International Masterclass for Conducting with Frank Ticheli, USA; Miguel Etchegoncelay, F and the Military Band of Upper Austria

Total Page:16

File Type:pdf, Size:1020Kb

International Masterclass for Conducting with Frank Ticheli, USA; Miguel Etchegoncelay, F and the Military Band of Upper Austria International masterclass for conducting with Frank Ticheli, USA; Miguel Etchegoncelay, F and the Military Band of Upper Austria Location: Mid Europe 2018 8970 Schladming, Austria Date: Monday, July 9, 2018 – Friday, July 13, 2018 Description: The International masterclass for conducting takes place from July 9 – 13, 2018 as part of Mid Europe 2018. A limited number of active participants will conduct and discuss the repertoire listed below and rehearse them with a professional wind band. The masterclass will be held in English. If you would like to observe, you have the option to enroll as a passive participant. Passive participants may attend the entire workshop and contribute in discussions. Active participants are expected to study all works from the repertoire list below, and will conduct during orchestra rehearsals and perform a selected work/movement on stage with the Military Band of Upper Austria on Friday 13, 2018. Frank Ticheli und Miguel Etchegoncelay will confirm your participation as active participants based upon your musical vita. Please copy your vita into the application form and send it to: [email protected] Masterclass ensemble: Military Band of Upper Austria Masterclass Repertoire: Grad 4 Paul Dukas / Robert Longfield Fanfare pour préceder Barnhouse Company Grad 2 Miguel Etchegoncelay Petite Suite Alsacienne Star Music Publishing Grad 3 Eric Satie / Johann de Meij Ratatouille Satirique Amstel Music Grad 4 Camille Saint Saens / Orient et Occident, op.25 Barnhouse Company Hauswirth-Lange) Grad 3 Frank Ticheli Amazing Grace Manhatten Beach Music Grad 4 Frank Ticheli San Antonio Dances Manhatten Beach Music Grad 3 Frank Ticheli Simple Gifts Manhatten Beach Music Grad 3 Frank Ticheli Cajun Folk Songs Manhatten Beach Music Masterclass instructor: Miguel Etchegoncelay Miguel Etchegoncelay was born in Porteña, Province of Cordoba, Argentina. He studied trumpet, composition and conducting at Cordoba’s Conservatory of Music and Cordoba’s National University, Argentina, at the European Institute for Band Studies (ISEB) in Trento, Italy, and at the Zurich Conservatory of Music, in Switzerland. Among his teachers were Carlos Giraudo, Vicente Moncho, Franco Cesarini, Felix Hauswirth and Jan Cober. He took part in wind conducting seminars of renowned conductors such as Eugene Corporon and Tim Reynish. He appears regularly as guest conductor, clinician and adjudicator in France, Italy, Germany, Switzerland, Slovenia and Spain. During the seasons 2009 and 2010 he appeared as a guest conductor of France’s National Youth Wind Orchestra. Currently he is principal conductor of the Musikverein Egringen (Germany), the “Stadtharmonie Laufen” (Switzerland), the “Orchestre d’Harmonie Municipal de Valdoie” (France) and of the internationally renowned professional brass ensemble “Grand Ensemble de Cuivres d’Alsace” (France). In February 2005, he was appointed teacher at the Strasbourg Conservatory of Music (France) where he is in charge of wind conducting studies and of its wind orchestra. He lives in Hagenthal le bas, France, where he conducts the “Musique Union de Hegenheim” as well as its music school. Masterclass instructor: Frank Ticheli Ticheli was born in Monroe, Louisiana. He graduated from L.V. Berkner High School in Richardson, Texas and earned a Bachelor of Music in Composition from Southern Methodist University, where he studied with Donald Erb and Jack Waldenmaier. He went on to receive his master's and doctoral degrees in composition from the University of Michigan, where he studied with William Albright, Leslie Bassett, George Wilson, and William Bolcom. Subsequently, Ticheli was an Assistant Professor of Music at Trinity University in San Antonio, Texas. There, he served on the board of directors of the Texas Composers Forum and was a member of the advisory committee for the San Antonio Symphony's "Music of the Americas" project. From 1991 to 1998, Ticheli was composer-in-residence with the Pacific Symphony Orchestra in Orange County, California. Since 1991, he has been a Professor of Composition at the University of Southern California's Thornton School of Music. In 2011, he endowed the "Frank Ticheli Composition Scholarship" to be awarded each year to an incoming graduate student in composition. Recent works include The Shore (Symphony No. 3) a 35-minute work for chorus and orchestra, with its East Coast premiere given by New York Choral Society and Orchestra at New York's Carnegie Hall; three new concertos (for flute, clarinet, and