DAUGHERTY FABER PRESS RELEASE 11 July 2018
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559165 bk Daugherty US 27/07/2004 02:42pm Page 5 Colorado Symphony Orchestra AMERICAN CLASSICS As the region’s premier performing arts organization, the Colorado Symphony Orchestra (CSO) embraces a tradition of musical excellence by presenting a wide variety of symphonic performances, from classical repertoire to innovative new forms, in Boettcher Concert Hall, the first surround-sound concert hall in the United States. Established in 1989 as the successor to the Denver Symphony, the CSO is Colorado’s only resident orchestra composed of professional musicians employed to play symphonic music on a full-time basis. Musicians actively MICHAEL DAUGHERTY participate in the management of the organization through significant participation on the Association’s Board of Trustees, as well as all governing committees. Under Music Director Laureate Marin Alsop’s leadership over a number of years, the CSO has gained recognition on both the regional and national levels as one of the finest Philadelphia Stories • UFO performing orchestras in the country. Many of the orchestra’s performances are broadcast on Colorado Public Radio to a state-wide audience. Reaching an even more expansive audience, a number of the CSO’s programmes are broadcast nationally on National Public Radio’s Performance Today. Recordings with Marin Alsop have Evelyn Glennie, Percussion included a number of releases devoted to the work of contemporary American composers. In April 2004 the CSO appointed Jeffrey Kahane, music director of the Los Angeles Chamber Orchestra and the Santa Rosa Symphony, as the ninth music director in the 81-year history of the Denver and Colorado Symphony Orchestras. -
Peermusic Classical 250 West 57Th Street, Suite 820 New York, NY 10107 Tel: 212-265-3910 Ext
classical RentalRentalSalesSales CatalogCatalogCatalogCatalog 20092009 Peermusic Classical 250 West 57th Street, Suite 820 New York, NY 10107 tel: 212-265-3910 ext. 17 fax: 212-489-2465 [email protected] www.peermusicClassical.com RENTAL CATALOG REPRESENTATIVES WESTERN HEMISPHERE, JAPAN Subito Music Corp. 60 Depot Rd. Verona, NJ 07044 tel:973-857-3440 fax: 973-857-3442 email: [email protected] www.subitomusic.com CONTINENTAL EUROPE UNITED KINGDOM AUSTRALIA/NEW ZEALAND Peermusic Classical GmbH Faber Music Ltd. Hal Leonard Australia Pty Ltd. Mühlenkamp 45 3 Queen Square 4 Lentara Court D22303 Hamburg London WC1N 3AU Cheltenham Victoria 3192 Germany England Australia tel: 40 278-37918 tel: 0171 278-7436 tel: 61 3 9585 3300 fax: 40 278-37940 fax: 0171 278-3817 fax: 61 3 9585 8729 email: [email protected] email: [email protected] email: [email protected] www.peermusic-classical.de www.fabermusic.com www.halleonard.com.au Please place rental orders directly with our representatives for the territories listed above. Contact Peermusic Classical New York for all other territories. Scores indicated as being published for sale may be ordered from: Hal Leonard Corp., 7777 West Bluemound Rd., PO Box 13819, Milwaukee, WI 53213 tel: (414) 774-3630 fax: (414) 774-3259 email: [email protected] www.halleonard.com Perusal scores: [email protected] Peermusic Classical, a division of Peermusic, publishes under four company names: Peer International Corp., Peermusic III, Ltd. (BMI), Southern Music Publishing Co., Inc., and Songs of Peer, Ltd. (ASCAP) Peer International Corporation is sole world representative for music publications of PAN AMERICAN UNION and EDICIONES MEXICANAS DE MUSICA, A.C. -
View Program Notes
