in SW here, but will list some sources in the Links. England. He was very influenced by English Max Bruch (1838-1920) was a German composer, conductor and folk song and his music has a distinctly “English” sound. In 1904, he teacher, and who wrote more than 200 works. Although not Scottish, began compiling hymns for the English Hymnal. While reviewing Bruch captured the flavor of the country perfectly in his Scottish collections of English folk songs and church music, he wrote, “I Fantasy, a work in four movements based on Scottish folk songs. wondered then if I was wasting my time. But I know now that two We’ll provide a link to a fabulous performance by Nicola Benedetti, years of close association with some of the best - as well as some Scotland’s foremost classical violinist. of the worst - tunes in the world was a better musical education than any amount of sonatas and fugues.” The first movement is built on "Through the Wood, Laddie". It begins with a brooding violin solo evoking hard life in the glens Vaughan Williams was particularly taken by the folk songs he and by the lochs. Then the music warms with a “Celtic” flavor, discovered because they were fast becoming extinct; the oral tra- perhaps the echo of bagpipes. This tune also appears at the end dition, which had handed them down through the generations, of the second and fourth movements. was being undermined by the increase of literacy and printed music in rural areas. He travelled the countryside, transcribing The second movement is a lively piece built around "The Dusty and preserving many himself, fascinated by the beauty of the Miller", a poem by Robert Burns that tells the tale of a lass who – music and its anonymous history in the working lives of ordinary alas – fell in love with the local grain grinder: ”Dusty was the coat; people. Later he incorporated many of the songs and melodies dusty was the colour; dusty was the kiss that I got from the miller!” into his own music, which did much to raise appreciation of trad- The third tune is a sad lament "I'm A' Doun for Lack O' Johnnie" itional English folk song and melody. (“I’m All Down for the Lack of Johnnie.”), another tale of poignant In March of 2018, the ESO performed Vaughan Williams’ English regret for a lost love, but in this music, it seems so much more… Folk Song Suite of three traditional English folk songs woven toge- The fourth movement includes sprightly variations on the tune in ther for orchestra. Originally written in 1923 for military band, it’s the patriotic anthem "Scots Wha Hae" (also with lyrics by Robert one of his most famous works. The piece has three movements: a Burns, Scotland’s greatest poet). It’s the unofficial Scottish national sprightly March, based on Seventeen Come Sunday; a melancholic anthem and, like “The Star Spangled Banner,” is a song of war. Intermezzo with My Bonny Boy, and a final rousing March from Folk It’s sung in Scots and the first lines translate as “Scots who have Songs from Somerset. It’s easy to imagine a British Army or local with Wallace bled… welcome to your gory bed…” (If you’ve seen band proudly marching along to tunes the musicians had learned the film Braveheart, you’ll understand the reference.)xxxxxxxxx . from their grandparents. X2 X3 “Everyone’s a bit Irish on St. Patrick’s Day” - Since we’re still in Ireland let’s celebrate St. Patrick’s Day! Here are and traditional Irish music must certainly be some facts – and some fiction – about Ireland and its patron saint. one of the reasons! Who can resist a lively jig or a soulful ballad? Many composers have Who was St. Patrick? He was a Roman citizen who was born in arranged traditional Irish songs, but here we’ll the year 385 CE somewhere along the west coast of Britain, most highlight one close to home. likely in the Welsh town of Banwen. At age 16, he was captured and sold into slavery to an Irish sheep farmer. He escaped when he was Leroy Anderson (1908-75) was the king of 22 and spent the next 12 years in a Christian monastery. He then American light music. (We featured his returned to Ireland and is credited with bringing Christianity to that Sleigh Ride in the December HighNotes and island. He died in 461 and is buried at Downpatrick. The Typewriter in October.) In 1947, the Eire Society of Boston commissioned him to create an orchestral suite of traditional Irish What’s this about snakes? Saint Patrick is known for driving folk music to be performed by the Boston Pops Orchestra. the snakes from Ireland. It’s quite true that there are no no Anderson completed four movements in just 11 days, then added no snakes in Ireland, but there probably never have two movements in 1949 for the version we know today. been! The island separated from the rest of Europe 1. The Irish Washerwoman: not only a traditional Irish jig, but also at the end of the Ice Age when all the snakes were part of Scottish Highland dancing competitions. Celtic cousins. farther south where it was warmer. (Smart snakes!) 