DOCSLIB.ORG

Qnote Winter05!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Qnote Winter05! BLAIR Vanderbilt University FortyYearsYoung WINTER 2005 Blair celebrates 40 years of precollegiate instruction Forty Years From the Dean Blair faculty reminisce about the formative years his is a special year for the Blair School Cover: Pierce Trey, a member of the of Music and, accordingly, a special issue Children’s Cello Choir that toured Germany last summer (see page 8). of the Quarter Note. Through our con- Photo by Neil Brake. T Young cert series, special events featuring faculty, students, and alumni, and through our publi- B Y L ISA D U B OIS The BLAIR QUARTER NOTE, the newsletter cations, we celebrate the 40th anniversary of of the Blair School of Music, is published twice a year in cooperation with the the founding of the Blair School. ring on the festivities! Organist Emeritus, Peter Fyfe; Office of Advancement Communications From its inception, Blair has represented excel- for alumni, current students, and other The Blair School of Associate Dean and Associate friends of the School. lence in musical performance and instruction, Music is 40 years old! Professor of Flute Jane Kirch- and we are proud that this essential principle The BLAIR QUARTER NOTE, Volume 29, DANIEL DUBOIS B ner; Senior Artist Teacher of A group of faithful faculty Number 1, Winter 2005 remains the guiding force in all that we do. In Piano and holder of the © 2005 by Vanderbilt University. members started at or near 1964, there was no music major for Vanderbilt students, but there was an energetic, Chancellor’s Chair Roland All rights reserved. the beginning—and stayed accomplished, and dedicated faculty with inspired students. Del Sawyer, the first direc- Schneller; Professor of Pi- on as the academy grew Editor, Bonnie Arant Ertelt tor and subsequent dean of the Blair School, established a solid foundation of superb ano Emerita, Enid Katahn; Director of External Affairs, Cindy Steine from a small precollegiate Contributors, Lisa DuBois, Angela quality in the curriculum, faculty hires, and program development. Blair owes him an Joseph Joachim Professor program at Peabody Col- Wibking Fox, Jim Patterson incalculable debt of gratitude, for none of the progress Blair has made since then could of Violin Chris Teal; and Art Director, Donna DeVore Pritchett lege to a premier accred- Designer, Suzanna Spring have occurred without his principled and forthright guidance. Adjunct Assistant Profes- ited precollegiate and Executive Director of Advancement In 2005, the Blair School has a nationally respected collegiate program, outstanding sor of Violin and former Communications, Ken Schexnayder collegiate music school at precollegiate student Mary precollege and adult instruction, a broad array of courses for Vanderbilt University stu- Vanderbilt University. Kathryn Vanosdale. Precollege, adult, and undergraduate dents who are not music majors, and talented, accomplished students of all ages. All alumni are encouraged to send their Curious about the “good professional or personal news to: this is made possible by a superb faculty whose achievements on the world’s stages are ol’ days,” Quarter Note spoke QN: How did the Blair matched by their wisdom and inspiration in the teaching studio and classroom. The BLAIR QUARTER NOTE separately to several of these ven- Academy of Music get started 2400 Blakemore Avenue The past year has seen new milestones in the School’s maturation: the first Euro- back in 1964? Nashville, TN 37212-3499 erable faculty members: former pean tour by a collegiate ensemble, two European tours by precollege ensembles, Director/Dean Del Sawyer; Adjunct Del Sawyer: At that time I was a teach- Or by e-mail to: a record enrollment in the precollege and adult program, growing audiences for the Professor of Organ and University ing fellow of trumpet at George Peabody [email protected] many concerts in our outstanding new facilities, and active collaboration with civic and Undergraduate alumni news now regional arts organizations. Our faculty members perform and give lectures through- appears in Vanderbilt Magazine’s class notes section. Any news sent by under- out the world and provide students at Vanderbilt University and in the Middle graduate alumni is forwarded to Tennessee region with instruction of the highest caliber. Blair School of Music–a Timeline Vanderbilt Magazine. With all these achievements, there is every reason to celebrate a distinguished Visit us on the Web at past, a vibrant present, and the promise of a brilliant future. That is what you will find 1964 1967 1968 1969 www.vanderbilt.edu/Blair/ in all of the Blair School’s concerts this year and in this issue of the Quarter Note. Blair Academy of Music opened Blair String Quartet estab- Suzuki program, one of first Fifth Blair anniversary. Vanderbilt University is committed in September, as the precol- lished. First members were programs in the region, begun Faculty: 10 full-time, to principles of equal opportunity and I hope you will join with us in celebrating this remarkable history and, better still, lege division of the School of Sheldon Kurland and Stephen by Sharon Rogers. 