Douglas Yeo: Historical Instruments Vitae
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A Lament for Sam Hughes the Last Great Ophicleidist by Trevor Herbert
A Lament for Sam Hughes The last great ophicleidist By Trevor Herbert On 1st April 1898, Sam Hughes died in a small terraced house at Three Mile Cross on the outskirts of Reading. His widow, in grief and poverty, petitioned the Royal Society of Musicians for a small grant to pay for his funeral. The Society, which had treated him kindly in the closing years of his life, responded benevolently once more, for it was known that his passing marked the end of a significant, if brief, era. Sam Hughes was the last great ophicleide player. He was perhaps the only really great British ophicleide player. Many great romantic composers including Mendelssohn, Wagner and Berlioz wrote for the instrument, which was invented by a man called Halary in Paris in 1821 - three years before Sam Hughes was born. For the next half century it was widely used but few played it well. George Bernard Shaw regularly referred to it as the "chromatic bullock" but even he, whose caustic indignation was often vented on London's brass players, had been moved by a rendering of O Ruddier than the Cherry by Mr Hughes. The fate of the ophicleide and the story of Sam Hughes provide a neat illustration of the pace and character of musical change in Britain in the Victorian period. One product of this change was the brass band "movement" - a movement which, if the untested claims of most authors on the subject are to be believed, had its origins in Wales. Despite Shaw's claims that the ophicleide had been "born obsolete", it died because it was consumed by the irresistible forces of technological invention and commercial exploitation. -
Norman Bolter
Norman Bolter Born in Minneapolis, Minnesota, Norman Bolter was first inspired to play the trombone when, at age four, he saw the Captain Kangaroo television show character, "Mr. Greenjeans," play the same instrument. Mr. Bolter began his formal trombone studies at age nine with Ed VonHoff of the St. Paul Public School System. Later, he studied with Ronald Rickets and Steven Zellmer of the Minnesota Orchestra and with John Swallow at the New England Conservatory. Mr. Bolter is very thankful to these teachers and to former BSO principal bassoonist, Sherman Walt, not only for their technical and musical assistance but also for their encouragement and nurturance of his love of music and trombone playing. A Tanglewood Fellow and C. D. Jackson Award winner, Mr. Bolter joined the Boston Symphony Orchestra in 1975 at age 20, becoming the youngest member of the orchestra at that time. As well, he is principal trombonist of the Boston Pops Orchestra and was a founding member of the Empire Brass Quintet, which won the prestigious Walter H. Naumberg Award in Chamber Music, the first brass ensemble ever to win this award. Mr. Bolter has appeared, as a member of the Boston Pops Orchestra, on the televised PBS favorite "Evening at Pops" with Arthur Fiedler, John Williams and Keith Lockhart as conductors. He has toured extensively in the U.S., Europe, Asia and South America with the BSO, the Pops and the Empire Brass and has made many recordings with them. He also appears as principal trombonist on recordings with Orchestre National Bordeaux Aquitaine. Furthermore, Mr. -
Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
/JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. -
Serpent Newsletter
Serpent Newsletter Serpent Newsletter P.O. Box 954 Mundelein, Illinois 60060 USA Newsletter for Serpent Enthusiasts September 27, 2011 A Note from the Editor Workshops Ÿ This newsletter has a somewhat different balance then some The 2011 Serpentarium other recent editions. For a while now we have been seeing many new materials in each issue, but there have been no The latest biennial international serpent gathering took place new audio or video recordings uncovered or discovered once again at Boswedden House on the rocky western shores since April of this year, with the exception of one CD that of Cornwall, England. Nigel Nathan and Thelma Griffiths did not arrive in time for a review. By way of compensation, were the hosts, and Phil Humphries of the London Serpent there have been many notices of other serpent activities and Trio presided over the sessions. results from some interesting research have also come to light. Participants began to arrive Thursday, May 26, in the afternoon. The weather was blustery with plenty of pelting There has been some suggestion that more people would rain, but it was easing up somewhat by dinner time. Early prefer to receive this newsletter electronically than in print arrivals included John Weber, his friend and serpent form. So it’s a good time to find out the feelings of all newcomer Ross Nuccio, and Paul Schmidt, all from the readers and thus inform future decisions. The newsletter Chicago area. This trio, plus Nigel, enjoyed getting up-to- goes to players and other interested individuals, as well as to speed on the local news during dinner at the golf course early music directors, composers, college faculty, libraries, tavern just down the hill from Boswedden. -
Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic
Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic Brass Society Journal (peer-reviewed) Volume 27, 2015 The Historic Brass Society Journal (ISSN1045-4616) is published annually by the Historic Brass Society, Inc. 148 W. 23rd Street, #5F New York, NY 10011 USA YEO 1 Homer Rodeheaver: Reverend Trombone Douglas Yeo Introduction Since his death in 1955, Homer Rodeheaver (1880–1955) has slipped into obscurity, an astonishing fact given that he played the trombone for as many as 100 million people in his lifetime. While not nearly so accomplished as the great trombone soloists of the nineteenth and early twentieth centuries such as Arthur Pryor, Simone Mantia, and Leo Zimmerman, Rodeheaver’s use of the trombone in Christian evangelistic meetings—par- ticularly during the years (1910–30) when he was song leader for William Ashley “Billy” Sunday—had an impact on American religious and secular culture that continues today. Rodeheaver’s tree of influence includes many other trombone-playing evangelists and song leaders, including Clifford Barrows, song leader for the evangelistic crusades1 of William Franklin “Billy” Graham. While Homer Rodeheaver was one of the most successful publishers of Christian songbooks and hymnals of the modern era—he owned copyrights to many of the most popular gospel2 songs of the first half of the twentieth century—and was the owner of and a recording artist with one of the first record companies devoted primarily to Christian music, the focus of this article is on Rodeheaver as trombonist and trombone icon, his use of the trombone as a tool in leading large congregations in singing, the particular instruments he used, his trombone recordings, and his legacy and influence in inspiring and encouraging others to utilize the trombone as a tool for large-scale Christian evangelism. -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