2. The Minstrel Boy: one of the saddest of Irish ballads. “The When was the first St. Patrick's Day parade? Not in Ireland, but minstrel boy to the war has gone…” We already know what rather in the United States. Irish soldiers serving in the British army happens to the lad. The song was popular during the U.S. Civil marched through New York City on March 17, 1762. Along with their War, when a third verse was added. It’s on the Links pages music, the parade helped them reconnect with their Irish roots. 3. The Rakes of Mallow: a lively jig or polka about the young hell- Are shamrocks lucky? That depends on whether you’re raisers from the Creagh family in the town of Mallow. Also used lucky enough to find one! One estimate suggests that as a fight song for the Notre Dame Fighting Irish! there are about 10,000 regular three-leaf clovers for 4. The Wearing of the Green: an old ballad lamenting the English every lucky four-leaf clover. Legend gives meaning to repression of supporters of the Irish Rebellion of 1798. “They’re each leaf of the clover: the first is for hope, the second for faith, the hanging men and women for the wearing of the green." third for love, and the fourth for good luck. 5. The Last Rose of Summer: a lovely song based on a poem by What’s a leprechaun? In most Irish folktales leprechauns are Thomas Moore about growing old. It was set to music in the small, stocky creatures who like living in remote places. They are early 1800s and a favorite of solo singers.
Load more

Recommended publications
  • The Mashups of Youtube
    10.2478/nor-2013-0053 Nordicom Review 34 (2013) 2, pp. 47-63 The Mashups of YouTube Thomas Mosebo Simonsen Abstract This article focuses on YouTube mashups and how we can understand them as a specific subgenre on YouTube. The Mashups are analysed as audiovisual recontextualizations that are given new meaning, e.g., via collaborative social communities or for individual pro- motional purposes. This is elaborated on throughout a discussion on Mashups as a mode of everyday bricolages, which are moreover discussed through a theoretical approach to Mashups as exponents of what has been called “Vernacular Creativity”. The article also argues that the novelty of Mashups is not be found in its formal characteristic, but rather in its social and communicative abilities within the YouTube community. This leads to the article’s overall argument that the main characteristic of the YouTube Mashup can be explained in terms of connectivity. It is argued that Mashups reveal a double articulation of connectivity; one that involves the social mechanisms of the Mashups, and another mode, which concerns the explicit embedding of structural connectivity that accentuates the medium-specific infrastructure of YouTube. This double articulation of connectivity is furthermore elaborated on by including Grusin and Bolter’s concept of remediation. Methodologically, the article draws on empirical observations and examples of Mashups are included to demonstrate the article’s main arguments. Keywords: YouTube, mashups, connectivity, remediation, social media, vernacular creativity Introduction On YouTube, a culture of audiovisual expressions has emerged that I will characterize here as the Mashup culture of YouTube. Mashups are videos that have their origin in the music sampling culture and are considered recontexualizations of already existing materials (cf.
    [Show full text]
  • OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
    OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts.
    [Show full text]
  • CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
    CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region.