15 part-time. affirmative action. the promise the Blair School holds for generations to come. Music of George Peabody Col- Clapp (violins), Lee Kull (viola), lege for Teachers. Fall enroll- and David Vanderkooi (cello). Printed on recycled paper ment: 224 students. Faculty: 1 1971 full-time (Roland Schneller), 19 Blair Woodwind Quintet estab- Original part-time. John Friedel (Del) lished. Two of first members members of Sawyer, director. Building at were Bobby Taylor (oboe) and 1208 Eighteenth Avenue South the Blair String Quartet– Jane Kirchner (flute). Myra Jackson Blair—mother of on the Peabody campus. Fund- Sheldon Valere Blair Potter—for whom ed by the Justin and Valere Kurland and the Blair School was named Potter Foundation; Valere Blair Stephen Clapp Potter named it in honor of her (violins), David Oval inset photo at top—Kathryn mother, Myra Jackson Blair. Vanderkooi Plummer, who celebrates 30 NEIL BRAKE (cello) and Lee 2 BLAIR Quarter Note years with the Blair School this Kull (viola) Winter 2005 3 year, back in 1986. College for Teachers School of Music. The dean of the Peabody Roland Schneller: I was 24-years old, my wife was pregnant, Enid Katahn: I was giving private piano lessons in Nashville the job, I inherited many exceptional collegiate and precol- Music School, C. B. Hunt, was conducting a national search and I’d spent the summer living in a trailer park at a fine arts and Del asked me that first year if I would come and teach legiate students from Stephen Clapp, who is now retiring as and had to twist my arm to be a candidate. But C.B. was a summer camp. I desperately needed a job. It was late August at Blair. I said no. In the meantime, I had taken a course dean of the Juilliard School. wonderful man and said he’d back me 100% if I took the and by the time I responded to notices about music position certifying me to teach groups, which, if I wanted to do that, I had a lot to learn, because I wasn’t a very experienced job—and he sure lived up to his promise! openings, Blair’s was the only one that hadn’t been filled. I meant I’d have to put a second piano in my living room. The teacher. I taught both Connie Heard and Mary Kathryn Vanos- It was a whirlwind. In two and a half months I renovated was really fortunate to get that job. next year, Del invited me again, and this time I said yes. dale during their senior year of high school. They were quite a building, hired a faculty and made my own flyers. I didn’t Del became a good friend and cohort. We kind of hung I taught for 35 years before retiring. Those early days at advanced and very savvy, had studied with some of the have an office, so I worked at the Pancake Pantry and at around together and dreamed together, making it up as we Blair were a trial in some respects. In the original building best people in the region, and went on to study with many the Peabody Student Center. Because I was a performing went along. I kept busy helping him do whatever needed to the walls were very thin. I was upstairs next to a violinist, illustrious musicians. I can’t claim to have had a big impact musician, I knew all the musicians in Nashville, and I asked be done, whether it was administrative, going down to the and he stopped me one day and said, “Enid, can’t you have on their careers. my friends to direct me to the ones known to be both good printer to proofread something, or shoveling snow off the your students play a little more softly?” I said, “No! When teachers and good performers. Those were the people I tried front walk. We both treated Blair like it was our baby. the music says loud, they have to learn to play loudly. I’m Mary Kathryn Vanosdale: Chris Teal was a great influence to hire. not training them to play in this dinky little room. I’m train- on my career, actually. I started taking lessons at Blair the But I also had to solicit the students. So I hit the pave- Peter Fyfe: I was an organist and choirmaster at Christ Epis- ing them to play on stage!” first year it opened, and had a lot of teachers through the ment. I went to the newspapers, the radio stations, the TV copal Church, now Christ Cathedral. After Blair opened, the years. I spent a year and a half with Chris and then went stations.