alto saxophone); and Songs of Love and Life, for soprano soloist and 18 players, composed for conductor, Allan McMurray. Ticheli has been the recipient of numerous awards, including the Arts and Letters Award, Goddard Lieberson Fellowship, and Charles Ives Scholarship, all from the American Academy of Arts and Letters,[2] the National Band Association/Revelli Memorial Prize, the A. Austin Harding Award, the Distinguished Service to Music Medal, and First Prize in the Texas Sesquicentennial Orchestral Composition Competition, the Britten-on-the-Bay Choral Composition Contest, and the Virginia CBDNA Symposium for New Band Music. In addition to these awards, Ticheli has been named a national honorary member of Phi Mu Alpha and Kappa Kappa Psi. Grants and commissions for Ticheli's works have come from Chamber Music America, the American Music Center, Pacific Symphony, Pacific Chorale, Worldwide Concurrent Premieres, Inc., Prince George's Philharmonic Orchestra, Adrian Symphony, City of San Antonio, Stephen F. Austin State University, University of Michigan, Trinity University, and the Indiana Bandmasters Association, and many others. His work, Angels in the Architecture, for concert band with soprano soloist, was commissioned by Kingsway International and received its premiere performance in July 2008 by a massed band of young musicians from Australia and the U.S. at the Sydney Opera House. Schedule: Mo, July 09, 2018 10:15 – 12:15pm Theory, congress Schladming 2nd floor 2pm – 5pm Theory, congress Schladming 2nd floor Tue, July 10, 2018 9am – 12pm Orchestra rehearsal, congress Schladming 2nd floor 4pm – 5pm Orchestra rehearsal, congress Schladming 2nd floor 6pm opening ceremony We, July 11, 2018 8:30am – 12pm Orchestra rehearsal, congress Schladming 2nd floor 4pm – 6pm Orchestra rehearsal, congress Schladming 2nd floor Thu, July 12, 2018 9am – 11:30am Orchestra rehearsal, congress Schladming 2nd floor 2:30pm – 4pm Orchestra rehearsal, congress Schladming 2nd floor Fr, July 13, 2018 9:30am– 11:00 Orchestra rehearsal, congress Schladming 2nd floor 11:30 – 12:00pm dress rehearsal 12pm – 1pm concert Fees: ACTIVE participation advance sale until June 30, 2018 € 300,- starting July, 1, 2018 € 350,- includes full registration for Mid Europe 2018 and active participation in the conducting masterclass PASSIVE participation advance sale until June 30, 2018 € 180,- starting July 1, 2018 € 230,- includes full registration for Mid Europe 2018 and passive participation in the conducting masterclass Cancellation: Your application will be valid with your payment of the application fee. Only cancellations due to medical reasons (with submission of a note from your medical doctor) will be allowed after the application and payment has been received. In this case 50% of your application fee will be reimbursed. Application: please send the excel application form to: Mid Europe Office, Lena Reiter – [email protected] .
Recommended publications
  • Composers on Composing for Band
    Composers on Composing for Band "The future of music may not be with music itself but rather... in the way it makes itself a part of the finer things humanity does and dreams of." -Charles Ives Composers on Composing for Band gives fresh insight and perspective into the world of music from the ultimate source of its creativity-- the composer. This book demon- strates the desire to bring closer the creative and re-creative realms of music and music-making, thereby promoting greater understanding and more meaningful and mutually beneficial partnership between the composer and the conductor. While valuable for students in the areas of composition, music education, and applied music performance, this book is intended primarily for wind band conductors at all levels, who are interested in gaining fresh insights and perspectives from the ultimate source of musical creativity - the composer. The eleven co-authoring composers of this book come from widely varied backgrounds. Their life experiences, professional careers, artistic and educational philosophies? and their approach to the compositional process contrast as vividly as their distinct and unique creative voices. But the reader will also discover some important shared values and principles among the composers. This unique yet practical book delves whole-heartedly into the composer’s world through his own words. It provides the reader with a greater degree of understanding and respect for both the creative and re-creative process, and ultimately will con- tribute to strengthening of the band profession through more thoughtful interpreta- tions and more musically sensitive performances. Composers on Composing-for Band offers a wonderful opportunity to establish a relationship with the composers whose music we interpret.