    [Show full text]
  • Comparison Between Persian and English Lullabies' Themes: Songs
    19895 Maryam Sedaghat et al./ Elixir Literature 65 (2013) 19895-19899 Available online at www.elixirpublishers.com (Elixir International Journal) Literature Elixir Literature 65 (2013) 19895-19899 Comparison between Persian and English Lullabies’ themes: Songs which Originate From Heart of the Culture Maryam Sedaghat 1,* and Ahmad Moinzadeh 2 1Translation Studies, University of Isfahan, Iran. 2Department of English, University of Isfahan, Iran. ARTICLE INFO ABSTRACT Article history: The present research aimed to investigate the thematic concepts of lullabies as folk songs Received: 3 November 2013; which have passed orally through generations. The themes are hidden ideologies of lullabies Received in revised form: that carry cultural attitudes; in this regard, lullabies’ themes can reveal narrators viewpoints 2 December 2013; which originate from cultures and surrounding areas. Regarding the mentioned elements, the Accepted: 9 December 2013; themes suggested by Homayuni (2000) considered as the appropriate model for data extraction using the comparative and descriptive method. The findings showed the same Keywords themes in lullabies of both Persian and British cultures; but, in spite of similarities between Lullaby, themes, they had different ways of expression. This is to say, similarities were found in the Folklore, themes as the basic ideas and hidden layers of lullabies and differences were in their Theme, expressing ways as people attitudes. Oral tradition. © 2013 Elixir All rights reserved Introduction lullabies , are more properly song by woman, others by men” Children’s literature or juvenile literature deals with the (1972, p.1034). stories and poems for children and tries to investigate various Theme areas of this genre. Folklore is a main issue which has been Considering lullabies feminine aspect, it seems reasonable considered by researchers in children’s literature field; mother to take their thoughts into these lyrics, so, themes of lullabies sings lullabies to her child during his/her infancy and, come from their thoughts and attitudes.
    [Show full text]
  • The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
    Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Sponsor Dance Will Speak on Campus Mercyhurst's Senior Class Will Sponsor a Pre-Lenten Mixer, Sat­ Urday, February 27
    7k MERC1AD Vol XXXI. No. 5 MERCYHURST COLLEGE, ERIE, PENNA, Februray 26, 1960 European Personalities] Upperciassmen Sponsor Dance Will Speak On Campus Mercyhurst's Senior Class will sponsor a pre-Lenten mixer, Sat­ urday, February 27. A get- February 28, March 16 acquainted hour is planned for Padraic Colum 8 till 9 in the main lounge of Mc- "Poetry As an Oral Art " is the Auley Hall, while the dance will subject^ of Padraic Colum's lec­ be held in 1 the gym from 9 till Lolly Lockhart, Kathy^Reid, and Lillian Egnot seem to find scene ture to be presented in Mercy- 12. hurst's Little Theatre, Sunday, planning an enjoyable assignment. They are preparing for produc­ tion of their one-act plays. February 28, at 8:15 p.m. In place off the usual refresh­ - Born and raised in Ireland, Mr. ments, a cookie sale is scheduled Colum's interest in literature be­ for the evening; the cookies to Seniors' Direction Class gan as a youth at the fireside in be baked by members of the his grandmother's cottage. As he senior class. Music for the dance grew i he retained these impres­ will be provided by the Moder- To|Present Short Plays sions of legends and traditions naires. handed I down from generation to Sunday, March 20 is the "evening of drama" in the Little Theatre generation. Connie Frank, chairman of the of Mercyhurst. Three \ one act plays directed toy Lillian Egnot, Lolly At the age of 21, Padraic Colum project, announced that invita­ Lockhart, and Kathy Reid will feature members of the Drama Society, had his first play, Broken Soil, tions have been extended to The direction and production of a one act play is an assignment produced, followed!shortly after­ area schools including Gannon, for the play direction class under the guidance of Miss Helen Kelly.
    [Show full text]
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004
    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
    [Show full text]
  • Philharmonic Au Dito R 1 U M
    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
    [Show full text]
  • Edvard Grieg Arranged by Jeff Bailey
    String Orchestra TM TEPS TO UCCESSFUL ITERATURE Grade 2½ S S L SO361F • $7.00 Edvard Grieg Arranged by Jeff Bailey Gavotte (from Holberg Suite, Op. 40) Correlated with String Basics, Book 2, page 14 SAMPLE Neil A. Kjos Music Company • Publisher 2 Steps to Successful Literature presents exceptional performance literature - concert and festival pieces - for begin- ning to intermediate string orchestras. Each piece is correlated with a specific location in String Basics – Steps to Success for String Orchestra Comprehensive Method by Terry Shade, Jeremy Woolstenhulme, and Wendy Barden. Literature reinforces musical skills, concepts, and terms introduced in the method. Sometime, a few new concepts are included. They are officially e score. The Arranger Jeff Bailey is a graduate of Old Dominion University with a bachelor’s degree in music composition and University of Virginia with a master of arts in music. He has been teaching middle school string orchestra since 1999, first in Chesterfield Public Schools in Richmond, VA, and currently in Virginia Beach Public Schools. Jeff’s teaching philosophy includes the integration and education of classical music in his middle school orchestra classrooms and often arranges music to support his curriculum. His arrangements and original works have been performed with much acclaim throughout his home state. In addition, he has composed soundtrack music for instructional videos. Jeff has been a performing rock and jazz musician for over three decades, both on guitar and bass. He lives in Virginia Beach, Virginia with his wife and three children. Basics About the Composition Gavotte (from Holberg Suite Op. 40) can be described as charming, warm, lilting, graceful, and enchanting.
