! Chang, Jui-Hua Piano Recital Program Intro
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Release Sheet
November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig -
Emily Jackson, Soprano Kathryn Piña, Soprano Mark Metcalf, Collaborative Pianist
Presents Emily Jackson, soprano Kathryn Piña, soprano Mark Metcalf, collaborative pianist Friday, April 23, 2021 ` 8:30 PM PepsiCo Recital Hall Program Cuatro Madrigales Amatorios Joaquín Rodrigo (1901-1999) 1. ¿Con qué la lavaré? 2. Vos me matásteis 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre Ms. Piña Three Irish Folksong Settings John Corigliano (b. 1938) 1. The Salley Gardens 2. The Foggy Dew 3. She Moved Thro’The Fair Ms. Jackson Dr. Kristen Queen, flute Selections from 24 Canzoncine Isabella Colbran (1785-1845) Benché ti sia crudel T’intendo, si mio cor Professor Mallory McHenry, harp In uomini, in soldati from Cosi fan tutte W. A. Mozart (1756-1791) Ms. Piña Er Ist Gekommen in Sturm und Regen Clara Schumann Die Lorelei (1819-1896) O wär ich schön from Fidelio Ludwig van Beethoven (1770-1827) Ms. Jackson Of Memories and Dreams Patrick Vu (b. 1998) 1. Spring Heart Cleaning 2. Honey 3. Iris 4. On the Hillside *world premiere* Ms. Piña Patrick Vu, collaborative pianist Selections from Clarières dans le ciel Lili Boulanger (1893-1918) Parfois, je suis triste Nous nous aimerons tant Ms. Jackson Tarantelle Gabriel Fauré (1845-1924) Ms. Jackson and Ms. Piña This recital is given in partial fulfillment of the requirements for a Bachelor’s Degree of Music with a vocal emphasis. Ms. Piña is a student of Dr. James Rodriguez and Emily Jackson is a student of Professor Angela Turner Wilson. The use of recording equipment or taking photographs is prohibited. Please silence all electronic devices including watches, pagers and phones. -
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Western Culture Has Roots in Ancient
29 15. Know the structure of the da capo aria (including keys). Statement: The one described on p. 383 is called a five- Chapter 17 part da capo aria. It's also possible to have just an ABA Italy and Germany in the type, too. Late Seventeenth Century 16. (382) What is a serenata? Composer? 1. (379) How did Italy and Germany differ from other Semidramatic piece for several singers with small orchestra; countries? So what? Alessandro Stradella They had a number of sovereign states; no center for musical activity so there were many places 17. (383) Describe church music styles and composer cited. Old Palestrina style with the newer concerted styles; Maurizio 2. What were the various influences? Cazzati In Italy, it was native music and its evolution; in Germany it was Italian and French styles 18. (384) Bologna was also important for what else? Instrumental ensemble music (often played in church) 3. (380) Where did most of the major developments in Italy take place? 19. What did organ composers write? The north Ricercares, toccatas, variation canzonas, chant settings 4. Where are the major centers of opera? Who are the 20. What are characteristics of the oratorio? composers? Italian text, had verse instead of poetry, in two sections Venice, Naples, Florence, Milan; Giovanni Legrenzi at Ferrara and Alessandro Scarlatti at Rome and Naples 21. Name the violin makers. Nicolò Amati, Antonio Stradivari, Giuseppe Bartolomeo 5. What attracted audiences the most? Guarneri Star singer and arias 22. Describe the sonata before 1650. Composer? 6. How many arias in an opera before 1670? After? Small sections differing in theme, texture, mood, character, 24; 60 and sometimes meter and tempo; Biagio Marini 7. -