    [Show full text]
  • Composer Spotlight Concert: Frank Ticheli
    Composer Spotlight Concert: F rank Ticheli Frank Ticheli, composer & conductor Siri Bloom, oboe Julie Long, flute Santa Ana High School Wind Ensemble Victor De Los Santos, conductor Irvine High School Wind Ensemble Derek Venlet, conductor Concordia Wind Orchestra Jeff Held, conductor S aturday, April 14, 2018 CU Center 7:30 PM sponsored by Dr. Carl and Deborah Weinert From the music director... It may be that the most recognized living wind band composer amongst students who play in school bands is Frank Ticheli. At the mention of his name, those who have played one of his works will instantly call out the name of the Ticheli piece that they got to play, expressing high levels of fondness and connection with what has come from his pen. For many students, Ticheli’s music is what made them want to practice, made them want to be in a concert ensemble and to play at a high level in it. So, the opportunity for Concordia to step in and be a part of a new major Ticheli work is very exciting to us. We are so happy to support the new flute concerto as a part of the commision consortium, and doing so makes a lot of sense because of who we have to solo on the piece. Dr. Julie Long received her masters and doctorate degrees in flute performance from USC, serving as a teaching assistant for Frank Ticheli. Significantly, she studied under the legendary flutist who Ticheli worked closely with on this piece ­ Jim Walker. I am honored to conduct this work with her and the CWO tonight.
    [Show full text]
  • 2017 FOCUS Festival on Contemporary Music FRANK TICHELI
    2017 FOCUS Festival on Contemporary Music FRANK TICHELI Saturday, October 7 7:00 p.m. Baldwin Wallace Symphonic Wind Ensemble Blue Shades (1997) Columbine High School Alma Mater without pause An American Elegy (2000) Symphony No. 2 (2004) i. Shooting Stars ii. Dreams Under a New Moon iii. Apollo Unleashed Baldwin Wallace Symphonic Wind Ensemble Frank Ticheli, guest conductor Brendan Caldwell, conductor PROGRAM NOTES (Program Notes have been supplied by the composer, with additional information provided by Destinee Siebe ‘19.) Symphonic Wind Ensemble Saturday, October 7 7:00 p.m. Blue Shades “In 1992 I composed a concerto for traditional jazz band and orchestra, Playing with Fire, for the Jim Cullum Jazz Band and the San Antonio Symphony. That work was composed as a celebration of the traditional jazz music I heard so often while growing up near New Orleans. I experienced tremendous joy during the creation of Playing with Fire, and my love for early jazz is expressed in every bar of the concerto. However, after completing it I knew that the traditional jazz influences dominated the work, leaving little room for my own musical voice to come through. I felt a strong need to compose another work, one that would combine my love of early jazz with my own musical style. Four years, and several compositions later, I finally took the opportunity to realize that need by composing Blue Shades. As its title suggests, the work alludes to the Blues, and a jazz feeling is prevalent—however, it is not literally a Blues piece. There is not a single 12-bar blues progression to be found, and except for a few isolated sections, the eighth note is note swung.
    [Show full text]
  • University Band and Wind Symphony
    TREY HARRIS, Conductor and DEBRA TRAFICANTE, Conductor Monday, November 12, 2018 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Thirty-fifth Concert of the 2018-19 Concert Season 18SEASON19 UNIVERSITY BAND Trey Harris, Conductor HENRY FILLMORE (1881–1956) His Honor March (1933) RALPH VAUGHAN WILLIAMS (1872–1958) trans. Beeler Rhosymedre (1920/1972) RON NELSON (b. 1929) Courtly Airs and Dances (1995) I. Intrada II. Basse Danse (France) III. Pavane (England) IV. Saltarello (Italy) V. Sarabande (Spain) VI. Allemande (Germany) LARRY DAEHN (b. 1939) As Summer Was Just Beginning (1994) Debra Traficante, guest conductor STEVEN BRYANT (b. 1972) The Machine Awakes (2012) Intermission WIND SYMPHONY Debra Traficante, Conductor Adam Silverman ( b. 1973) Raining Bricks (2018) Trey Harris, guest conductor JONATHAN NEWMAN (b. 1972) As the Scent of Spring Rain... (2003) CLAUDE T. SMITH (1932–1987) Festival Variations (1982) FRANK TICHELI (b. 1958) Wild Nights! (2007) His Honor (1933) | Henry Fillmore Cincinnati native Henry Fillmore (1881–1956) was a prolific composer, arranger, and beloved band leader whose music and performances delighted audiences. He started his own professional band (the Fillmore Band) in Cincinnati in the 1930’s, one of the last great professional bands of its kind. He was also prolific in creating pseudonyms, including Harold Bennett (whose young band books are famous), Will Huff, Al Hayes, Gus Beans, Henrietta Hall (a rare female name), Ray Hall, Harry Hartley, and others. Over the span of his 50-year career, he and his pseduonyms, wrote more than 250 original compositions, including 113 marches. He also created more than 750 arrangements for band, many of which are gold standards of the genre.