    [Show full text]
  • Saint Gayane Church
    Masarykova univerzita Filozofická fakulta Seminář dějin umění Saint Gayane Church Bakalárska diplomová práca Autor: Michaela Baraničová Vedúci práce: prof. Ivan Foletti, MA, Docteur es Lettres Brno 2020 ii Prehlasujem, že som svoju bakalársku diplomovú prácu vypracovala samostatne a uviedla všetkú použitú literatúru a pramene. .............................................................. Podpis autora práce iii iv On the ancient peak of Ararat The centuries have come like seconds, And passed on. The swords of innumerable lightnings Have broken upon its diamond crest, And passed on. The eyes of generations dreading death Have glanced at its luminuos summit, And passed on. The turn is now yours for a brief while: You, too, look at its lofty brow, And pass on! Avetik Isahakyan, “Mount Ararat”, in Selected Works: Poetry and Prose, ed. M. Kudian, Moscow 1976. v vi My first sincere thanks belong to my thesis’ supervisor, prof. Ivan Foletti, for his observations, talks and patience during this time. Especially, I would like to thank him for introducing me to the art of Caucasus and giving me the opportunity to travel to Armenia for studies, where I spent five exciting months. I would like to thank teachers from Yerevan State Academy of Arts, namely to Gayane Poghosyan and Ani Yenokyan, who were always very kind and helped me with better access of certain Armenian literature. My gratitude also belongs to my friends Susan and colleagues, notably to Veronika, who was with me in Armenia and made the whole experience more entertaining. To Khajag, who helped me with translation of Armenian texts and motivating me during the whole process. It´s hard to express thanks to my amazing parents, who are constantly supporting me in every step of my studies and life, but let me just say: Thank you! vii viii Content Introduction.........................................................................1 I.
    [Show full text]
  • Lullaby”: the Story of a Niggun1
    “Lullaby”: The Story of a Niggun1 MICHAEL BECKERMAN AND NAOMI TADMOR Introduction In the winter of 1943, a song was performed in the Terezín Ghetto. It was an art song with a Hebrew text, yet its melody had also featured as a folk song, a pop tune, and a wordless vocalization; later, it would become a religious hymn. This article seeks to uncover the story of this tune: how it emerged, how it acquired a text, how it got to Terezín, how it was treated there, and what meanings can be drawn from its manifestations. The piece in question is Gideon Klein’s “Lullaby.” Our inquiry started as we noted an anomaly, a disagreement between recordings. At a key point in the composition, we realized that two performers sing different pitches, which is not unusual in many song traditions, but is entirely atypical of a notated art song. Example 1a: Excerpt from Isabelle Ganz’s recording of Gideon Klein’s “Lullaby”2 Example 1b: Excerpt from Wolfgang Holzmair’s recording of Gideon Klein’s “Lullaby.”3 Listen at: http://dx.doi.org/10.3998/mp.9460447.0010.101 We wondered, how could this difference be explained? Was one version mistaken? If so, which one, and why did the mistake occur? Does it have any significance? While attempting to answer these questions, we found ourselves embarking on a scholarly pilgrimage, which took us from a shtetl-like community within a Russian imperial city, where the tune originated as a Hasidic niggun, to Anglo-Palestine in the 1930s and 40s, where it was transformed, and from there further to the European diaspora in the 1940s, to countries such as England and Poland, and then to Nazi Germany, where the version on which Klein’s song was based, was created; from there we crossed the Atlantic to New York, where a version of the original niggun was first notated, and then back to Terezín.
    [Show full text]