Load more

Recommended publications
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • AMERICAN CLASSICS Elliott CARTER
    559151bk Carter USA 17/12/2003 08:42 pm Page 5 The Nashville Symphony Kenneth Schermerhorn Under the leadership of Music Director Kenneth Schermerhorn for the past twenty years, the Grammy-nominated One of today’s most distinguished and versatile conductors, Kenneth Schermerhorn has been Music Director of the AMERICAN CLASSICS Nashville Symphony is widely regarded as the cornerstone of the performing arts in Middle Tennessee. With more Nashville Symphony since 1983. He is equally at ease with symphonic repertoire, opera and ballet. His experience, than 200 performances annually, the Symphony offers local audiences a range of Classical, Pops and Pied Piper presence and dynamic programming have been applauded by audiences and critics worldwide, not least through children’s series concerts, as well as a variety of special events. A true cultural ambassador for the citizens of his recordings, which include a number of Naxos releases of American music, part of a new series. Earlier Nashville, the Nashville Symphony also shares its artistry with national and international audiences through its recordings include pioneering discs of music by Villa-Lobos, Richard Strauss, and Glazunov with the Hong Kong Elliott Fourth of July concerts, which are broadcast nationwide on the A&E cable network, and through critically Philharmonic Orchestra, of which he was music director, and other recordings include an all-Sibelius album with acclaimed recordings on the Naxos American Classics series, and a new recording of Beethoven’s choral tour de the Slovak Radio Symphony Orchestra and a recording of Samuel Barber’s First Symphony with the Milwaukee force Missa Solemnis.
    [Show full text]
  • The Evolution of Elliott Carter's Rhythmic Practice Author(S): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No
    The Evolution of Elliott Carter's Rhythmic Practice Author(s): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No. 2 (Summer, 1988), pp. 164-203 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833189 Accessed: 07/02/2010 18:10 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org THE EVOLUTIONOF ELLFTOTTCARTER'S RHYTHMICPRACTICE JONATHANW. BERNARD INTRODUCTION ELLIOTT CARTER'SWORK over the past forty years has made him per- haps the most eminent living American composer, and certainly one of the most important composers of art music in the Western world.
    [Show full text]
  • Carter US 15/11/07 19:27 Page 4
    559362 bk Carter US 15/11/07 19:27 Page 4 Pacifica Quartet AMERICAN CLASSICS Simin Ganatra, Violin I • Sibbi Bernhardsson, Violin II Masumi Per Rostad, Viola • Brandon Vamos, Cello Recognized for its virtuosity, exuberant performance style, and often daring repertory choices, the Pacifica Quartet has carved out a compelling musical path. Since the group first came together in 1994, the ensemble has swept top Elliott prizes in several leading international competitions from the Cleveland Quartet Award to the Naumburg. In 2006, the Pacifica was awarded the prestigious Avery Fisher Career Grant, only the second chamber music ensemble ever to be selected. The Pacifica Quartet tours extensively throughout the United States, Europe, and the Far East, with frequent CARTER broadcasts. Prolific in the recording studio, the quartet’s acclaimed recordings include the complete string quartets of Mendelssohn, Dvofiák chamber works, and the complete quartets of Easley Blackwood. Recitals include cycles of the complete string quartets of Beethoven. The Pacifica was appointed a member of The Chamber Music Society of String Quartets Nos. 1 and 5 Lincoln Center’s CMS Two programme for gifted young musicians in 2002. The Quartet is an ardent advocate of contemporary music, commissioning and performing as many as eight new works a year. A champion of the string quartets of Elliott Carter, the ensemble has distinguished itself with performances of the complete cycle of five Pacifica Quartet quartets in New York, San Francisco, Chicago, and Cleveland, and abroad in Japan, Germany, and the Edinburgh International Festival. As resident string quartet for Contempo, one of the country’s leading contemporary music organizations, the Quartet presents a series of concerts each year devoted exclusively to new music.