23 Season 2019-2020 Thursday, February 27, at 7:30 The Philadelphia Orchestra Friday, February 28, at 2:00 Saturday, February 29, at 8:00 Edward Gardner Conductor Paul Jacobs Organ Britten Sinfonia da Requiem, Op. 20 I. Lacrymosa— II. Dies irae— III. Requiem aeternam Daugherty Once Upon a Castle, symphonie concertante for organ and orchestra I. The Winding Road to San Simeon II. Neptune Pool III. Rosebud IV. Xanadu First Philadelphia Orchestra performances Intermission 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 Elgar Variations on an Original Theme, Op. 36 (“Enigma”) Enigma (Theme): Andante I. C.A.E. II. H.D.S.-P. III. R.B.T. IV. W.M.B. V. R.P.A. VI. Ysobel VII. Troyte VIII. W.N. IX. Nimrod X. Dorabella: Intermezzo XI. G.R.S. XII. B.G.N. XIII. ***: Romanza XIV. E.D.U.: Finale This program runs approximately 1 hour, 50 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Please join us following the February 27 and 29 concerts for a free Organ Postlude featuring Peter Richard Conte. Elgar from Organ Sonata in G major, Op. 28: I. Allegro maestoso Britten Prelude and Fugue on a Theme of Vittoria Elgar/arr. Conte Sospiri, Op. 70 Elgar/arr. Conte Empire March 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. -
LIVING AMERICAN COMPOSERS: NEW MUSIC from BOWLING GREEN Broadcast Schedule – Winter 2018
LIVING AMERICAN COMPOSERS: NEW MUSIC FROM BOWLING GREEN Broadcast Schedule – Winter 2018 PROGRAM #: MBG 18-01 RELEASE: December 28, 2017 TITLE: Close Up with Jennifer Higdon, Part I DESCRIPTION: Composer and Bowling Green State University Alumna Jennifer Higdon co-hosts this episode, which features her own works plus the first installment in her 6-part subseries “Living Women Composers.” J. Higdon: Flute Poetic Jan Vinci, flute Reiko Uchida, piano Troy1649 Du Yun: When a Tiger Meets a Rosa Rugosa Hilary Hahn, violin Cory Smythe, piano DG B0019103 J. Higdon: Viola Concerto Roberto Diaz, viola Nashville Symphony/Guerrero Naxos 8.559823 PROGRAM #: MBG 18-02 RELEASE: January 4, 2018 TITLE: Close Up with Jennifer Higdon, Part II DESCRIPTION: Composer and Bowling Green State University Alumna Jennifer Higdon co-hosts this episode, which features her own works plus the second installment in her 6-part subseries, “Living Women Composers” with composer Libby Larsen. J. Higdon: All Things Majestic Nashville Symphony/Guerrero Naxos 8.559823 Libby Larsen: Four on the Floor Kentucky Center Chamber Players New Dynamic J. Higdon: On the Death of the Righteous Mendelssohn Club of Philadelphia/Harler Chamber Orchestra of Philadelphia Innova 806 J. Higdon: Loco (excerpt) Fort Worth Symphony/Harth-Bedoya Fort Worth Symphony Orchestra PROGRAM #: MBG 18-03 RELEASE: January 11, 2018 TITLE: Festival 2016 DESCRIPTION: We hear concert performances from the 2016 New Music Festival at Bowling Green State University. Also, Jennifer Higdon profiles the music of Marilyn -
MICHAEL DAUGHERTY Tales of Hemingway American Gothic Once Upon a Castle
AMERICAN CLASSICS MICHAEL DAUGHERTY Tales of Hemingway American Gothic Once Upon a Castle Zuill Bailey, Cello Paul Jacobs, Organ Nashville Symphony Giancarlo Guerrero Michael Daugherty (b. 1954) I imagine Jake Barnes, his entourage (and Hemingway) in In 2012, I returned to Cedar Rapids to revisit the Tales of Hemingway • American Gothic • Once Upon a Castle Pamplona at the Fiesta, watching the running of the bulls small towns of Eastern Iowa. I drove along the back roads and reveling in the spectacle of the bullfights. We also and farms where my father grew up, and where Grant Tales of Hemingway (2015) for cello and orchestra was I. Big Two-Hearted River (1925, Seney, Michigan) hear musical illuminations of the novel’s enigmatic Wood found inspiration for the people and places commissioned by the Nashville Symphony and a In this story, Nick Adams is an emotionally scarred and epigraph, “the sun also ariseth, and the sun goeth down, captured in his art. All the while, I was collecting musical consortium consisting of the Asheville Symphony, El Paso disillusioned soldier from World War I who escapes to and hasteth to the place where he arose.” ideas and mental images to create an emotional Symphony Orchestra, Erie Philharmonic, Redwood northern Michigan for a camping/fishing trip to try to framework for my composition. Symphony and Virginia Symphony Orchestra. The world regain control of his life. I have composed serene and American Gothic (2013) for orchestra was commissioned première was given by the Nashville Symphony, passionate music that evokes a leitmotif in Hemingway’s by Orchestra Iowa, Timothy Hankewich, Music Director. -