    [Show full text]
  • Concert & Recital Programs Concert & Recital Programs
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-6-2012 Concert: Ithaca College Concert Band & Ithaca College Symphonic Band Ithaca College Concert Band Ithaca College Symphonic Band Mark Fonder Elizabeth B. Peterson Frank Ticheli Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Ithaca College Symphonic Band; Fonder, Mark; Peterson, Elizabeth B.; and Ticheli, Frank, "Concert: Ithaca College Concert Band & Ithaca College Symphonic Band" (2012). All Concert & Recital Programs. 3608. https://digitalcommons.ithaca.edu/music_programs/3608 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band Mark Fonder, conductor Ithaca College Symphonic Band Beth Peterson, conductor Frank Ticheli, Col. Arnald Gabriel '50, HDRMU '89, Visiting Wind Conductor The Music of Frank Ticheli Ford Hall Thursday December 6th, 2012 8:15 pm Program Ithaca College Concert Band Mark Fonder, conductor San Antonio Dances (2010) Frank Ticheli Alamo Gardens (b. 1958) Tex-Mex on the Riverwalk Gaian Visions (1990) Frank Ticheli Forgotten Forests Desecration Redemption Cajun Folk Songs II (1997) Frank Ticheli II. Country Dance Intermission Ithaca College Symphonic Band Beth Peterson, conductor Cajun Folk Songs (1991) Frank Ticheli I. La Belle et el Capitaine II. Belle Rest (2010) Frank Ticheli Blue Shades (1996) Frank Ticheli Program Notes Concert Band San Antonio Dances was composed as a tribute to a special city, whose captivating blend of Texan and Hispanic cultural influences enriched my life during my three years as a young professor at Trinity University.
    [Show full text]
  • Download Booklet
    FIREPLAYING WITH MUSIC BY FRANK TICHELI AND JIM CULLUM FEATURING THE JIM CULLUM JAZZ BAND Jerry Junkin A PROF. JOHNSON 24-BIT RECORDING NOTES BY THE COMPOSER POSTCARD was commissioned by conductor H. Robert Reynolds in memory of his mother, Ethel Virginia Curry. He requested that I compose not an elegy commemorating his mother’s death, but a short, feisty celebration of her life. In response, I composed my brief “postcard” in the summer of 1991 as a musical reflection of her character—vivacious, whimsical, succinct. The piece is filled with little musical games that pay tribute to the Reynolds family. Its main theme is a melodic palindrome, honoring a long-standing tradition in the Reynolds family of giving their children palindromic names such as Hannah and Harrah. The middle section is based on five notes derived from the dedicatee’s name, Ethel. This five-note motive is developed considerably, first appearing in an aggressive, angular context, and then evolving into a fast, lyrical melody. In the end, Postcard is, simply put, a gregarious tribute to a dear friend, honoring the life of his equally gregarious mother. ******** SAN ANTONIO DANCES was composed in June of 2010 as a personal tribute to a special city, whose captivating blend of Texan and Hispanic cultural influences enriched my life during my three years as a young music professor at Trinity University. It has been 20 years since I lived in San Antonio, but the city still tugs at my heartstrings and lives in this music. The first movement depicts the seductively serene Alamo Gardens and its beautiful live oak trees that provide welcome shade from the hot Texas sun.