    [Show full text]
  • STEVE YOUNG LL July 2021
    STEVE YOUNG - LYRICS Steven Timothy Young, 12th July 1942 - 17th March 2016 Compiled by Robin Dunn assisted by Chrissie van Varik. Please note that this list should be regarded as a ‘work in progress’. We don’t claim definitive knowledge about Steve Young’s recorded and composing output and welcome corrections and/or new information. Many folks will have greater knowledge than we about the details on many of these tracks - musicians, dates of recordings, background etc. As anyone with any experience of these things knows, something new and unexpected is always turning up! If anyone epitomises the title of our website it has to be Steve Young. He covered the full gamut of folk, country, blues, and rock ‘n’ roll. Not so well known with the general music-buying public he was nevertheless a huge influence on contemporary and upcoming folk and country musicians many of whom went on to become famous in their own right. Perceived as somewhat of an independent country and folk outsider he was a pioneer of the country rock, Americana, and Alt. Country sounds and often seen as the original so called ‘outlaw’ a label later adopted and inculcated by Waylon Jennings, Johnny Cash and Willie Nelson among others. However, Steve Young’s repertoire was much wider and varied. Steve Young was born on 12th July 1942 in Newnan, Georgia. He grew up in Gadsden, Alabama, and in Texas, as the family regularly moved around in search of work. By the time he completed high school he was playing and writing songs that incorporated influences of folk, blues, country and gospel that he absorbed whilst travelling throughout the South.
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Music 785 Repertory, Spring 2012 Page 1
    Music 785 Repertory, Spring 2012 Page 1 Repertory Studied, Spring 2012 (*) Indicates that you are responsible for identifying the movements of the work. Aaron Copland (1900-1990) M1613.3 C66 A8 LP 8794 5:09 As it Fell Upon a Day (1923) for soprano, flute and clarinet M1010.C6 C6 Circ CD 981 16:19 Piano Concerto (1926) 6:38 I. Andante sostenuto 9:31 II. Molto moderato (molto rubato) M27.C67 V2 Circ CD 3316 12:28 Piano Variations (1930) (*) M1001.C78 S92 Circ CD 425 15:28 Short Symphony (1933) 4:29 Allegro vivace 5:16 Lento 5:47 Finale: Precise and rhythmic M624.C65 S9 Sextet (revision of Short Symphony) M1003.C78 B5 Circ CD 5918 21:16 Billy the Kid, ballet (1938) 3:07 1. Introduction: The Open Prairie 6:37 2. Street in a Frontier Town 3:04 3. Prairie Night (Card Game at Night) 1:58 4. Gun Battle 2:07 5. Celebration (after Billy’s Capture) 2:52 6. The Open Prairie Again M1045.C77 C7 Circ CD 981 19:11 Connotations (1961-62) M25.C67 M5 Circ CD 3316 2:41 Proclamation (1973-82) Roger Sessions (1896-1985) M1003.S5 B5 Circ CD 4870 22:01 Orchestral Suite from "The Black Maskers" (1923) also Circ CD 430 4:14 I. Dance 7:51 II. Scene 3:46 III. Dirge 5:50 IV. Finale (*) M1001.S48 S91 Circ CD 154 18:00 Symphony No. 1 (1929) 5:35 I. Guisto 7:23 II. Largo 5:33 III. Allegro Vivace M24.S48 F7 Circ CD 262 8:20 From My Diary (1937-40) for piano 2:45 I - To Milton Babbitt 2:38 II - To Edward T.
