DOCSLIB.ORG

All-Female Wind Sextet Frequency 49 Presents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FOR IMMEDIATE RELEASE MEDIA CONTACT SAN FRANCISCO, January 7, 2016 Carmen Lemoine 415.710.2011 | [email protected] ALL-FEMALE WIND SEXTET FREQUENCY 49 PRESENTS AMERICANA American Wind Music Works by Samuel Barber, Aaron Copland, Vernon Duke, Bill Douglas, and William Grant Still JANUARY 29 OLD FIRST CONCERT SERIES AT OLD FIRST CHURCH IN SAN FRANCISCO The vibrant woodwind sextet Frequency 49 opens the new year with an all-American program of standard and little-known chamber works as part of the Old First Concert Series on January 29 at 8 p.m. at Old First Church, 1751 Sacramento St, San Francisco. The program features Pulitzer Prize-winning composer Samuel Barber’s gorgeous “Summer Music” and Aaron Copland’s spacious “Duo for flute and piano.” The ensemble will also perform African-American composer William Grant Still’s “Miniatures,” based on folk songs of the Americas, Bill Douglas’s crowd-pleasing “Quartet” written in 2011, and “Three Pieces” by Vladimir Dukelsky. Better known as Vernon Duke, Dukelsky was the musical genius responsible for much-loved jazz standards including “April in Paris” and “Autumn in New York.” “We wanted to present a concert of captivating standards like the Barber and the Copland while also introducing audiences to great music by composers too seldom heard,” said 1 Jeannie Psomas, clarinetist with Frequency 49. “In particular, the Duke, Douglas, and Still are little gems we feel deserve a place in the canon.” The performance takes place on Friday, January 29 at 8 p.m. at Old First Church, 1751 Sacramento Street, San Francisco, CA 94109. All General and Senior tickets purchased in advance online will receive a $2 discount. Concert tickets are $18 General (including online discount); $15 for seniors; $5 for full-time students; and free for children age 12 and under. Tickets may be purchased at the door or online at www.oldfirstconcerts.org. ###### CALENDAR EDITORS: Frequency 49 | Americana: American Wind Music Samuel Barber Summer Music, op. 31 Aaron Copland Duo for flute and piano Bill Douglas Quartet for flute, oboe, bassoon and piano Vladimir Dukelsky Three Pieces for woodwind quartet and piano William Grant Still Miniatures Friday, January 29, 2016, 8 p.m. Old First Concerts Old First Church 1751 Sacramento Street San Francisco, CA 94109 Tickets: $18 General/$15 Seniors/$5 Full Time Students/Free Children 12 and under www.oldfirstconcerts.org ###### About Frequency 49 Frequency 49 is a female San Francisco Bay Area-based wind and piano chamber ensemble dedicated to broadening awareness of compelling woodwind repertoire new and true through performances of the highest artistry. In distinctive programs featuring flexible instrumentation, the group explores the interdependent relationship between color and sound unique to its particular combination of instruments. Highly sought after by composers, they have premiered music by groundbreaking American composer Robert Pierzak, hip-hop/classical fusion artist Joowan Kim, and jazz musician and educator David Hart. Members of the group have performed with the San Francisco Symphony, the New Century Chamber Orchestra, the Auckland Philharmonia Orchestra, the Rochester Philharmonic Orchestra and the Thailand Philharmonic Orchestra. More sound clips and information available at www.f49music.com. 2 About the Performers Carmen Lemoine, flute Carmen Lemoine wants to live in a world where education is free to all, pantyhose don’t exist, people aren’t afraid to be honest, Unti winery is her next-door neighbor, a train will shuttle her across town in 15 minutes, and all you need is love. Until that day arrives, however, she has dedicated herself to mastering the art of the flute. She holds tenured positions with the Santa Rosa, Marin and Santa Cruz symphonies, performs frequently with the Louisville Orchestra and recently appeared as guest principal flute with the Auckland Philharmonia Orchestra in New Zealand. Equally at home in small ensembles of contrasting styles, she is a member of Ensemble Mik Nawooj, a hip-hop/classical fusion group recently featured in the Wall Street Journal as well as Frequency 49, a female wind sextet she founded. She is also a regular performer at the annual conventions of the National Flute Association. When she’s not fluting, you may find her introducing eager, young minds to the wonderful worlds of woodwind chamber music, musicianship and music theory at the San Francisco Conservatory of Music. Her next project — the podcast Why Don’t I Like Classical Music? — hits the airwaves June 2016. Co-hosted with the brilliant musicologist Dr. Brooke McCorkle, each episode will deliver digestible morsels of music history in an accessible, conversational style. Dr. Lemoine earned degrees in flute performance from the Eastman School of Music (B.M. and D.M.A.), where she studied with celebrated artist and teacher Bonita Boyd, and the San Francisco Conservatory of Music (M. M.), studying with San Francisco Symphony principal flute Timothy Day. Adrienne Malley, oboe (on maternity leave for Spring 2016) Adrienne Malley is a freelance oboist and