Vocal Area Recital

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Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-30-1998 Vocal Area Recital School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Vocal Area Recital" (1998). School of Music Programs. 1726. https://ir.library.illinoisstate.edu/somp/1726 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. lusic Department linois State University ' I Vocal Area Recital ·om Guys and Dolls Frank Laesser Adelaide's lament (1910-1969) ' Lindsey Sullivan, Mezzo-Soprano I Shanna Patrick, Piano l )uetto buffo di due gatti Gioacchino Rossini (l 792-1868) Susan Whais, Soprano I Kathleen Brumbaugh, Mezzo-Soprm10 l ~ove in the dictionary Celius Dougherty ( 1902-1986) Leslie. Pomykala, Soprano I Lynda Barnes, Piano l rom Lady In the Dark Kurt Weill My Ship ( 1900-1950) words by Ira Gershwin I Brigitte Lehmkuhl, Mezzo-Soprano I Birdi Dawson, Piano Kemp Recital Hall I Thursday Afternoon April 30, 1998 I 1:00 p.m . I The onehundred and fifty-ninth program oftl1c 1997-98 'season from Cormen · Georges Bizet I Jc dis (1838-1875) Rachel Dcvill, Soprano Dora Bizjak, Piono I I from Lokme Leo Delibes Sous le dome cpais (1836-1891) Amanda Vick, Soprano I Megan Poulos, Mez.z.o-Sopmno Joyce Landess, Piono I from Mon of Lo Moncho Mitch Leigh The Man or La Mancha (born 1928) I Steve Bayer, Tenor Mary Powers, Piono I An die rernc Geliebte, Op. 98 Ludwig van Beethoven I (1770-1827) Edward Corpus, Boss Boritone Patricia Foltz, Piono I Seligkcit Franz Schubert I (1797-1828) I Joy Smith, Soprano Amanda Bruce, Piano from La Perichole Jacques Offenbach I The Tipsy Waltz (1819-1880) I .

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SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Cristian Măcelaru, Conductor
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Cristian Măcelaru, conductor October 27 and 29, 2017 GEORGES BIZET Suite No. 1 from Carmen (Arr. Fritz Hoffmann) Prelude and Aragonaise Intermezzo Seguedille Les Dragons d’Alcala Les Toréadors WYNTON MARSALIS Violin Concerto in D Major Rhapsody Rondo Burlesque Blues Hootenanny Nicola Benedetti, violin INTERMISSION NIKOLAI RIMSKY-KORSAKOV Scheherazade, Op. 35 The Sea and Sindbad’s Ship The Tale of Prince Kalendar The Young Prince and the Princess The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock Suite No. 1 from Carmen GEORGES BIZET Born October 25, 1838, Paris Died June 3, 1875, Bougival Carmen – Bizet’s opera of passion, jealousy and murder – was a failure at its first performance in Paris in March 1875. The audience seemed outraged at the idea of a loose woman and murder onstage at the Opéra-Comique. Bizet died three months later at age 37, never knowing that he had written what would become one of the most popular operas ever composed. After Bizet’s death, his publisher Choudens felt that the music of the opera was too good to lose, so he commissioned the French composer Ernest Guiraud to arrange excerpts from Carmen into two orchestral suites of six movements each. The music from Carmen has everything going for it – excitement, color and (best of all) instantly recognizable tunes. From today’s vantage point, it seems impossible that this opera could have been anything but a smash success from the first instant. The Suite No. 1 from Carmen contains some of the most famous music from the opera, and it also offers some wonderful writing for solo woodwinds.