AHLMAN-DMA-TREATISE.Pdf (14.62Mb)
Copyright by Christopher Stephen Ahlman 2011 The Treatise Committee for Christopher Stephen Ahlman Certifies that this is the approved version of the following treatise: The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 Committee: Luisa Nardini, Supervisor Gerre E. Hancock, Co-Supervisor Judith E. Hancock Guido Olivieri A. D. Renner Cinzia Russi The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 by Christopher Stephen Ahlman, B.A.; M.Div.; M.S.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2011 Dedication This work is dedicated to my wife and son, who have endured so much during our time in Austin. I am enormously grateful to them for their love, support, and patience, even in the midst of an unfairly challenging time. Acknowledgements I acknowledge and thank the members of my doctoral Treatise committee for their support and willingness to work with me on my chosen topic, especially Dr. Luisa Nardini, Supervisor, and Prof. Gerre E. Hancock, Co-Supervisor. I also express gratitude to all those who have contributed to my musical education in many and various ways, particularly piano instructors Mr. Stephen W. Hoelter, Ms. Jeanelle A. Mooney, and Ms. Tamara Riley Wyman; organ instructors Dr. Craig J. Cramer, Prof. Gerre E. Hancock, Prof. Judith E. Hancock, Ms. Carol Jarman, Mr. -
Monday Feb 18 Matinee: Claudine Gomez
BAROQUE & BEYOND 2008 PROGRAMS MONDAY FEB 18 MATINEE: NUANCES, INFLECTIONS & FANCY o La Romanesca A. Valente (Napoli, 1575) o Canzona Quarta G. Frescobaldi (1583-1643) La Frescobalda o La Volta W. Byrd (1542-1623) Wolseys Wilde o A new ground H. Purcell (1659-1695) Ground Suite VI: Prelude, Almand, Hornpipe o Preludio y Fuga XV (del Clavecín Bien Temperado II) J.S. Bach (1685-1750) 3 Minuetos (del libro para W.F. Bach) o Sonata K 87 D. Scarlatti (1685-1757) o La Régente A. Forqueray (1671-1745) La Portugaise o Chaconne J. Duphly (1715-1789) Médée Claudine Gómez-Vuistaz, clavecín MONDAY FEB 18 EVENING: THE NOBEL CELLO The evolution of the baroque cello in the music of Italy Barrett Sills, cello and Sebastian Knebel, harpsichord TUESDAY FEB 19 MATINEE: THE ART OF BAROQUE DANCE An exploration of baroque dance in the cello music of J.S. Bach Barrett Sills, cello and Yvonne Kendall, musicologist TUESDAY FEB 19 EVENING: VOICE AND VIOLS AT THE ROYAL COURTS La Milaneze Louis de Caix d’Hervelois (1670-1760) Prelude Nicolas Vallet (1583-1642) Come again John Dowland (1563-1626) Flow my tears Les Pantalons Nicolas Valle t(1583-1642) If my complaints John Dowland (1563-1626) Aria amorosa Nicola Matteis (fl. 1670-1698) Greensleeves traditional English Chaconne Louis Couperin (1626-1661) Music for a While Henry Purcell (1659-1695) Oh let me weep I attempt from Love’s sickness Prelude John Wilson (1595-1674) Fairest Isle Henry Purcell (1659-1695) L’Affligee et Tombeau Johann Jacob Froberger (1616-1667) Ah how sweet Henry Purcell (1659-1695) La Minaudiere -
Mar 1 to 7.Txt
