NON-TRADITIONAL INSTRUMENTS in a TRADITIONAL ROLE THREE•WORKS for PERCUSSION ENSEMBLE SINCE I960 Martha Joy Reeder a Thesis Su
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Acknowledgments This recording was made at the I would also like to thank the Teresa This disc is dedicated to all the Academy of Arts and Letters in Sterne Foundation, Gilbert Kalish, members of my family — especially Manhattan, New York on May and Norma Hurlburt for their gener- my mom, dad, Eve, Henry, and 26-28, 2007. Thank you to osity, which helped to make this my nephews — who have been a Ardith Holmgrain for her help disc a reality. And, a thank you to constant source of love and support in arranging our use of this Lehman College and its Shuster in my life; to my primary teachers magnificent recording space. Grant through the Research Jesslyn Kitts, Michael Zenge, Foundation of the City of New Leonard Hokanson, and Gilbert I would like to thank Max Wilcox, York for their help in the Kalish; to a cherished circle of who very graciously helped to completion of this disc. friends, which grows wider all the prepare and record this disc. time; and, to God who orchestrated Without his help it never could I would also like to thank Jeremy all of these parts. have happened. I also thank Mary Geffen, Ara Guzelemian, Kathy Schwendeman for the use of her Schumann, John Adams, Peter glorious Steinway. Thank you to Sellars, David Robertson, Dawn David Merrill who continuously Upshaw and the Carnegie Hall Publishers: t h r e a d s offered a bright smile and encour- family for giving me so many Andriessen: Boosey & Hawkes aging words during the engineering wonderfully rich treasures in my Music Publishers Limited and recording of this disc and musical experiences thus far. -
Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal. -
Music You Know & Schubert
CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985). -
30N2 Programs
Sonata for Tuba and Piano Verne Reynolds FACULTY/PROFESSIONAL PERFORMANCES The Morning Song Roger Kellaway Edward R. Bahr, euphonium Salve Venere, Salve Marte John Stevens Concerto No. 1 for Hom, Op. 11 Richard Strauss Delta Sate University, Cleveland, MS 10/03/02 Csdrdds Vittorio Monti / arr. Ronald Davis Suite No. IV for Violoncello S. 1010 J.S. Bach Vocalises Giovanni Marco Bordogni Michael Fischer, tuba "Andante maestosoAndante mosso" Boise State University, Boise, ID WllljOl "Allegro" Central Missouri State University, Warrensburg, MO 11/1/02 (Johannes Rochut: Melodius Etudes No. 79, 24) Pittsburg State University, Pittsburg, KS 11/4/02 Concertino No. I in Bflat, op. 7 .Julius Klengel/an:. Leonard Falcone Romance Op. 36 Camille SaintSaens/arr. Michael Fischer GranA Concerto Friedebald Grafe Beelzebub Andrea V. Catozzi/arr. Julius S. Seredy Reverie et Balade Rene Mignion Three Romantic Pieces arr. Michael Fischer Danza Espagnola David Uber Du Ring an meinem Finger, Robert Schumann, Op. 42, No. 4 Velvet Brown, tuba Felteinsamkeit, Johannes Brahms Standchen, Franz Schubert *Bowling Green State University, Bowling Green, OH 10/23/02 **Ohio State University, Columbus, OH 10/24/02 Gypsy Songs .Johannes Brahms/arr. by Michael Fischer Sonata Bruce Broughton The Liberation of Sisyphus John Stevens Chant du Menestrel, op. 71 Alexander Glazunov/arr. V. Brown Adam Frey, euphonium Lieder eines fahrenden Gesellen Gustav Mahler/arr. D. Perantoni Mercer University, Macon, GAl0/01/02 *Te Dago Mi for tuba, euphonium and piano (U.S. premiere) Velvet Brown with Benjamin Pierce, euphonium Sormta in F Major.. Benedetto Marcello Blue Lake for Solo Euphonium **Mus!c for Two Big Instruments Alex Shapiro Fantasies David Gillingham Sonata for tuba and piano Juraj Filas Peace John Golland Rumanian Dance No. -
Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis
CHERNOV, KONSTANTZA, D.M.A. Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) Directed by Dr. James Douglass. 111 pp. The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, consists of the following: I. Chamber Recital, Sunday, April 27, 2008, UNCG: Trio for Piano, Clarinet and Violoncello in Bb Major, op. 11 (Ludwig van Beethoven) Sonatine for Flute and Piano (Henri Dutilleux) Sonata for Violin and Piano in A Major (César Franck) II. Chamber Recital, Monday, November 17, 2008, UNCG: Sonata for Violin and Piano in g minor (Claude Debussy) El Poema de una Sanluqueña, op. 28 (Joaquin Turina) Sonata for Violin and Piano in A Major, op. 13 (Gabriel Fauré) III. Chamber Recital, Tuesday, April 27, 2010, UNCG: Sonata for Two Pianos in D Major, K. 448 (Wolfgang Amadeus Mozart) The Planets, op. 32: Uranus, The Magician (Gustav Holst) The Planets, op. 32: Neptune, The Mystic (Gustav Holst) Fantasie-tableaux (Suite #1), op. 5 (Sergei Rachmaninoff) IV. Lecture-Recital, Thursday, October 28, 2010, UNCG: Fantasy for Flute and Piano (Leo Kraft) Second Fantasy for Flute and Piano (Leo Kraft) Third Fantasy for Flute and Piano (Leo Kraft) V. Document: Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) 111 pp. This document is a performer's analysis of Leo Kraft's Fantasy for Flute and Piano (1963), Second Fantasy for Flute and Piano (1997), and Third Fantasy for Flute and Piano (2007). -
A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby
A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched. -
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________ -
053479218025.Pdf
The Year BeforE Yesterday Los Angeles Percussion Quartet FORE! - William Kraft 1. First Round - 7:12 2. Second Round: Farnsworth Park at Twilight - 2:48 3. Third Round - 2:45 4. THE YEAR BEFORE YESTERDAY - Shaun Naidoo - 9:16 Give us this day - Erik Griswold 5. Rise Up - 4:05 6. Breathe - 5:22 7. Cold Steel - 4:39 8. Alone - 3:18 9. Punch the Sky - 3:32 10. Mallet Quartet - Joseph Pereira - 8:23 11. blindnesses - Isaac Schankler - 8:07 12. Lullaby 5 - Nicholas Deyoe - 12:52 Total Time: 72:19 FORE! - William Kraft Mallet Quartet - Joseph Pereira The title “Fore!” was first put on the title page as a temporary title, but the alliteration in the different spellings: I have always found it fascinating to discover ways to manipulate sound--how notes are played and more fore, for, four, gradually gained prominence in my thinking. “Fore for Four” engaged my sense of humor and importantly what happens after you play them and how they resonate or speak in different ways. My Mallet wouldn’t let go. Quartet (2013), written for the Los Angeles Percussion Quartet, for two vibraphones and two marimbas, attempts to consider all elements of sound on these instruments. Each pitch is considered on its own as a Since so much of the emphasis was in the keyboard instruments – vibraphone, marimba and chimes – I scale, of many timbral particles waiting to be examined. For the most part the focus is on the resonances, thought of the piece as chamber music rather than one for percussion.