instructor in the Bay Area. She performs with many ensembles including the San Francisco Symphony, Symphony Silicon Valley, and the regional symphony orchestras of Berkeley, Monterey, Napa Valley, Oakland, Santa Cruz, and Santa Rosa. She received her Bachelor of Music degree from the University of Michigan, and her Master of Music degree from the University of Cincinnati, College-Conservatory of Music. Her principal teachers have included Nancy Ambrose King, Mark Ostoich, Harry Sargous, and Shelley Heron. An avid chamber musician, she is also a founding member of the Divisa Ensemble, a chamber ensemble comprised of mixed wind and string instruments. To learn more, visit www.adriennemalley.com. Jeannie Psomas, clarinet Jeannie is principal clarinet with the Reno Chamber Orchestra as well as the second clarinet with the Fresno Philharmonic. She has performed with the San Francisco Symphony, the New Century Chamber Orchestra, and many of the regional orchestras throughout the Bay Area and Nevada, including the Monterey Symphony, Modesto Symphony, California Symphony, San Francisco Chamber Orchestra, Oakland East Bay Symphony, and the Reno Philharmonic. Born and raised in the Sunset District of San Francisco, Jeannie completed her Bachelor of Music at the Eastman School of Music, where she toured with the Eastman Wind Ensemble and studied with both Kenneth Grant and Jon Manasse. Jeannie graduated with her Master’s degree in clarinet 3 performance at the San Francisco Conservatory in 2012, where she studied with Luis Baez and was awarded Departmental Honors. When Jeannie isn’t performing, teaching, or frantically practicing she enjoys going to her favorite local yoga studio in the Outer Sunset and rooting for the Giants. Yueh Chou, bassoon Dr. Yueh Chou is the bassoon instructor of San Jose State University’s School of Music and Dance. She is known for her work on Modern and Historical Bassoons. She holds a Certificate Diploma on both Baroque and Classical Bassoons from the Koninklijk Conservatorium in Den Haag, the Netherlands; a B.M. from the Juilliard School; and earned both Masters and Doctorate degrees in Music with minors in Baroque Bassoon and Music Education from the University of Southern California. Dr. Chou teaches Bassoon and Chamber Music at the San Francisco Conservatory of Music Pre-College Division and Chabot College in Hayward. Leslie Hart, horn Leslie Hart recently earned a Doctor of Musical Arts degree in Performance and Music Education from the Eastman School of Music. She is an active freelance horn player in the San Francisco Bay area and the Director of Instrumental Music at Castilleja School in Palo Alto, California. Having lived throughout the United States and abroad, Ms. Hart has performed with numerous orchestras including Opera San Jośe (California), Rochester Philharmonic Orchestra (New York), the Orquesta Sinfonica de Aguascalientes (Mexico), and the Thailand Philharmonic Orchestra (Bangkok). Dr. Hart was the Professor of Horn at Mahidol University College of Music (Thailand), horn faculty at Nazareth College and Roberts Wesleyan College (New York), and taught in numerous capacities as a graduate teaching assistant at the Eastman School of Music. Dr. Hart has presented clinics in Thailand, Singapore, Vietnam, Myanmar, Hong Kong, and the United States, including the 2009 and 2011 International Horn Symposiums. Publishings include articles on cadenza improvisation in Mozart’s Horn Concerto No. 3, K. 447 and improvisation in orchestral excerpts, and her dissertation topic describes a curriculum for improvisation in a collegiate horn studio. Margaret Halbig, piano Pianist Margaret Halbig moved to the Bay Area in 2011 and joined the accompanying and vocal coaching staff at the San Francisco Conservatory of Music as well as the San Francisco Girls Chorus. Margaret performs regularly with the Silicon Valley Music Festival. An advocate of new and contemporary music, Margaret has been the pianist for Wild Rumpus since its inception in 2011. Additionally, Margaret is a founding member of Firesong, a contemporary chamber music trio with soprano Vanessa Langer and clarinetist Sophie Huet dedicated to the programming and commissioning of the next generation of vocal chamber works. Other recent projects include Opera Outreach and recording an album of contemporary cello and piano works with Ojai-based cellist, Virginia Kron. Margaret earned her DMA from the University of California Santa Barbara under Robert Koenig and holds performance degrees from the University of Missouri-Kansas City Conservatory and the University of Evansville. Her primary teachers include Jonathan Feldman, Robert Weirich, and Anne Fiedler. About Old First Concert Series Old First Concerts, established in 1970 as a year-round concert series, continues to present an astonishing array of programs performed by outstanding musicians from the San Francisco Bay 4 Area and beyond. Old First Concerts has a distinctive niche within the local musical community with a solid history of creating and programming an incubator space for emerging and established musicians and ensembles of all genres.
Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer, 2005

