DOCSLIB.ORG

Project Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Project Report AFRO-CUBAN THEMES IN VALERIE COLEMAN’S AFRO-CUBAN CONCERTO A PROJECT REPORT Presented to the Bob Cole Conservatory of Music California State University, Long Beach In Partial Fulfillment of the Requirements for the Degree Master of Music Concentration in Instrumental Performance Committee Members: Alicia M. Doyle, Ph.D. (Chair) Michele Grego, M.M. Jermie Arnold, D.M.A. College Designee: Johannes Müller Stosch By Jeffrey C. Wasik B.M., 2017, California State University, Long Beach May 2019 ABSTRACT Valerie Coleman’s Afro-Cuban Concerto for woodwind quintet stretches the limitations of the ensemble by pushing each instrument to their technical limits. Her use of Afro-Cuban rhythms and mixed meters combined with virtuosic writing for all instruments creates a flavor that leaves listeners in awe. The three-movement Afro-Cuban Concerto is a composition that highlights Afro-Cuban rhythms, the characteristics of Santerían worship, and the virtuosic capabilities of wind instruments. Often categorized as a “neo-classical” work because of the form and harmonic structure, the spirit of the work is purely African and Cuban. The first movement, Afro, represents the voice of worshippers within Santería. The clave rhythm is the driving force of the movement with the winds demonstrating their virtuosic abilities with solo passages. The second movement, Vocalise, opens like a prayer with the horn and the bassoon playing the melody in unison. A three-note habanera motif is present throughout most of the movement. A short tutti introduces the final movement, Danza where the flute solo foreshadows a percussive role for the instrument throughout the movement while the rhumba, and its many variations drive the finale of this composition. Each wind player in the third movement is given a solo meant to sound improvised. The Danza movement is the most challenging movement of the concerto due to the speed of the rhumba and the demand for stability through many layers of percussive rhythms the group is playing. Coleman brings a new flavor to the woodwind quintet repertory by paying homage to the roots of Afro-Cuban music. In this paper, I will examine the Afro-Cuban traditions Coleman borrows from in her concerto for woodwind quintet. ii ACKNOWLEDGMENTS I would like to extend my gratitude to those who aided me in the completion of this project. To my advisor Dr. Alicia M. Doyle, thank you for your patience through my graduate studies. I appreciate all the guidance you have offered me, and valuable direction that helped shape this project. To my committee member Dr. Jermie Arnold, thank you for giving me opportunities in leadership and performing throughout my career at the Bob Cole Conservatory. To my bassoon teacher Michele Grego, thank you for your immeasurable support, guidance, encouragement, knowledge and pedagogy over my musical career. I would also like to extend my thanks to my wind quintet colleagues Elvin Schlanger, Seth Leue, Jonathan Galbreath, Allison DeMeulle and our coach John Alan Carnahan for your inspiration and dedication to making great music. Thank you to the many friends I’ve made during my time in the M.M. program; we’ve shared many late nights of practice, concerts, tours, and coffee to get through the program together. I am grateful for the love and support of my family. I could not have completed this program without them. My parents and siblings are the best anyone could ask for. From the long phone calls of advice and encouragement to the tireless trips across the country and state to see me perform for an hour. Lastly, I would like to say thank you to my former bassoon teachers Jim Bernhardt, Judith LeClair, and Patricia Kindel for all the lessons you’ve given me. I’ve learned so much from you all. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................. ii ACKNOWLEDGMENTS ............................................................................................................ iii LIST OF FIGURES ...................................................................................................................... v 1. VALERIE COLEMAN ..................................................................................................... 