Beginnings and Endings- GT Concert Band and Symphonic Band- April 13, 2014
Beginnings and Endings- GT Concert Band and Symphonic Band- April 13, 2014 Concert Band Chorale and Alleluia- Howard Hanson (1896-1981) Chorale and Alleluia was completed in January 1954, and was Dr. Hanson's first work for symphonic band. It was given its premiere on February 26 at the convention of the American Bandmasters Association at West Point with Colonel William Santelmann, leader of the U.S. Marine Band, conducting. The composition opens with a fine flowing chorale. Soon the joyous Alleluia theme appears and is much in evidence throughout. A bold statement of a new melody makes its appearance in lower brasses in combination with the above themes. The effect is one of cathedral bells, religious exaltation, solemnity, and dignity. The music is impressive, straightforward, and pleasingly non- dissonant, and its resonance and sonority are ideally suited to the medium of the modern symphonic band. Howard Hanson was one of the most important composers and music administrators of the 20th Century. In 1924, he began a 40-year career as Director of the Eastman School of Music at the University of Rochester. It was during Hanson's tenure that Frederick Fennell founded the Eastman Symphonic Wind Ensemble. Hanson was the recipient of many awards for his compositions, including the 1944 Pulitzer Prize for his Symphony No. 4. Bloom- Steven Bryant (b. 1972) Bloom is a celebration of springtime. The bright, sunny days, with nature in bloom all around, give me a powerful sense of well-being, simultaneously tranquil and exuberant. Bloom is my attempt to recreate that feeling. Steven Bryant, the son of a professional trumpeter and music educator, composes music across a variety of media and ensembles, ranging from electronic and electro-acoustic works, to chamber music, to works for wind ensembles and orchestras. -
MICHAEL DAUGHERTY This Land Sings Inspired by the Life and Times of Woody Guthrie
AMERICAN CLASSICS MICHAEL DAUGHERTY This Land Sings Inspired by the Life and Times of Woody Guthrie Annika Socolofsky, Soprano John Daugherty, Baritone Dogs of Desire David Alan Miller Michael Michael Daugherty (b. 1954) This Land Sings: Inspired by the Life and Times of Woody Guthrie 1 DAUG(b. 1H954E) RTY This Land Sings: Inspired by the Life and Times of Woody Overture Guthrie (2016) was commissioned and premiered by the In the instrumental Overture , we hear brightly This Land Sings (2016) Tulsa Camerata, conducted by the composer with Annika orchestrated fragments of an old American folk hymn, O Inspired by the Life and Times of Woody Guthrie Socolofsky, soprano, John Daugherty, baritone, and My Loving Brother . The Carter Family borrowed the tune 1 Jason Heilman, radio announcer, at the Philbrook and recorded it in 1930 as When the World’s on Fire . A Overture 0:58 Museum of Art, Tulsa, Oklahoma on April 22, 2016. decade later, the same melody was used by Woody for 2 Traveling America from coast to coast with his acoustic his iconic American anthem This Land Is Your Land . The Ghost and Will of Joe Hill guitar and harmonica, Woody Guthrie performed folk 2 3 (Words: Alfred Hayes, 1911–1985; Joe Hill, 1879–1915) 5:12 songs of love, wandering and social justice, including his The Ghost and Will of Joe Hill Perpetual Motion Man (Words: Michael Daugherty) 2:53 famous anthem This Land Is Your Land , at Workers The Ghost and Will of Joe Hill is a rumination on the tragic 4 Union gatherings, on radio stations and street corners end of Joe Hill who, like Woody, was an influential labor 5 Marfa Lights 4:50 and in farm fields and concert halls during the Great activist and songwriter. -
Musical Analysis Of: Dead Elvis by Michael Daugherty
