WHRB July 4Th, 2021 Program of American Music a Tribute to David
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The Federal Music Project: an American Voice in Depression-Era Music
Musical Offerings Volume 9 Number 2 Fall 2018 Article 1 10-3-2018 The Federal Music Project: An American Voice in Depression-Era Music Audrey S. Rutt Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Composition Commons, Economic Policy Commons, Education Policy Commons, Ethnomusicology Commons, Fine Arts Commons, Latin American Studies Commons, Music Education Commons, Musicology Commons, Music Performance Commons, Music Theory Commons, and the Social Welfare Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Rutt, Audrey S. (2018) "The Federal Music Project: An American Voice in Depression-Era Music," Musical Offerings: Vol. 9 : No. 2 , Article 1. DOI: 10.15385/jmo.2018.9.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol9/iss2/1 The Federal Music Project: An American Voice in Depression-Era Music Document Type Article Abstract After World War I, America was musically transformed from an outsider in the European classical tradition into a country of musical vibrance and maturity. These great advances, however, were deeply threatened by the Wall Street crash of 1929 and the consequent Great Depression. -
ALAN HOVHANESS: Meditation on Orpheus the Japan Philharmonic Symphony Orchestra William Strickland, Conducting
ALAN HOVHANESS: Meditation on Orpheus The Japan Philharmonic Symphony Orchestra William Strickland, conducting ALAN HOVHANESS is one of those composers whose music seems to prove the inexhaustability of the ancient modes and of the seven tones of the diatonic scale. He has made for himself one of the most individual styles to be found in the work of any American composer, recognizable immediately for its exotic flavor, its masterly simplicity, and its constant air of discovering unexpected treasures at each turn of the road. Meditation on Orpheus, scored for full symphony orchestra, is typical of Hovhaness’ work in the delicate construction of its sonorities. A single, pianissimo tam-tam note, a tone from a solo horn, an evanescent pizzicato murmur from the violins (senza misura)—these ethereal elements tinge the sound of the middle and lower strings at the work’s beginning and evoke an ambience of mysterious dignity and sensuousness which continues and grows throughout the Meditation. At intervals, a strange rushing sound grows to a crescendo and subsides, interrupting the flow of smooth melody for a moment, and then allowing it to resume, generally with a subtle change of scene. The senza misura pizzicato which is heard at the opening would seem to be the germ from which this unusual passage has grown, for the “rushing” sound—dynamically intensified at each appearance—is produced by the combination of fast, metrically unmeasured figurations, usually played by the strings. The composer indicates not that these passages are to be played in 2/4, 3/4, etc. but that they are to last “about 20 seconds, ad lib.” The notes are to be “rapid but not together.” They produce a fascinating effect, and somehow give the impression that other worldly significances are hidden in the juxtaposition of flow and mystical interruption. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
559862 Itunes Copland