1 2. EVOLUTION OF STYLE ................................................................................................ 4 3. THE AFRO-CUBAN CONCERTO ................................................................................... 7 4. PERFORMANCE PRACTICES ...................................................................................... 12 5. CONCLUSION ................................................................................................................. 16 APPENDIX: RECITAL PROGRAM ........................................................................................... 17 BIBLIOGRAPHY ......................................................................................................................... 19 iv LIST OF FIGURES 1. Clave pattern in 4/4 and 12/8 ............................................................................................ 5 2. mm. 1-5 Illustrating the call to worship in the French horn and the oboe ........................ 8 3. mm. 8-9 Where the French horn takes over the clave ...................................................... 8 4. The clave outlined by the accents in the bassoon ............................................................. 9 5. Unison line between the French horn and bassoon ........................................................... 9 6. Habanera pattern in simple duple time against the habanera in the second movement .... 10 7. The rhumba as it appears in the third movement .............................................................. 11 8. Bassoon solo passage from third movement ..................................................................... 11 9. Ending passage of Afro-Cuban Concerto ......................................................................... 11 10. Graph from Weisberg’s book “The Art of Wind Playing” ............................................... 13 v CHAPTER 1 VALERIE COLEMAN Valerie Coleman is a predominant composer popular in the woodwind quintet realm. Born in 1970, she has been described as one of the “Top 35 Female Composers in Classical Music” by critic Anne Midgette from the Washington Post.1 Coleman’s compositions are distinguishable by their flavorful style and intriguing colors. The Boston Globe has stated that Coleman has a “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations” and The New York Times describes her output as, “Skillfully wrought, buoyant music.”2 Coleman has composed works from simple instrumental sonatas to wind quintet tone poems about Josephine Baker to full orchestral works.3 Her compositions have been viewed as “deeply relevant contributions” to modern music. A native to Louisville, Kentucky, she began her musical studies at eleven and had written three symphonies by the time she turned fourteen. She was the founder of the Grammy® nominated Imani Winds, from which she recently announced retirement to focus on a career of composition.4 Many of Coleman’s works have been established as standard repertoire in the woodwind quintet library, but she is best known for her 1 Anne Midgette, “The Top 35 Female Composers in Classical Music,” The Washington Post (WP Company, August 4, 2017), https://www.washingtonpost.com/entertainment/music/ the-top-women-composers-in-classical-music/2017/08/04/ 319274d4-76f2-11e7-803f- a6c989606ac7_story.html? noredirect=on&utm_term =.5b5d053ca60d. 2 Valerie Coleman, “Media,” Valerie Coleman Flutist & Composer , accessed March 23, 2019, https://www.vcolemanmusic.com/media.html. 3 Valerie Coleman, “Works,” Valerie Coleman Flutist & Composer, accessed April 3, 2019, https://www.vcolemanmusic.com/works.html. 4 “Imani Winds Mobile,” Imani Winds (Beauchamp Artist Services, 2019), http://www.imaniwinds.com/imani-winds-mobile. 