    Boston Symphony Orchestra Concert Programs, Summer, 2005

    Tanglewood sum, ; JAMES LEVINE MUSIC DIRECTOR m ^ ^* ml/ «o*<-^- -*»5i^^ i>iim T-. ORIGINS GflUCIW formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 41 3-298-0002 Stockbridge, MA 01262 urnmg lree Estates is pleased to offer an inviting opportunity in the Berkshires: [ Comforts ofHome] our exclusive community of fifteen [ Quality of Life ] tastefully unique homes. Classic New [ Sense England designs, abundant with of Community ] luxury amenities, are built with the discerning homeowner in mind. Each is majestically sited on private wooded acres along tranquil streets. Please schedule an appointment to explore our distinctive designs and the remaining lots available at Burning Tree Estates. For more information please call or visit Burning Tree Road, Great Barrington, MA BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty-Fourth Season, 2004-05 TANGLEWOOD 2005 g^± Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Ann M. Philbin, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-officio James F.
  • Encores! 2016 Season Release

    Encores! 2016 Season Release

    Contact:: Helene Davis Public Relations [email protected] NEW YORK CITY CENTER 2016 ENCORES! SEASON Cabin in the Sky Music by Vernon Duke; Lyrics by John La Touche Book by Lynn Root ~ 1776 America’s Prize Winning Musical Music and Lyrics by Sherman Edwards Book by Peter Stone Based on a Concept by Sherman Edwards ~ Do I Hear a Waltz? Music by Richard Rodgers; Lyrics by StePhen Sondheim Book by Arthur Laurents Based on the play The Time of the Cuckoo by Arthur Laurents Season Begins February 10, 2016 New York, NY, May 11, 2015– The 2016 season of New York City Center’s Tony-honored Encores! series will open with Cabin in the Sky on February 10–14, 2016, followed by 1776 and Do I Hear a Waltz?. Jack Viertel is the artistic director of Encores!; Rob Berman is its music director. Cabin in the Sky tells the fable-like story of a battle between The Lord’s General and the Devil’s only son over the soul of a charming ne’er-do-well named “Little Joe” Jackson who, after a knife fight in a saloon, is given six months more on earth to prove his worth. With Cabin in the Sky, composer Vernon Duke, lyricist John La Touche, and librettist Lynn Root set out to celebrate African American achievement in music and dance, and created a wonderfully integrated score that blends hits like “Taking a Chance on Love” with authentic traditional gospel numbers and full-fledged modern dance pieces. The show opened on October 25, 1940 at the Martin Beck Theatre in a production staged and choreographed by George Balanchine and ran 156 performances.
  • VERNON DUKE: a Neglected Master's Haunting Consolations