Musical Analysis of: Dead Elvis by Michael Daugherty Final Thesis Presented to Graduate Faculty of University of Bergen- Grieg Academy In Partial Fulfillment for a Masters of Applied Music Rachael Goins May, 2012 Table of Contents I. Introduction II. Background III. Musical Analysis IV. Literary and Historical Background V. Critique and Interpretation of Composer's Intentions VI. Performance Practice VII. Conclusion VIII. Bibliography Introduction Michael Daugherty's Dead Elvis at first glance looks like a simple post-modern piece for solo bassoon dressed as Elvis impersonator; straightforward and utterly silly. But hidden within this repetitive, seemingly simple piece are irony, tragedy, comedy, and complex literary and cultural references spanning from the 13th century to 1977, when unpacked reveal an exciting and well crafted theme and variations that has become a standard and cherished member of bassoon repertoire bassoonists are grateful to have. Written in 1993, “Dead Elvis”calls for: violin, clarinet, c trumpet, bass trombone, contrabass, percussion and solo bassoon dressed in an Elvis Las Vegas 1970´s jumpsuit. Daugherty states explicitly in the program notes ”Dead Elvis is scored for the same instrumentation as Histoire du Soldat (1918), in a which a soldier sells his violin, and his soul, to the devil for magic book. I offer a new spin on this Faustian scenario: a rock star sells out to Hollywood, Colonel Parker, and Las Vegas for wealth and fame. I use Dies irae- a medieval Latin chant for the Day of Judgement-as the principal musical theme in my composition to pose the question, is Elvis dead or alive beyond the grave of Graceland?” (Daugherty, 1993) Daugherty draws on many musical styles in Dead Elvis from boogie woogie, rhythm and blues to opera, Gregorian chant and pieces them together in a contemporary, avant-garde piece. -
Wind Symphony Erica Neidlinger, Conductor Michael Kozakis, Timpani
Friday, June 2, 2017 • 8:00 P.M. WIND SYMPHONY Erica Neidlinger, conductor Michael Kozakis, timpani DePaul Concert Hall 800 West Belden Avenue • Chicago Friday, June 2, 2017 • 8:00 P.M. DePaul Concert Hall WIND SYMPHONY Erica Neidlinger, conductor Michael Kozakis, timpani PROGRAM William Schuman (1910-1992) New England Triptych (1956) Be Glad Then America When Jesus Wept Chester Michael Daugherty (b. 1954) Raise the Roof (2007) Michael Kozakis, timpani Chen Yi (b. 1953) Dragon Rhyme (2010) I. Mysteriously – Harmoniously II. Energetically WIND SYMPHONY • JUNE 2, 2017 PROGRAM NOTES William Schuman (1910-1992) New England Triptych (1956) Duration: 18 minutes William Schuman was a native New Yorker. His broad musical interests ranged from jazz and pop music to musical theater as well as the “classics,” however his first love was baseball. 1928 he began his studies in the School of Commerce at New York University to prepare for a career in business. Not long after, in April 1930, he attended his first professional symphony orchestra concert and left having made a revelation. From then on baseball, business, and pop music took a backseat to his new passion of composing “classical” music for the concert hall. Schuman immediately withdrew from New York University and began his extensive training in composition with such teachers as Roy Harris at Julliard who brought Schuman to the attention of conductor, Serge Koussevitzky. Along with Koussevitzky, American composers including Aaron Copland and Leonard Bernstein praised Schuman’s work. In 1943 Schuman won the first Pulitzer Prize in music for his secular cantata A Free Song and in 1945, at age 35, Schuman became president of the Juilliard School. -
Marin Alsop Music Director | Conductor
SANTA CRUZ CIVIC AUDITORIUM MISSION SAN JUAN BAUTISTA MUSIC DIRECTOR|CONDUCTOR MARIN ALSOP OF CONTEMPORARY MUSIC CONTEMPORARY OF ´:KHQ,FDPH,GLGQ·WHYHQIHHOOLNH,ZDVFDSDEOHRIOHDUQLQJ ,KDYHOHDUQHGVRPXFKKHUHDW+*3DERXWIDUPLQJDQGRXUIRRG V\VWHPVDQGDERXWOLYLQJDSURGXFWLYHOLIHµ ²0$5<&+(55<)250(575$,1(( &KDQFHVDUH\RXKDYHKHDUGRXUQDPHEXWZKDWH[DFWO\LV WKH+RPHOHVV*DUGHQ3URMHFW"2QRXU1DWXUDO%ULGJHVRUJDQLF IDUPZHSURYLGHMREWUDLQLQJWUDQVLWLRQDOHPSOR\PHQWDQGVXSSRUW VHUYLFHVWRSHRSOHZKRDUHKRPHOHVV :HLQYLWH\RXWRVWRSE\DQGVHHRXUEHDXWLIXOIDUP<RXFDQ SLFNXSVRPHWRROVDQGJDUGHQDORQJZLWKXVRQYROXQWHHU GD\VRUFRPHSLFNDQGEX\GHOLFLRXVRUJDQLFDOO\JURZQ YHJHWDEOHVIUXLWVKHUEVDQGÁRZHUV *RRGIRUWKHFRPPXQLW\*RRGIRU\RX6KDUHWKHORYH KRPHOHVVJDUGHQSURMHFWRUJ_ 