AmericAn clAssics cOPlAnD Billy the Kid (complete Ballet) Grohg (One-Act Ballet) Detroit symphony Orchestra leonard slatkin Aaron Copland (1900 –1990) not touch them.” They described Grohg as having large, 5. Grohg Imagines the Dead Are Mocking Him Grohg • Billy the Kid piercing eyes and a hooked nose, who was “… tragic and Grohg begins to hallucinate and imagines that corpses pitiable in his ugliness.” For what is essentially a student are making fun of him and violently striking him. Grohg (1925) for the big time: a one-act, 35-minute ballet for full work, Copland’s score is quite amazing, and on hearing Nevertheless, he joins in their dances. Chaos ensues, pit orchestra plus piano. There was a taste for the parts of it which were rearranged into the Dance then Grohg raises the street-walker over his head and As much as anyone, Copland, who was born in 1900 in bizarre at the time, and if Grohg sounds morbid Symphony of 1929, Stravinsky called it “a very precocious throws her into the crowd. Brooklyn, and died in 1990 in Tarrytown (now Sleepy and excessive, the music was meant to be opus” for a young man then in his early 20s. There are 6. Illumination and Disappearance of Grohg Hollow), New York, established American concert music fantastic rather than ghastly. Also, the need for many influences on the ballet, among them Mussorgsky, The stage turns dark except for a light focused on Grohg’s through his works and his tireless efforts on its behalf. He gruesome effects gave me an excuse for ‘modern’ Satie, Ravel, Stravinsky, and Schmitt, along with jazz and head, and he slowly disappears to music which echoes and his contemporaries not only raised this music to a very rhythms and dissonances. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Boston Symphony Orchestra Concert Programs, Summer, 1976
I M' n, v ~# ^ »>'* •«*^ ^T* > ^'^.._, KlLBu**%m*lJcML^teff-'il Btf^^flB IS^.'^I For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin Charles Kavaloski, French horn Karol Berger ' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin ' Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello * Thomas Ganger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence " Alfred Schneider, violin music education * Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
559396 Bk Sousa
AMERICAN CLASSICS John Philip SOUSA Music for Wind Band • 13 Overture to Katherine Words of Love Waltzes Mama and Papa Mother Goose March The Central Band of the RAF Keith Brion John Philip Sousa (1854-1932) occasion Sousa composed a long and grand inaugural 9 Paroles d’Amour – Waltzes (1880) march, highlighting the grand ceremony with fanfares, Loosely translated as “The words (lyrics) of love”, Works for Wind Band, Volume 13 processionals and lyrical counter themes. these tuneful waltzes were great favorites of Sousa. John Philip Sousa personified turn-of-the-century operas and operettas. His principles of instrumentation They are formulated in the popular waltz styles of America, the comparative innocence and brash energy and tonal color influenced many classical composers. 6 President Garfield’s Funeral March Johann Strauss Jr. and Emile Waldteufel. Dating from of a still new nation. His ever touring band represented His robust, patriotic operettas of the 1890s helped ‘In Memoriam’ (1881) Sousa’s first year as leader of the Marine Band they are America across the globe and brought music to introduce a truly native musical attitude in American On July 2nd, 1881, four months after his inauguration, dedicated to the commandant of the Marine Corps. hundreds of American towns. John Philip Sousa, born theater. President James Garfield was shot by an assassin as he While never published they later became a constant 6th November, 1854, reached this exalted position with boarded a train in Washington en route to deliver a staple of Sousa’s Band’s touring programs during the startling quickness. In 1880, at the age of 26, he became 1 Occidental March (1887) speech at his alma mater, Williams College. -
My Fair Lady
TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts. -
Sousa Cover the ONE.Qxd 24/7/08 2:38 Pm Page 1