    [Show full text]
  • Cash Box NY Telex: 666123 Tists (Page 7)
    UA-LA958-I Featuring ^ “Days Gone Down On United Artists Records in .C 1979 LIBERTY UNITED RECORDS. INC . LOS ANGELES CALIFORNIA 90028 UNITED ARTISTS RECORDS IS A TRADING NAM.F VOLUME XLI — NUMBER 3 — JUNE 2, 1979 FHE INTERNATIONAL MUSIC RECORD WEEKLY C4SH GEORGE ALBERT President and Publisher ? 5 MEL ALBERT “An Apple A Day Vice President and General Manager EDITORML CHUCK MEYER value. billboard. Director of Marketing Records are your best entertainment DAVE FULTON With near unanimous agreement that the Considering that consumers are looking for the In Chief Editor aforementioned maxim is true, it is time to let others most for their money, the time is right to let them J.B. CARMICLE realize this secret. know the investment value of music. With minimal General Manager. East Coast And the great hook to this is that it can be done care, a consumer can spend $4-6and haveawork of JIM SHARP Director, Nashville without a costly advertising campaign which also re- art for a lifetime. East Coast Editorial quires executives from various labels to agree to a This simple program needs to be coordinated KEN TERRY East Coast Editor CHARLES PAIKERT budget and a creative approach. Quite simply, a through the RIAA or another industry organization LEO SACKS AARON FUCHS series of phone calls and verbal agreements are all that will take the initiative to promote the concept to West Coast Editorial that is needed. the manufacturers. In a matter of days, the plan ALAN SUTTON. West Coast Editor JOEY BERLIN — RAY TERRACE Whenever a manufacturer advertises his albums, could be instituted.
    [Show full text]
  • A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A MULTIFACETED APPROACH TO ANALYZING FORM IN ELLIOTT CARTER'S BOSTON CONCERTO By ALAN THEISEN A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Alan Theisen defended on June 8, 2010. ____________________________________ Michael Buchler Professor Directing Dissertation ____________________________________ Denise Von Glahn University Representative ____________________________________ Jane Piper Clendinning Committee Member ____________________________________ Evan Jones Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS First, I would like to thank my dissertation advisor and good friend Michael Buchler, for his guidance on this project and throughout my stay at Florida State University. I would also like to thank my committee, Jane Piper Clendinning, Denise Von Glahn, and Evan Jones, for their encouragement and insightful comments during the writing process. My family also deserves thanks for the endless supply of support they have provided over the years; a special thanks go to my parents for insisting that I follow my passion rather than simply chasing the Almighty Dollar. I would also like to thank Joseph Brumbeloe at the University of Southern Mississippi for his support over the years and for encouraging me to continue my music theory studies, particularly those on post-tonal topics.