    VERNON DUKE: a Neglected Master's Haunting Consolations

    This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » January 24, 1999 MUSIC MUSIC; A Neglected Master's Haunting Consolations By BARRY SINGER THERE is something so improbably consoling about the sadness at the heart of the best Vernon Duke melodies. This redemptive afterglow could be a consequence of sheer melodic sophistication. Duke knew how to construct a song, elegantly, with surpassing craft and harmonic flair. Yet the earned wisdom behind the sadness in his music transcends flair and craft and goes beyond sophistication. It's not that the songs are even inherently unhappy. ''Autumn in New York,'' ''April in Paris'' and ''I Can't Get Started'' -- to name Duke's most identifiable trio -- inhabit an emotional realm uncommon in the American popular song canon, that of dry-eyed ballads of unusual poignancy. The melancholy induced by these songs, while hauntingly seductive, is never glum. Nor was Duke remotely a sad kind of guy. An aristocratic White Russian emigre turned Broadway songwriter, he seems to have had a rather good time of it all, dressing with notorious dash and, in a polyglot of languages, charming chorus girls and theatrical producers alike. Duke knew everybody, from his dearest friend, the Russian composer Sergei Prokofiev, to Picasso and Chanel, Balanchine and Jean Cocteau, and even an antic young serviceman whom Duke discovered during World War II, Sid Caesar.
  • An Arthur Berger

    An Arthur Berger

    AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962.
  • Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University

    Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University

    Eastern Illinois University The Keep Music Programs The Earl Boyd Collection 2015 Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/earl_boyd_programs Part of the Music Commons Recommended Citation Boyd, Earl, "Faculty Woodwind Quartet Flyer" (2015). Music Programs. 29. http://thekeep.eiu.edu/earl_boyd_programs/29 This Book is brought to you for free and open access by the The Earl Boyd Collection at The Keep. It has been accepted for inclusion in Music Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. 0 €astenn 1tt1nols Un1vens1ty w oo0w1n0 Quintet Dear Music Director: Your flutist, oboist, clarinetist, bassoonists, and hornists will welcome the opportunity to hear and work personally with the fine performers in the Eastern Illinois University Woodwind Quintet You are invited to write or call Rhoderick Key, Chairman, Music Department, Eastern Illinois University, Charleston, Illinois, 61920 Phone 217-581-2917 Scheduled to suit your program FLUTE - Robert C. Snyder, flutist, frequent recitalist in Illinois and recent performer at Carnegie Recital Hall in New York, clinician, · writer, and band direetor, graduated from Indiana University with a Masters Degree in Woodwinds and complet~ his doctorate in History and Literature at University of Missouri at Kansas City. He has studied with Vallie Kirk at Washburn University of Topeka, James Pellerite at Indiana University, and William Kincaid. OBOE -Joseph Martin, oboist, double-reed specialist, recitalist, and clinician, graduated with his Masters Degree in Education from East Carolina University in North Carolina. Mr. Martin directs a University stage band and assists in the Symphony Orchestra program.
  • Solo List and Reccomended List for 02-03-04 Ver 3

    Solo List and Reccomended List for 02-03-04 Ver 3

    Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano.
  • The Great American Songbook in the Classical Voice Studio

    The Great American Songbook in the Classical Voice Studio

    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
  • Solo and Ensemble Recognized Events