    [Show full text]
  • Horn Concerto
    AMERICAN CLASSICS WIND CONCERTOS Ticheli • Warnaar • Ranjbaran James Zimmermann, Clarinet Leslie Norton, Horn • Érik Gratton, Flute Nashville Symphony • Giancarlo Guerrero Frank Ticheli (b. 1958) • Brad Warnaar (b. 1950) • Behzad Ranjbaran (b. 1955) composed for voice. Thus, this movement is an At the same time, the language Warnaar developed Wind Concertos adaptation of my earlier work (An American Dream, for for the piece resulted from a striking limitation he imposed soprano and orchestra), but altered significantly to suit the upon himself: to use nothing but the seven notes of the Frank Ticheli (b. 1958): Clarinet Concerto (2010) between the soloist and ensemble,” the composer unique lyrical traits of the clarinet. pure diatonic scale – also known as the “white scale,” explains. “This high-speed game is intensified by a “While composing the final movement, Riffs for because the piano’s white keys produce a diatonic scale “It’s a process in which the head and the heart are walking bass line, jazzy syncopations, and heavy Lenny, I imagined Bernstein perched on a pulpit (a in C major. This scale has no sharps or flats, which constantly keeping each other in check,” Frank Ticheli backbeats that come and go at will. podium?), passionately preaching about music as a removes “the possibilities of some of the harsh says about the art of composing. “The tension between powerful and necessary force for humanity. In a sense, I dissonances of the full chromatic scale.” Without the use those two forces is what creates a piece of music. And it’s Frank Ticheli pay tribute to his lifelong enthusiasm, unleashed through of such chromatic notes, Warnaar aimed at “avoiding a real mystery, a hall of mirrors: the more you learn, the his conducting, composing, performing, and teaching, and tonality per se … The goal was to avoid the full more you realize you don’t know.” in countless other ways.
    [Show full text]
  • Briguente, Giovani
    Three Recitals of Repertoire for Wind Ensembles by Giovani E. Briguente A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Conducting) in the University of Michigan 2020 Doctoral Committee: Professor Michael Haithcock, Chair Lecturer Jessica Getman Assistant Professor Somangshu Mukherji Assistant Professor Courtney Snyder Professor Gregory Wakefield Giovani E. Briguente [email protected] ORCID iD: 0000-0002-4275-069X © Giovani E. Briguente 2020 Dedication I dedicate this dissertation, first and foremost, to God for consoling me and giving me strength; Our Lady for her powerful intercession on my behalf; the Holy Spirit for the gift of hope and faith through Jesus Christ. I also dedicate this dissertation to my parents, Luiz and Rosa Maria, and my sister, Daniele, for their unceasing love, support and encouragement. To my American families, Robert and Gayle Gilmore, and Dee and Paul Charles; those who are not bound by blood, but by love. To my previous conducting mentors, Dario Sotelo, for being the first to believe in me, and Mark Whitlock, for bringing me to the United States to learn more about conducting. To the University of Michigan professors, especially Michael Haithcock, for his unwavering trust in me and relentless dedication to me as a student and person. I am eternally grateful for his efforts. Also, his wife, Melinda Haithcock, for her maternal love that reaches everyone around her. To my true friends, Lindsay Bronnenkant and Paul Dooley. The full completion of this degree would never have been possible without their loving care and strong protection.
    [Show full text]
  • Illinois State University Symphonic Band
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 3-2-2008 Illinois State University Symphonic Band Daniel A. Belongia Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Belongia, Daniel A. Conductor, "Illinois State University Symphonic Band" (2008). School of Music Programs. 3292. https://ir.library.illinoisstate.edu/somp/3292 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]. I Illinois State University College of Fine Arts I School of Music I I Illinois State University .Symphonic Band I · Daniel A. Belongia, Conductor I Amy Gilreath, Trumpet :I I :1 I Center for the Performing Arts Sunday Afternoon March 2, 2008 I The 10th program of the 2007 - 2008 season 3:00 PM I I I Program Notes PROGRAM Norman Delio Joio was born January 24, 1913 in New York City to Italian I I immigrants and began his musical career as organist and choir director at the Star of the Sea _Church on City Island in New York at age 14. His father was an organist, pianist, and vocal coach and coached many opera stars from the Metropolitan Opera. He taught Norn1an piano starting at the age of four. NORMAN DELLO JOIO Scenes from "The Louvre'' (1966) I I (BORN 1 9 .1 3) In his teens, Norman began studying organ with his godfather, Pietro Yon, who was the organist at Saint Patrick's Cathedral.