    [Show full text]
  • Elliott Carter: Ballets
    ELLIOTT CARTER: BALLETS POCAHONTAS | THE MINOTAUR POCAHONTAS (1939) THE MINOTAUR (1947) ELLIOTT CARTER 1908–2012 [1] Overture 1:59 [8] Overture 0:56 [2] John Smith and Rolfe lost in the Virginia SCENE I: King Minos’ Palace in Crete POCAHONTAS Forest 3:21 [9] Queen Pasiphae dresses for her tryst with [3] The Indians ambush John Smith 2:12 the sacred bull 4:56 THE MINOTAUR [4] Princess Pocahontas and her Ladies 3:53 [10] Pasiphae’s dance with the bulls 3:02 [5] John Smith is tortured by Indians and [11] Interlude 1:22 saved by Pocahontas 6:25 SCENE II: Before Labyrinth BOSTON MODERN ORCHESTRA PROJECT [ ] 6 John Smith presents young Rolfe to [12] Building of the Labyrinth 2:41 Gil Rose, conductor Pocahontas, Rolfe and Pocahontas [ ] dance 8:06 13 Procession and entrance of King Minos 2:07 [7] Pavane, Farewell of Indians, Pocahontas [ ] and Rolfe sail for England 5:02 14 Sacrifice of the Greek victims 1:29 [15] Ariadne dances with Theseus (Pas de Deux) 4:59 [16] The Labyrinth 2:03 [17] Theseus’ farewell as he enters the Labyrinth 1:33 [18] Ariadne’s thread unwinds 1:15 [19] The Fight with the Minotaur 1:17 [20] Ariadne rewinds her thread to lead Theseus out of the Labyrinth 2:56 [21] Greeks and Theseus emerge from Labyrinth 1:16 [22] Theseus and the Greeks prepare to leave Crete 3:06 TOTAL 65:57 COMMENT By Elliott Carter . PHOTO BY GEORGE PLATT LYNES. PLATT GEORGE BY . PHOTO FROM “THE COMPOSER’S CHOICES” (C. 1960) My first large orchestral work, written in 1938—a ballet on the subject of Pocahontas—is POCAHONTAS full of suggestions of things that were to remain important to me, as well as of others which were later rejected or completely transformed because they no longer seemed cogent.
    [Show full text]
  • Cedar Falls Band Library, Status 9/28/11 Title Composer Arranger
    Cedar Falls Band Library, status 9/28/11 Title Composer Arranger 12th Street Rag Bowman, E. L. 147th Field Artillery (band book #1) King, K. L. 1812 Overture Tschaikowsky Laurendeau, L. 20th Century (galop-xylophone) Stobbe, Wm. R. 20th Century March Losey, F. H. 22nd Regiment March Herbert, Victor 2nd Regiment Conn. N. G. March Reeves, D. W. 53rd Iowa N.G. March Fraser, C. A. St. Clare 80th Anniversary March Marsh, Ed Manuscript A. A. Harding March Mader, Carl A. A. Harding March Mader, Carl A.A.B.B. March Willcocks, G. H. Abdallah (band book #1) King, K. L. Abide With Me Monk, W. H. Briegel, G. F. Abu Hassan Overture von Weber, C. M. Rollinson, T. Aces of the Air (band book #2) King, K. L. Across the Danube Sousa, J. P. Adagio-Taratella Cavallini, Ernest Waln, George Adieu Lake, M. L. Adorable (waltz) Marion, G. Whiting Briegel, G. F. Adoration Borowski, F. Lake, M. L Africantus (4 perc) Brand, Morris Alan Age of Progress, The Goldman, Edwin Ah! Sweet Mystery of Life Herbert, Victor Trinkaus, J. G. Air Battle March, The Dalbey, C. W. Air Varie (solo for baritone) Harlow, Fred P. Akebond "Dawn" (Japanese Navy) Takayama, Min Akebono Al and Pal (solo for cornet) Short, T. V. Alameda Caneva, Ernest Alamo (band book #3) King, K. L. Alaska Overture Jones, Steven Album Leaf Wagner, Richard Johnson, C.W. Alexander's Rag Time Band Berlin, Irving Alfalfa Club March Howard, George Kepner, Fred Algeria (band book #3) King, K. L. All American March Crosby, Richard All I Owe Ioway Rodgers, Richard Leidzen, Erik Alla Barocco Gioyannini, Caesar Robinson, W.
    [Show full text]
  • Elliott Carter
    Edith Cowan University Research Online Theses : Honours Theses 2014 Elliott aC rter and his use of metric and temporal modulaton in his Eight Pieces for Four Timpani : an examination into the application of click tracks during the preparation and performance of these works Tegan LeBrun Edith Cowan University Recommended Citation LeBrun, T. (2014). Elliott aC rter and his use of metric and temporal modulaton in his Eight Pieces for Four Timpani : an examination into the application of click tracks during the preparation and performance of these works. Retrieved from https://ro.ecu.edu.au/theses_hons/ 113 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/113 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work.
    [Show full text]