9,6,7285'2:172:1*,)76725( 8QLTXH/RFDO2UJDQLFDQG+DQGPDGH*LIWV 23(1)ULGD\V 6DWXUGD\VSP6XQGD\VSP &RRSHU+RXVH%UHH]HZD\ &RRSHU3DFLÀF$YH6WH* CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 1 2 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 2014JULY 27–AUG 10 SANTA CRUZ OF CONTEMPORARY MUSIC PROGRAM BOOK CONTENTS The 2014 Cabrillo Festival of Contemporary Music 5 Calendar of Events Program Book is a publication of Summer Fests, 7 President’s Message a Cultural Arts Collaborative of: 9 Board of Directors & Staff 11 Music Director Marin Alsop Cabrillo Festival of Contemporary Music 12 Hall of Fame Santa Cruz Shakespeare 13 Festival History 14 Cabrillo Festival Experience For information contact: 16 Church Street Fair Cabrillo Festival of Contemporary Music 19 Creativity Tent for Kids 147 South River Street, Suite 232 20 Guest Composers Santa Cruz, CA 95060 -
The Music of Michael Daugherty
SCHOOL OF MUSIC COMING EVENTS For more information on any of these events, or to be on the UO Music mailing list, call the music school’s Community Relations Office, weekdays, at 346-5678. Saturday, May 20 • 12:30 p.m., Beall Hall COMMUNITY MUSIC INSTITUTE SCHOOL OF MUSIC AND DANCE Suzuki Strings Program & Chamber Players; Free Beall Concert Hall Friday evening Saturday, May 20 • 3:30 p.m., Beall Hall 8:00 p.m. May 19, 2006 KIM WALKER, Flute Senior Recital; Free Saturday, May 20 • 6 p.m., Room 198 THE MUSIC OF AMY TOMPKINS, Trombone Junior Recital; Free MICHAEL DAUGHERTY Saturday, May 20 • 8 p.m., Beall Hall OREGON JAZZ ENSEMBLES featuring UO Ensembles; $5, $3 Sunday, May 21 • 11 a.m., Beall Hall OregOn Wind ensemble ERICA DRAKE, percussion Master’s Recital; Free Robert Ponto, director Sunday, May 21 • 12:30 p.m., Beall Hall bassOOn duO AARON JESTER, Percussion Steve Vacchi & Helena Kopchick Master’s Recital; Free OregOn PercussiOn ensemble Sunday, May 21 • 3 p.m., Room 198 Music Charles Dowd, director LUKE STORM, Tuba & SKYLER JOHNSON, Euphonium Junior Recital; Free Mr. Daugherty’s residence at the University of Oregon Sunday, May 21 • 3:30 p.m., Beall Hall was made possible with assistance from MICHAEL SARNOFF-WOOD, Tenor the Eugene Symphony Orchestra and the Robert Vagner Memorial Fund. Senior Recital; Free UNIVERSITY OF OREGON * * * 106th Season, 142nd program O PROGRAM OREGON WIND ENSEMBLE PERSONNEL Flute/Piccolo Bassoon/Contrabassoon Euphonium Bells for Stokowski (2002) Elizabeth Erenberg Nancy Shevlin Skyler Johnson Oregon Wind -
Motown Metal by Michael Daugherty, Antiphonies by Stanley Leonard, and After the Thunderer by Ira Hearshen
AN EXAMINATION OF CONTEMPORARY WORKS FOR THE WIND, PERCUSSION, AND BRASS ENSEMBLE: MOTOWN METAL BY MICHAEL DAUGHERTY, ANTIPHONIES BY STANLEY LEONARD, AND AFTER THE THUNDERER BY IRA HEARSHEN by TERESA C. PURCELL B.M, University of Texas at El Paso, 2007 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2011 Approved by: Major Professor Frank TracZ, Ph. D Copyright TERESA C. PURCELL 2011 Abstract This document is written in support of a conducting recital given in partial fulfillment of the Masters of Music Education with an Emphasis in Instrumental Conducting at Kansas State University. It encompasses the historical research, theoretical analysis, and rehearsal recommendations and considerations necessary to prepare the selected works for performance. The pieces analyzed are Michael Daughertys Motown Metal, Stanley Leonards Antiphonies, and Ira Hearshens second movement, “after the Thunderer” from Symphony on Themes of John Philip Sousa. I seek to highlight the significance of these works to the literature of their mediums, and show how they are valuable pieces of literature in the contemporary repertoire. In addition, I offer my philosophies on music learning and literature selection as a means to better understand the process entailed in laying the groundwork for successful authentic learning experiences for conductor and students. Table of Contents List of Figures ...............................................................................................................................