    Solo and Ensemble Recognized Events

    RECOGNIZED SOLO AND ENSEMBLE EVENTS (The event number is to be used on the Solo and Ensemble entry form.) WOODWIND SOLO BRASS SOLO PERCUSSION SOLO PIANO SOLO 1. Piccolo 050. Cornet/Trumpet +099. Drum Set 150. Piano Solo 2. C Flute 051. Flugelhorn +100. Xylophone/Marimba/Vibraphone 3. Alto/Bass Flute 052. French Horn +101. Orch. bells 4. Oboe 053. Mellophone/Alto Horn (Group IV & V only) 5. English Horn 054. Trombone +102. Snare Drum VOCAL SOLO 6. Bassoon/Contrabassoon 055. Bass Trombone +103. Tympani 160. Vocal Solo 7. Eb Clarinet 056. Baritone/Euphonium (accompanied or unaccomp.) VOCAL ENSEMBLE 8. Bb Clarinet 057. Tuba/Sousaphone 104. Multiple Percussion 170. Barbershop Quartet 9. Alto Clarinet +105. Multi-Tenor (a cappella) 10. Bass Clarinet BRASS TRIO 175. Small Vocal Ensemble 11. Contra Bass/ 065. Cornet/Trumpet Trio + Refer to Percussion Manual (3 to 6 performers) Contra Alto Clarinet 066. French Horn Trio for additional requirements *180. Large Vocal Ensemble 12. Alto Sax 067. Trombone Trio PERCUSSION ENSEMBLE (7 to 20 performers) 13. Tenor Sax 068. Brass Trio (Tpt., Horn, 110. Percussion Ensemble *185. Madrigal 14. Baritone Sax Trombone) (3-6 performers) (4 to 20 performers) 15. Bass Sax 069. Misc. Brass Trio 111. Mallet Ensemble (a cappella) 16. Soprano Sax (Bb & Eb) (any combination of 3 brasses (3-6 performers) not previously listed) WOODWIND TRIO *112. Large Mallet Ensemble 025. Flute Trio. Like Inst. BRASS QUARTET (7-20 performers) 026. Clarinet Trio. Like Inst. 070. Cornet/Trumpet Quartet *113. Large Percussion Ens. 027. Sax Trio. Any 3 Sax 071. French Horn Quartet (7-20 percussion inst.
  • The Lone Ar Ranger Piano Six Hands Sheet Music

    The Lone Ar Ranger Piano Six Hands Sheet Music

    The Lone Ar Ranger Piano Six Hands Sheet Music Download the lone ar ranger piano six hands sheet music pdf now available in our library. We give you 6 pages partial preview of the lone ar ranger piano six hands sheet music that you can try for free. This music notes has been read 2542 times and last read at 2021-09-29 21:50:38. In order to continue read the entire sheet music of the lone ar ranger piano six hands you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Solo Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music The Lone Ar Ranger Wind Quintet Set Of Parts X5 The Lone Ar Ranger Wind Quintet Set Of Parts X5 sheet music has been read 3411 times. The lone ar ranger wind quintet set of parts x5 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-30 19:50:33. [ Read More ] The Lone Ar Ranger Wind Quintet Score The Lone Ar Ranger Wind Quintet Score sheet music has been read 3499 times. The lone ar ranger wind quintet score arrangement is for Advanced level. The music notes has 3 preview and last read at 2021-10-01 18:48:11. [ Read More ] The Lone Ar Ranger Woodwind Quartet Score The Lone Ar Ranger Woodwind Quartet Score sheet music has been read 3851 times. The lone ar ranger woodwind quartet score arrangement is for Intermediate level. The music notes has 3 preview and last read at 2021-09-30 04:24:28.
  • Recent Additions (Pdf)

    Recent Additions (Pdf)

    New Additions to the CMNC Library Updated: March 14, 2020 KEY: Class = refer to table at end of list ON ORDER = order has been placed, not yet received, noted in red TBA = Box and/or call number to be assigned Publisher/edition in brackets Class Composer Title Call Number Three Bagatelles : For Flute, Cello and Piano / 3MK Schoenfield, Paul OV2 / CMNC1601 Migdal Publishing Piano Trio In G Minor (1887) / Hildegard Music 3SK Andree, Elfrida A06 / CMNC1609 Trio for horn, violin and piano / Theodore 3MK Ewazen, Eric DB3 / CMNC1613 Presser Trio in d minor for oboe (or violin), viola and 3MK Kauder, Hugo A06 / CMNC1624s piano (1916) / Edition Trio for violin, clarinet and piano / Frank E. 3MK Singer, Jeanne A09 / CMNC16356 Warren Trio in D major, op. 3: for clarinet, (or violin) 3MK Zemlinsky, Alexander OV2A / CMNC1637 and piano / Simrock Three pieces for three woodwinds: for flute, 3W Washburn, Robert clarinet, bassoon (or bass clarinet) / Oxford TBA / CMNC1642s Univ. Press Suite bourgeoise for flute, oboe (or clarinet) 3WK Arnold, Malcolm OV2 / CMNC1641 and piano / Queen's Temple Publ. Trio for flute, oboe and piano / Editions Henry 3WK Damase, Hean-Michel OV2A /CMNC1636 Lemoine Pastorale and rondo for clarinet, violin, cello 4MK Castelnuovo-Tedesco, Mario OV2 / CMNC1640 and piano, op. 185 / Ricordi Quartet for flute, violin, cello and piano (1940, 4MK Kattenburg, Dick OV2 / CMNC1599 rev. 1943) / Edition Kemel Air and Simple Gifts : For Violin, Clarinet, Cello 4MK Williams, John and Piano (2008) / Hal Leonard A03 / CMNC1608s 4S Busoni, Ferruccio String quartet op.. 19, no. 1 / Edition Silvertrust A06 / CMNC1621s 4S Faure, Gabriel String quartet, op.
  • Flex Woodwind Septet Minuet from L Arlsienne Suite No 1 Sheet Music