Bernard Haitink 52 Camilla Tilling
Table of Contents | Week 24 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 25 this week’s program Notes on the Program 26 The Program in Brief… 27 Franz Schubert 33 Gustav Mahler 47 To Read and Hear More… Guest Artists 51 Bernard Haitink 52 Camilla Tilling 54 sponsors and donors 64 future programs 66 symphony hall exit plan 67 symphony hall information program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO piccolo player Cynthia Meyers by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. -
Volume I March 1948
Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen: -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
Eastman School of Music DMA Oral Exam Study Guide Euphonium 1) Trace the Development of the Euphonium from the Serpent to the Pr
Eastman School of Music DMA Oral Exam Study Guide Euphonium 1) Trace the development of the euphonium from the serpent to the present day. 2) Explain, in detail, the differences and similarities between the following instruments: Ophicleide Cimbasso Tenor horn Baritone Euphonium Double-bell euphonium 3) Discuss pedagogical materials used to develop the following areas of technical proficiency on the euphonium: Clef reading Multiple tonguing High range Low range Legato style Jazz improvisation Warm-up routines 4) Identify five jazz musicians since 1950 who perform(ed) on low brass, valved instruments. Describe their contributions through live performances and recordings, as well as their historical significance. 5) Formulate a list of ten euphonium excerpts commonly found on most U.S. military band audition lists. Explain the reason(s) for including each expert on this list. 6) Discuss the invention and importance of the compensating valve system. 7) Select four American euphonium concerti from the twentieth or twenty-first century and describe the historical significance of each work. Include any biographical information about the composer; the performer who premiered the piece, the size/type of ensemble accompanying the soloist, the harmonic vocabulary of the piece, etc. 8) Doubling on other low brass instruments is a necessary skill for almost all euphoniumists. Explain the challenges and effective strategies of learning to double on the trombone and tuba, from the euphoniumist’s perspective. DMA Oral Exam Study Guide, continued Euphonium 9) Trace the development of the musical form theme and variations from the mid- nineteenth century to the present. In this discussion, include musical examples from the brass repertoire, as well as the greater collection of instrumental works. -
Performing on the Trombone: a Chronological Survey David M
Performance Practice Review Volume 9 Article 6 Number 2 Fall Performing on the Trombone: A Chronological Survey David M. Guion Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Guion, David M. (1996) "Performing on the Trombone: A Chronological Survey," Performance Practice Review: Vol. 9: No. 2, Article 6. DOI: 10.5642/perfpr.199609.02.06 Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Performing on the Trombone: a Chronological Survey David M. Guion The trombone is one of the oldest wind instruments currently in use. The trumpet, horn, and flute have a longer history, but have changed in construction and playing technique far more than the trombone, which reached its present form sometime in the 15 century. The name "trombone," Italian for "big trumpet," is attested as early as 1439. The German word Posaune may have referred to an instru- ment with a slide as early as 1363.1 The old English word "sack- but," on the other hand, first appeared in 1495, and cognate terms appeared in Spain and France not much earlier than that. Therefore the confusing and misleading practice of referring to a baroque-style trombone as a sackbut should be abandoned. Using two words for a trombone wrongly implies two different instruments, and at times leads to the erroneous notion that the sackbut is the "forerunner" of the trombone. -
CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico
CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico PRESENTER & COMPOSER BIOS updated September 12, 2016 Alberti, Alexander Alex Alberti is the current director of instrumental music at Longleaf School of the Arts in Raleigh, North Carolina. He also works with the Middle Creek High School marching band, instructing front ensemble and percussion. Alberti formerly taught at Southern Lee High School in Sanford, where he directed band, orchestra, and chorus, as well as an extracurricular a cappella program. Alberti is an active researcher in the field of music theory pedagogy and music education, presenting his findings at NAfME, CMS National, and NCUR. Alberti currently holds a Bachelor of Music Education degree from Appalachian State University with a minor in Psychology. At Appalachian State, he participated in the wind ensemble, concert band, men’s glee club, symphonic band, and orchestra, while serving as a music theory tutor for the entire sequence of theory and aural skills courses. In his spare time, Alberti composes both choral and instrumental works, judges for the International Competition for Collegiate A Cappella, and participates in the Durham Chorale. Alhadeff, Peter Peter Alhadeff is a Professor and a founding faculty member of the Music Business/Management Department at Berklee. He is a distinguished Oxford economist and historian who has a made his own unique and successful career in the US music business. Alhadeff has published and been engaged by the National Academy of Recording Arts and Sciences, the Harvard Berkman Center, the Latin Grammy, the Interamerican Bank at the Di Tella Institute in Buenos Aires, and the Business and Economics Society International, for which he delivered the keynote address on the state of the music trade in Athens, Greece.