1 composition entitled Umoja – A Kwanzaa Celebration for woodwind quintet. A piece that is listed in the “Top 101 Great American Works” by Chamber Music America.5 Coleman is frequently a featured guest soloist and composer in many venues across the world including Walt Disney Concert Hall, Lincoln Center, Carnegie Hall, The Eastman School, DaCamera Houston, Krannert Center, The Colburn School, and The Juilliard School. As an accomplished flutist, she has recorded with Wayne Shorter, Paquito D’Rivera, Jason Moran, Steve Coleman, Vijay Iyer, Stefon Harris, Chick Corea and others.6 The Imani Winds have been featured with such artists as Yo-Yo Ma, Anne Marie McDermott, Alexa Still, Ani and Ida Kavafian, David Shifrin, Wu Han, Simon Shaheen, and Sam Rivers. Coleman’s works are frequently on the radio with national and local classical stations including Sirius XM, NPR’s Performance Today, All Things Considered, The Ed Gordon Show, and MPR’s Saint Paul Sunday.7 With over twenty years of experience offering masterclasses, clinics and lectures across the country, Coleman is a highly sought-after clinician and performer. She has served on the faculty at Mannes College of Music, Banff Chamber Music Intensive and is a guest lecturer at the University of Chicago. She is recognized among educators to be a strong advocate for diversity in the arts, and remains a mentoring source of inspiration to emerging musicians. In 2011, Imani 5 “Valerie Coleman,” International Opus (International
Load more

Recommended publications
  • Download Booklet
    Close to Home: Music of American Composers Michael Rowlett, clarinet Stacy Rodgers, piano www.albanyrecords.com Leonard Bernstein | sonata | Jeanne Singer | nocturne | Eric Mandat | rrowzer! TROY1385 albany records u.s. 915 broadway, albany, ny 12207 Valerie Coleman | sonatine | Aaron Copland | sonata | Steve Reich | new york counterpoint tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. Close to Home began when I met two composers whose works, while quite different from each other, engaged and intrigued me. I encountered Valerie Coleman, flutist in the Imani Woodwind Quintet, at the premiere of her trio for flute, clarinet and piano. When I discovered that she had written an equally dynamic, powerful solo piece for clarinetist Mariam Adam, I leapt at the chance to learn it. Soon after, I heard Eric Mandat perform a program of his own compositions, which were witty, exciting and thoroughly delightful. When I spoke to him after the concert, his friendly enthusiasm convinced me to attempt to learn one of my favorite numbers from the program. One of the great pleasures of this project was the opportunity to work with these fine composers and performers. As I gathered works by other American composers for this collection, I began to find similarities among the diverse pieces, like a familiar accent in different voices. One common theme is the development of simple, repeated melodic cells. This process is perhaps most noticeable in Steve Reich’s New York Counterpoint, scored for eleven clarinets and bass clarinets, but it can also be found in Rrowzer!, which allows the solo clarinetist to decide how many times to repeat individual measures.
    [Show full text]
  • Woodwind Faculty Concert
    FACULTY RECITAL Woodwind Faculty Concert Leshowitz Recital Hall Wednesday, February 17th, 2021 7:00 pm Program Piano Etude No. 4 Marc-Andres Hamelin arr. Matt Evans Stacy Wilson, saxophone Trio Sonata in C Minor Johann Joachim Quantz III. Larghetto (1697-1773) Wendy Stern, flute; Mary Watt, oboe; Isaac Schultz, bassoon; Joyce Lindorff, harpsichord Forms of Floating for Solo Flute Robert Carl (b. 1954) Janet Arms, flute Robert Carl writes: Forms of Floating is one of my very earliest pieces, written in 1981 in Chicago, originally for my friend Marilyn Bliss, who has remained a great composer for the instrument and a leading performer of new works for it. Though juvenilia often is embarrassing, I admit I still find the intense yearn, long line, and breathless rush towards the end invigorating. I think it still lives up to its title. Sonatine Valerie Coleman (b. 1970) Ben Baron, clarinet; Sojung Park, piano Trio for 3 Flutes in E Minor, Op. 86 No. 1 Frederich Kuhlau II. Scherzo (1786-1832) III. Larghetto Oboes: Ryan Walsh, Cat Cantrell, Jason Smoller Träumerei from Scenes from Childhood, Op. 68 R. Schumann (1810-1856) Harry Searing, bassoon, Sandy Searing, piano Sonata for Bassoon and Piano Crystal Godfrey LaPoint (b. 1958) Sasha Enegren, bassoon; Sojung Park, piano "Homeland" for solo flute Allison Loggins Hull Allison Loggins Hull, flute and composer Ready to Rumble! for 2 contrabassoons Gernot Wolfgang (b. 1957) Harry Searing and Chad Smith, contrabassoons Speedy Rag Jean Matitiza Chad Smith, saxophone Composed by Jean Matitia for saxophonist Chad Smith. Speedy Rag, a contemporary tour-de-force piece in the style of "Tin Pan Alley" was composed for me in 2014 by French composer, Christian Lauba.