    [Show full text]
  • Social Consciousness in Wind Band Music of the Early 21St Century, Represented
    SOCIAL CONSCIOUSNESS IN WIND BAND MUSIC OF THE EARLY 21ST CENTURY, REPRESENTED THROUGH A STUDY OF THREE WIND BAND WORKS: SYMPHONY NO. 2-MIGRATION BY ADAM SCHOENBERG, SILVER LINING-CONCERTO FOR FLUTE AND WIND ENSEMBLE BY FRANK TICHELI, AND OF OUR NEW DAY BEGUN BY OMAR THOMAS Jack A. Eaddy Jr., B.M.E, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2019 APPROVED: Eugene Migliaro Corporon, Major Professor Dennis Fisher, Committee Member Donna Emmanuel, Committee Member Nicholas E. Williams, Committee Member Warren Henry, Committee Member Richard Sparks, Chair of the Division of Conducting and Ensembles Felix Olschofka, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Eaddy Jr., Jack A. Social Consciousness in Wind Band Music of the Early 21st Century, Represented through a Study of Three Wind Band Works: “Symphony No. 2-Migration” by Adam Schoenberg, “Silver Lining-Concerto for Flute and Wind Ensemble” by Frank Ticheli, and “Of Our New Day Begun” by Omar Thomas. Doctor of Musical Arts (Performance), August 2019, 196 pp., 2 tables, 9 figures, 167 musical examples, 6 appendices, bibliography, 87 titles. The wind band provides an outlet for composers to use their platform to reach performers, enlighten audiences, and heal communities. This document is an analysis of three composers’ approach to incorporate social consciousness in their wind band music. Adam Schoenberg, Omar Thomas, and Frank Ticheli work with specific social justice issues to respond to specific events, allowing them to reach and empower performers and audiences, to heal, thrive and build past these events.
    [Show full text]
  • MAR. 12-14 Classical Series
    MAR. 12-14 classical series SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL presents 2014-15 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Performance begins at 8 p.m. Preview talk with Frank Ticheli at 7 p.m. CARL ST.CLAIR • conductor | JAMES EHNES • violin PACIFIC CHORALE — John ALEXANDER • artistic director Frank Ticheli (b. 1958) Rest Pacific Chorale James newton Howard (b. 1951) Concerto for Violin and Orchestra (WORLD PREMIERE) i. allegro Moderato ii. andante semplice iii. Presto con moto James Ehnes interMission Piotr ilyich tchaikovsky (1840-1893) Symphony No. 6 in B Minor, Op. 74, TH 30 adagio – allegro non troppo allegro con grazia allegro molto vivace Finale: adagio lamentoso This appearance by James Ehnes is generously sponsored by Sam B. Ersan. The Thursday, March 12, concert is generously sponsored by David and Tara Troob. PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS official vehicle official Hotel official television station official classical radio station the saturday, Mar. 14, performance is being recorded for broadcast on sunday, July 5, at 7 p.m. on classical Kusc. NOTES by michael clive recipient of a 2012 arts and letters award from the american academy of arts and letters, his third award received from that prestigious organization. His symphony no. 2 was named winner of the 2006 nBa/William d. revelli Memorial Band composition contest. other awards include the Walter Beeler Memorial Prize and First Prize awards in the texas sesquicentennial orchestral composition competition, Britten-on-the-Bay choral composition contest, and virginia cBdna symposium for new Band Music. He established the Frank ticheli composition scholarship at USC in 2011.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Extended Techniques And
    UNIVERSITY OF CALIFORNIA Los Angeles Extended Techniques and Vocal Simulations in Frank Ticheli’s First Voice for Solo Bb Trumpet A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Trumpet Performance by Courtney Dion Jones 2015 © Copyright by Courtney Dion Jones 2015 ABSTRACT OF THE DISSERTATION Extended Techniques and Vocal Simulations in Frank Ticheli’s First Voice for Solo Bb Trumpet By Courtney Dion Jones Doctor of Musical Arts in Trumpet Performance University of California, Los Angeles, 2015 Professor Jens Lindemann, Chair Unaccompanied works for trumpet that emerged during the latter half of the twentieth century (mainly since 1970) pushed the limits of technical facility well beyond what was heard in solo concerti or collaborative consorts of earlier eras and set new standards and expectations of what could be performed on the instrument. Frank Ticheli was a leader in these innovations; his compositions not only expanded the range and tonal qualities of the instrument, but also introduced more specialized techniques (such as speech simulation through vocal realizations and new modes of melodic writing involving disjunctive melodic patterns). Some of these techniques can be attributed to influences from jazz and contemporary idioms, as reflected in ! ""! ! notational conventions familiar to jazz artists, but they also use innovative approaches to performance practice and new philosophical orientations. The present research explores these developments through a detailed analysis of Frank Ticheli’s composition The First Voice for Solo Bb Trumpet, augmented by interviews and correspondence with Ticheli himself. The intention of this research is to broaden the technical capabilities of 21st century performers, as well as shed light on the ideological and philosophical concepts on which the aforementioned developments are based.
    [Show full text]