CLASSIC CHOICES PLAYLIST March 1 - 7, 2021 PLAY DATE: Mon, 3/1/2021 6:02 AM Antonio Vivaldi Concerto No. 7 for violin and cello 6:11 AM Padre Antonio Soler Concierto No. 6 for two obbligato organs 6:25 AM Thomas Simpson Pasameza 6:29 AM Giuseppe Tartini Violin Sonata 6:42 AM Franz Joseph Haydn Symphony No. 10 7:02 AM Johann Georg Pisendel Sonata 7:13 AM Franz Joseph Haydn Andante with Variations HOB XVII:6 7:31 AM Christoph Graupner Concerto for Bassoon,2 violins,viola and 7:43 AM Johann Christian Bach Viola Concerto 8:02 AM Johann Sebastian Bach Partita No. 3 8:15 AM Léo Delibes Coppelia: Excerpts 8:34 AM Gaspar Cassado Sonatine pour Piano et Violoncelle, 1924 9:05 AM Frédéric Chopin Piano Concerto No. 2 9:38 AM Jean Françaix Quartet for English Horn and Strings 9:55 AM Frédéric Chopin Waltz No. 6 10:00 AM Mid-day Classic Choices - TBA 2:00 PM Clara Schumann Notturno (1838) 2:07 PM Benjamin Britten Simple Symphony 2:26 PM Francois Devienne Bassoon Quartet 2:48 PM Antonio Vivaldi Flute Concerto Op 10/3 "The Goldfinch" 3:03 PM Emelie Mayer Piano Trio 3:35 PM Friedrich Kuhlau Concertino for Two Horns and Orchestra 4:01 PM Mario Castelnuovo-Tedesco Guitar Concerto No. 1 4:23 PM Ferenc Erkel Fantasy duo on Hungarian Airs for violin 4:41 PM Thomas Augustine Arne Organ Concerto No. 2 4:54 PM Robert Lowry How Can I Keep from Singing? 5:01 PM Gustav Holst First Suite for Wind Ensemble 5:13 PM Paul Ben-Haim Sonatina 5:26 PM José Nono Symphony 5:40 PM Georg Philipp Telemann Concerto for Trumpet and Violin 5:54 PM Sir Andrew Lloyd Webber Evita: Don't Cry for Me, Argentina 6:00 PM All Request Hour with Adam Fine 7:00 PM Exploring Music with Bill McGlaughlin 8:00 PM Weeknight Concerts 10:00 PM Performance Today PLAY DATE: Tue, 03/02/2021 6:02 AM Chevalier de Saint-Georges Symphony 6:17 AM Johann Sebastian Bach Sonata No. -
Program Presents
Bard College Music Program presents BARD BAROQUE ENSEMBLE Renée Anne Louprette, Director Streamed on Saturday, December 5, 2020 at 7:00 PM Pre-Recorded at Bard College PROGRAM Apothéose de Lulli François Couperin (1668-1733) I. Lulli aux Champs-Élisés, concertant avec les Ombres liriques II. Air pour les Mêmes III. Vol de Mercure aux Champs-Élisés, pour averter qu’Apollon y va descendre VII. Enlèvement de Lulli au Parnasse Preludium and Lachrymae Pavan John Dowland (1563-1626) Matt Macari, lute Nine Fantasias Thomas Morley Edited by Nathalie Dolmetsch, arranged by Dávid Bánóczi-Ruof (1557-1602) 1. Il Doloroso 3. La Rondinella 2. La Girandola French Chansons and Dances Edited and arranged by Werner Danckert C’est un joli Chasseur (folksong from La Bresse) Rossignolet au Bois (folksong from Wallonia, Belgium) Les trois Princesses au Pommier doux (folksong from Franche-Comté) Au Bord de la Rivière (source unknown) Chant d’Été (folksong from Wallis, Switzerland) Megan Halm, Lily Moerschel, Grace Molinaro, cellos Concertino per Camera à Violino e Violoncello, Op. 4, No. 2 Giuseppe Torelli (1658-1709) I. Introduzione II. Ballo III. Corrente Dávid Bánóczi-Ruof, violin; Nick Scheel, cello Duo for Violin and Viola in in G Major, K. 423 Wolfgang Amadeus Mozart (1756-1791) I. Allegro Ella Menees, violin; Narain Darakananda, viola Pièces de Clavecin en Concerts, Troisième Concert Jean-Philippe Rameau Edited and arranged by Renée Anne Louprette after the 1896 (1683-1764) arrangement of “Concerts transcrit en sextuor” by Camille Saint-Saëns I. La La