    [Show full text]
  • The Commissioned Flute Choir Pieces Presented By
    THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE 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 Yoon Hee Kim Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Katherine Borst Jones, Advisor Dr. Russel C. Mikkelson Dr. Charles M. Atkinson Karen Pierson Copyright by Yoon Hee Kim 2013 Abstract The National Flute Association (NFA) sponsors a range of non-performance and performance competitions for performers of all ages. Non-performance competitions are: a Flute Choir Composition Competition, Graduate Research, and Newly Published Music. Performance competitions are: Young Artist Competition, High School Soloist Competition, Convention Performers Competition, Flute Choirs Competitions, Professional, Collegiate, High School, and Jazz Flute Big Band, and a Masterclass Competition. These competitions provide opportunities for flutists ranging from amateurs to professionals. University/college flute choirs perform original manuscripts, arrangements and transcriptions, as well as the commissioned pieces, frequently at conventions, thus expanding substantially the repertoire for flute choir. The purpose of my work is to document commissioned repertoire for flute choir, music for five or more flutes, presented by university/college flute choirs and NFA sponsored flute choirs at NFA annual conventions. Composer, title, premiere and publication information, conductor, performer and instrumentation will be included in an annotated bibliography format. A brief history of the flute choir and its repertoire, as well as a history of NFA-sponsored flute choir (1973–2012) will be included in this document.
    [Show full text]
  • Valerie Coleman Has Been Making Her Mark As a Fine Flutist in Contemporary Music, the Flute Is Not Her Only, Or Even Her Primary, Medium of Expression
    December 2008 VALERI E COLEMAN: REVITALIZING THE WOODWIND QUINTET by Peter Westbrook Reprinted with permission from the spring 2008 issue of The Flutist Quarterly. lute performance, composing, Imani Winds, and the desire to bring great music to margin- Falized communities are among the passions that drive this determined musician. As her ensemble enters its second decade, the self-described “average flutist” is sowing rewards for her steady, hard work. Although Valerie Coleman has been making her mark as a fine flutist in contemporary music, the flute is not her only, or even her primary, medium of expression. For the past 10 years, Coleman’s hand has been at the helm of the award-winning woodwind quintet Imani Winds, which provides an outlet for her not only as flutist but also as composer, arranger, and visionary. In Concert The success of the group as it embarks on its second decade—thus far it has Imani Winds received a Grammy nomination, in 2006, Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; and two ASCAP/Chamber Music America Mariam Adam, clarinet; Jeff Scott, French horn; Monica Ellis, bassoon awards—is a testament to that vision. For as long as Coleman can remember, Sunday, December 14, 2008, 5:30 pm flute performance and composition have Yamaha Piano Salon, 689 Fifth Avenue vied equally for her attention. When I (entrance on 54th Street between Fifth and Madison Avenues) asked her if she thought of herself as a flutist/composer or composer/flutist she Afro Blue Mongo Santamaria (1917-2003) could not make a choice; both are very arr.
    [Show full text]
  • About Imani Winds
    Presents Imani Winds Rhythm and Song The Influence of the African Diaspora on Classical Music Wednesday, April 30, 2008 10am in Bowker Auditorium Study Guides for Teachers are also available on our website at www.fineartscenter.com - select For School Audiences under Education, then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html for the Registration Process and each Event. Thank you! The Arts and Education Program of the Fine Arts Center is sponsored by ABOUT IMANI WINDS Formed in 1997, IMANI WINDS is a woodwind quintet of young, hip, and adventurous classically‐trained musicians of color. Demonstrating that classical music is much more diverse that usually thought of, Imani Winds performs compositions that push the boundaries of a traditional wind‐quintet repertoire. They play jazz, contemporary music, spirituals, works by African and Latin‐American composers and European compositions with a worldly influence. They strive to illuminate the connection between culture from the African Diaspora and classical music. Imani Winds has carved out a distinct presence in the classical music world for their dynamic playing, culturally poignant programming and inspirational outreach programs, which they have brought to many communities throughout the country. THE MUSICIANS Valerie Coleman, flute A native of Kentucky, flutist and composer Valerie began her music studies in third grade. By the age of fourteen, she had written three symphonies and had won several local and state competitions. Valerie is the founder of Imani Winds and an active composer and educator. Toyin Spellman‐Diaz, oboe Toyin started her musical career as a flute player in her middle school band in Washington, DC, but when she noticed there were dozens of flute players and only two oboe players, she decided to switch to the oboe—and hoped she would be given more solos as a result! Toyin grew to love the oboe, excelled at playing, and had the opportunity to perform internationally at a young age.