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Program Notes
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Georges Bizet L'arlesienne Suite II (1876) Movement 2, Intermezzo 1St Bassoon Measures 29-46
Georges Bizet L’Arlesienne Suite II (1876) Movement 2, Intermezzo 1st bassoon Measures 29-46 (18 measures) Range (C in the staff to high Ab) Performance issues: Phrasing, Rhythm, Dynamics, High register About the music: A year after Bizet died, E. Guiraud created a second suite from the L'Alesienne music. While it is generally not thought to be crafted as well as Bizet's work, it has become popular in its own right. The excerpt chosen is of a highly melodic nature: the bassoon enters with the clarinet to join the unison horn/saxophone line already in progress. As can be seen before rehearsal D, the melody falls into regular four bar phrases. At D, the phrase is extended to a six bar group before the cadential phrase returns to the four bar length. (The oboe enters the texture at D, so five solo instruments finish the section in octaves, creating an interesting combined timbre.) The use of saxophone in the orchestra only began in the late nineteenth century—when included, it tends to be in a soloistic setting such as this, featuring its new woodwind color. Most use of the saxophone is in French literature, so Bizet was true to his times and his nationality in this usage. For interest, a second passage (Extra) is included because it is representative of the type of cue which may be written into the bassoon part. (Any exposed line which the composer feels may be missing in a performance, and which can be covered satisfactorily by another instrument, is written into that other instrument's part so that it can be supplied if necessary.) The bassoonist frequently finds cues for bass clarinet, English hom, Bb clarinet, and saxophone (alto or tenor).
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Ernest Guiraud, Friends, and Students
DUKAS phonic poem.) Guiraud provided the musi- Fanfare, from La Péri cal settings for the spoken dialogue (recita- Paul Dukas (1865–1935) tives), which have been part of the tradition Fanfare, from La Péri* Paul Dukas (1865-1935) is best remem- of Carmen since 1875. Three years earlier, in bered, thanks to the 1940 Disney animat- 1872, Bizet composed incidental music for ed film Fantasia, for The Sorcerer’s Apprentice. Alfred Daudet’s play L’Arlésienne. There were Georges Bizet (1838–1875) Nonetheless, Dukas composed other worthy, 27 separate musical numbers for the play, Pastorale, First movement of L’Arlésienne suite no. 2 though less famous works. La Péri (1911- and Bizet created a suite of some of them 12) is a ballet based upon an ancient Persian for orchestra. After Bizet’s death, Guiraud Claude Debussy (1862–1918) legend. Alexander the Great (Iskender in the concocted a second suite from the remain- Petite suite: En bateau. Cortège. Ballet. original) finds a flower of immortality in ing sections of the incidental music. Like all the clenched hand of a sleeping péri – a fairy. of Bizet, the music is delightful and moving, Jacques Offenbach (1819–1880) The ballet opens with a somber and stately overpowering in its charm and energy, and Intermezzo and Barcarolle, from Les contes d’Hoffmann brass fanfare. This fanfare is the essence of always thrilling to hear. the score, and the ballet ends with a transfig- Ernest Guiraud (1837–1892) ured statement of the opening, played by the muted horns. DEBUSSY First movement, from Caprice pour violin Petite suite Joan Kwuon, violin Carnaval, from Suite d’orchestre BIZET Claude Debussy’s (1862-1918) Petite suite Pastorale, First movement of dates from 1907 and was originally com- Georges Bizet L’Arlésienne suite no.
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Music History Lecture Notes Romantic & Nationalism 1810 AD - 1900 This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, The Romantic Period • Begins in 1810 (although elements occurred before) • Emphasis on personal feelings • Interest in the natural and supernatural worlds • Art movement parallels a “realignment” of power in Europe The Romantic era • Like “classical,” Romantic is an imprecise label; it helps to define a period • From “romance” a tale or poem about heroes or events written in a language descended from Latin (Roman) • Qualities: fantastic, idealistic, marvelous • Maintains much of the musical vocabulary and conventions of the classical era Romantic Art • Characterized by a spirit of longing or yearning for an impossible fulfillment • Famous Painters – Goya – Blake – Delacroix Goya: Executions of the 3 rd of May Blake: God as an Architect, Christ in the Sepulcher Blake: Nebuchadnezzar Delacroix: Liberty Leading the People Romantic Philosophies • Schopenhauer – The world is driven by desire, the result of which is suffering • Nietzsche – “God is dead” Music as a romantic art • The world of ordered sound and rhythm does not need to mirror the concrete world • music can evoke impressions, thoughts, feelings • Philosopher Arthur Schopenhauer called music “the incarnation of the innermost reality” Additions to Romanticism • 1. Love of remote time and place – interest in religion, antiquity and travel • 2.
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Moving to the Beat of Georges Bizet Lesson Plan
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