    Flex Woodwind Septet Minuet from L Arlsienne Suite No 1 Sheet Music

    Flex Woodwind Septet Minuet From L Arlsienne Suite No 1 Sheet Music Download flex woodwind septet minuet from l arlsienne suite no 1 sheet music pdf now available in our library. We give you 6 pages partial preview of flex woodwind septet minuet from l arlsienne suite no 1 sheet music that you can try for free. This music notes has been read 3620 times and last read at 2021-09-23 12:48:51. In order to continue read the entire sheet music of flex woodwind septet minuet from l arlsienne suite no 1 you need to signup, download music sheet notes in pdf format also available for offline reading. Ensemble: Chamber Music Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Minuet And Round From D Indy Suite In The Ancient Style Set For Woodwind Quintet Minuet And Round From D Indy Suite In The Ancient Style Set For Woodwind Quintet sheet music has been read 3576 times. Minuet and round from d indy suite in the ancient style set for woodwind quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-25 17:08:06. [ Read More ] Bizet L Arlsienne 2nd Suite Iv Farandole Symphonic Wind Bizet L Arlsienne 2nd Suite Iv Farandole Symphonic Wind sheet music has been read 3664 times. Bizet l arlsienne 2nd suite iv farandole symphonic wind arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-25 15:15:55. [ Read More ] Minuet Of Septet In E Flat Major Op 20 Ludwig Van Beethoven Minuet Of Septet In E Flat Major Op 20 Ludwig Van Beethoven sheet music has been read 3873 times.
  • Variations for Woodwind Quartet

    Variations for Woodwind Quartet

    CALIFORNIA STATE UNIVERSITY NORTHRIDGE Variations: for Woodwind Quartet A graduate project submitted in partial fulfillment of the requirements For the Master of Music in Music Composition By Zachary Docter May 2020 The Graduate project of Zachary Docter is approved: _________________________________________________ ____________ Dr. Patrick O’Malley Date _________________________________________________ ____________ Dr. A.J. McCaffrey Date _________________________________________________ ____________ Dr. Liviu Marinescu, Chair Date California State University, Northridge 1 ii Table of Contents Signature Page ii List of Musical Excerpts iv Abstract v Background 1 Structure of the Piece 2 Pitch System 9 Conclusion 12 Appendix A: Composition 13 iii List of Musical Excerpts Excerpt 1 2 Excerpt 2 2 Excerpt 3 2 Excerpt 4 2 Excerpt 5 2 Excerpt 6 3 Excerpt 7 4 Excerpt 8 4 Excerpt 9 5 Excerpt 10 5 Excerpt 11 5 Excerpt 12 5 Excerpt 13 6 Excerpt 14 6 Excerpt 15 7 Excerpt 16 8 Excerpt 17 8 Excerpt 18 9 Excerpt 19 10 Excerpt 20 11 iv Abstract Variations: for Woodwind Quartet By Zachary Docter Master of Music in Music Composition For this capstone project, I have written a set of variations for woodwind quartet. This piece was written in an accessible early 20th century neoclassical-esque style primarily for university level chamber groups. I deliberately utilized a motivically driven 20th century idiom with no extended techniques so that students can work on the basics of chamber playing, namely playing in time and balancing contrapuntal lines. In this sense, it is primarily a didactic piece. However, in the following paper, through an analysis of the motivic development and the pitch system in this piece, it will become apparent that this piece is useful not just as a didactic piece, but also as a fun concert work for professional level quartets as well.