    [Show full text]
  • Brandon Patrick George, Flute Toyin Spellman-Diaz, Oboe Mark Dover, Clarinet Jeff Scott, French Horn Monica Ellis, Bassoon
    Brandon Patrick George, Flute Toyin Spellman-Diaz, Oboe Mark Dover, Clarinet Jeff Scott, French Horn Monica Ellis, Bassoon Program Startin’ Sumthin’ Jeff Scott Quintet for Winds John Harbison iv. Scherzo v. Finale Kites Over Havana Paquito D’Rivera arr. Valerie Coleman Pavane Gabriel Fauré arr. Jeff Scott Dance Mediterranea Simon Shaheen arr. Jeff Scott Opening Act Assistant Professor of Music Matthew Evan Taylor If not NOW, then WHEN! Matthew Evan Taylor Alto Improvisation 3, Contrasts Program Notes Jeff Scott Startin’ Sumthin’ Startin’ Sumthin’ is a modern take on the genre of Ragtime music. With an emphasis on ragged! The defining characteristic of Ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat. The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the composer/pianist known as the “King of Ragtime,” called the effect “weird and intoxicating.” ―Note by Jeff Scott John Harbison Quintet for Winds John Harbison studied with Walter Piston at Harvard, with Boris Blacher in Berlin, and with Roger Sessions and Earl Kim at Princeton; in 1969 he joined the faculty at MIT. His compositions include two operas (one on Shakespeare’s The Winter’s Tale), orchestral works, concertos for piano, violin, and brass quintet, chamber music, and vocal settings on an impressive range of texts. Harbison has also made a career as a conductor; he has been conductor of the Boston Cantata Singers and has guest conducted the San Francisco and Boston Symphony Orchestras.
    [Show full text]
  • 2018 Available in Carbon Fibre
    NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished
    [Show full text]
  • Season 2019-2020
    23 Season 2019-2020 Thursday, September 19, at 7:30 The Philadelphia Orchestra Friday, September 20, at 2:00 Saturday, September 21, Yannick Nézet-Séguin Conductor at 8:00 Sunday, September 22, Hélène Grimaud Piano at 2:00 Coleman Umoja, Anthem for Unity, for orchestra World premiere—Philadelphia Orchestra commission Bartók Piano Concerto No. 3 I. Allegretto II. Adagio religioso—Poco più mosso—Tempo I— III. Allegro vivace—Presto—Tempo I Intermission Dvořák Symphony No. 9 in E minor, Op. 95 (“From the New World”) I. Adagio—Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco—Meno mosso e maestoso— Un poco meno mosso—Allegro con fuoco This program runs approximately 1 hour, 45 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. These concerts are sponsored by Leslie A. Miller and Richard B. Worley. These concerts are part of The Philadelphia Orchestra’s WomenNOW celebration. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle.
    [Show full text]
  • African-American Bassoonists and Their Representation Within the Classical Music Environment
    African-American Bassoonists and Their Representation within the Classical Music Environment 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 Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra).
    [Show full text]
  • Symphonic Band Program Notes
    Program Notes Highlights from South Pacific Richard Rodgers/Oscar Hammerstein South Pacific is a hallmark of American art. Written in 1949 by Rodgers and Hammerstein (composer and lyricist respectively), it was universally lauded for its take on war, danger, and romance. The year it premiered on broadway, Symphonic Band the show won 10 Tonys and a Pulitzer prize. In 1958, the musical was made David Scott, conductor into a film which remained the highest grossing film based on a Rodgers and Wednesday, November 15, 2017- 8 p.m. Hammerstein musical until the Sound of Music was released (1967). The Memorial Chapel soundtrack for the movie also reached critical success in the U.S., the album stayed at #1 on the Billboard charts top 200 albums for seven full months, Highlights from South Pacific Richard Rodgers & Oscar Hammerstein making it the fourth longest run in the top spot in history. In the United (1902-1979) & (1895-1960) Kingdom, the album topped charts for 115 weeks (total), 70 of which were Arr. Philip Lang consecutive (the album was the top selling album for the entirety of 1959). The story of the musical is based on the series of short stories by John A. Roma Valerie Coleman Michener entitled Tales of the South Pacific. The stories tell the story of the U.S.’s involvement in the Pacific War portion of World War II. The book itself (b. 1970) is told from a first person point of view (an unnamed Commander) and is based upon Michener’s own experiences on the battlefront of WWII.
    [Show full text]
  • Teacher's Guide
    Aram Demirjian, Music Director Sheena McCall Young People’s Concerts: Fall 2021 TEACHER’S GUIDE THIS PAGE INTENTIONALLY LEFT BLANK (INSIDE COVER) Table of Contents MUSIC SPEAKS: Program Notes: Our Composers and their Music UNLOCKING THE HIDDEN LANGUAGE OF MUSIC Stravinsky, Greeting Prelude .................................... 2 Greeting Prelude Copland, Variations on a Shaker Melody ................. 2 by Igor Stravinsky Rhea Carmon ............................................................. 3 Price, Concert Overture No. 2 ................................... 3 Simple Gifts by Joseph Brackett, Jr. Michael Rodgers ........................................................ 4 Bizet, Toreador Song ................................................. 4 Variations on a Shaker Melody from Appalachian Spring Gershwin, “Let’s Call the Whole Thing Off” .............. 5 by Aaron Copland Elgar, ‘Nimrod’ from Enigma Variations ................... 5 Spoken Word Marquez, Conga del Fuego Nuevo ........................... 6 by Rhea Carmon Coleman, Umoja ........................................................ 6 “Go Down Moses,” “Ev’ry Time I Feel the Spirit,” and “Nobody Knows The Trouble I’ve Seen” Audio Link ........................................................................ 7 African American Spirituals, sung by Michael Rodgers Lessons and Activities ............................................... 8-15 Concert Overture No. 2 by Florence Price Resources for Teachers/Audience Job Description ... 16 “Votre Toast Je Peux Vous le Rendre” (Toreador Song)
    [Show full text]
  • Tuesday Musical: a Conversation with Imani Winds Bassoonist Monica Ellis
    Tuesday Musical: a conversation with Imani Winds bassoonist Monica Ellis by Mike Telin In today’s classical music world, there are many ways to define the term “modern music,” with all its cross-pollinations of styles and genres,” Imani Winds bassoonist Monica Ellis said during a recent telephone interview. “I think this program has an overriding commonality of modernism, yet that is expressed in so many different ways.” On Wednesday, January 25 at 7:30 pm, the Imani Winds — Valerie Coleman, flute, Toyin Spellman-Diaz, oboe, Mark Dover, clarinet, Jeff Scott, horn, and Monica Ellis, bassoon — will return to the Tuesday Musical series in Akron’s E.J. Thomas Hall for a concert titled “Considered Modern.” The program will feature works by Elliott Carter, Paquito D’Rivera, Ruth Crawford Seeger, Simon Shaheen, and Imani’s own Valerie Coleman and Jeff Scott. This writer will conduct a pre-concert interview with members of the ensemble beginning at 6:30 pm. “The program also embodies who we are as an ensemble, and the mission we established when the group was formed 20 years ago,” Ellis said. “‘Considered Modern’ celebrates Valerie’s and Jeff’s music, some of the composers we have commissioned, and a little something in between. Historically, we had not titled our programs, but we realized they are not just a collection of pieces that we like. There is a purpose behind the works we put together. All of the composers represented on this program are from a modern, or post-modern ilk.” A recent addition to Imani’s repertoire is Ruth Crawford Seeger’s 1952 Suite for ​ Wind Quintet, a piece that was introduced to them through contacts at the ​ University of Chicago, where they serve as ensemble-in-residence.
    [Show full text]