Sousa cover THE ONE.qxd 24/7/08 2:38 pm Page 1 Chan 4535 CHANDOS BRASS FROM MAINE TO OREGON THE WILLIAMS FAIREY BAND PLAYS SOUSA MARCHES CONDUCTED BY MAJOR PETER PARKES CHAN 4535 BOOK.qxd 24/7/08 2:41 pm Page 2 Sousa Marches 1 Semper Fidelis arr. C.W. Hewitt 2:55 2 The Crusader arr. Peter Parkes 3:36 3 El Capitan March 2:33 4 The Invincible Eagle arr. Peter Parkes 3:47 5 King Cotton 2:58 6 Hands across the Sea arr. Peter Parkes 2:57 7 Manhattan Beach arr. C.W. Hewitt 2:25 8 Our Flirtations arr. James Howe 2:43 9 The Picadore arr. Peter Parkes 2:58 10 The Gladiator March 2:58 11 The Free Lance arr. Norman Richardson 4:33 12 The Washington Post arr. C.W. Hewitt 2:46 13 The Beau Ideal arr. Peter Parkes 3:36 14 The High School Cadets arr. John Hartmann 2:45 15 The Fairest of the Fair arr. Norman Richardson 3:50 16 The Thunderer arr. Harry Mortimer 2:57 17 The Occidental arr. Peter Parkes 2:55 18 The Liberty Bell arr. J. Ord Hume 3:49 19 The Corcoran Cadets arr. Peter Parkes 3:15 John Philip Sousa (1854–1932) 20 National Fencibles March arr. Norman Richardson 3:36 Royal College of Music 21 The Black Horse Troop arr. Peter Parkes 3:34 22 The Gridiron Club March arr. James Howe 3:38 23 The Directorate arr. Norman Richardson 2:38 24 The Belle of Chicago arr. -
Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc
Title Composer Lyricist Arranger Cover artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc. 1921 Wabash Cannon Ball Wm Kindt Wm Kindt NPS Calumet Music Co. 1939 High Bass arranged by Bill Burns Wabash Moon Dave Dreyer Dave Dreyer Irving Berlin Inc. 1931 Wagon Wheels Peter DeRose Billy Hill Shapiro, Bernstein & Co. 1934 Wagon Wheels Peter DeRose Billy Hill Geoffrey O'Hara Shapiro, Bernstein & Co., Inc. 1942 Arranged for male voices (T.T.B.B.) Wah-Hoo! Cliff Friend Cliff Friend hbk Crawford Music Corp. 1936 Wait for Me Mary Charlie Tobias Charlie Tobias Harris Remick Music Corp. 1942 Wait Till the Cows Come Home Ivan Caryll Anne Caldwell Chappell & Company Ltd 1917 Wait Till You Get Them Up In The Air, Boys Albert Von Tilzer Lew Brown EEW Broadway Music Corp. 1919 Waitin' for My Dearie Frederick Loewe Alan Jay Lerner Sam Fox Pub. Co. 1947 Waitin' for the Train to Come In Sunny Skylar Sunny Skylar Martin Block Music 1945 Waiting Harold Orlob Harry L. Cort Shapiro, Bernstein & Co. 1918 Waiting at the Church; or, My Wife Won't Let Me Henry E. Pether Fred W. Leigh Starmer Francis, Day & Hunter 1906 Waiting at the End of the Road Irving Berlin Irving Berlin Irving Berlin Inc. 1929 "Waiting for the Robert E. Lee" Lewis F. Muir L. Wolfe Gilbert F.A. Mills 1912 Waiting for the Robert E. Lee Lewis F. Muir L. Wolfe Gilbert Sigmund Spaeth Alfred Music Company 1939 Waiting in the Lobby of Your Heart Hank Thompson Hank Thompson Brenner Music Inc 1952 Wake The Town and Tell The People Jerry Livingston Sammy Gallop Joy Music Inc 1955 Wake Up, America! Jack Glogau George Graff Jr. -
100% Print Rights Administered by ALFRED 633 SQUADRON MARCH
100% Print Rights administered by ALFRED 633 SQUADRON MARCH (Excluding Europe) Words and Music by RON GOODWIN *A BRIDGE TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS A CHANGE IS GONNA COME (from “ Malcolm X”) Words and Music by SAM COOKE A CHI (HURT) (Excluding Europe) Words and Music by JIMMIE CRANE and AL JACOBS A CHICKEN AIN’T NOTHING BUT A BIRD Words and Music by EMMETT ‘BABE’ WALLACE A DARK KNIGHT (from “ The Dark Knight ”) Words and Music by HANS ZIMMER and JAMES HOWARD A HARD TEACHER (from “ The Last Samurai ”) Words and Music by HANS ZIMMER A JOURNEY IN THE DARK (from “ The Lord of the Rings: The Fellowship of the Ring”) Music by HOWARD SHORE Lyrics by PHILIPPA BOYENS A MOTHER’S PRAYER (from “ Quest for Camelot ”) Words and Music by CAROLE BAYER SAGER and DAVID FOSTER *A WINDOW TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS ACCORDION JOE Music by CORNELL SMELSER Lyrics by PETER DALE WIMBROW ACES HIGH MARCH (Excluding Europe) Words and Music by RON GOODWIN AIN'T GOT NO (Excluding Europe) Music by GALT MACDERMOT Lyrics by JAMES RADO and GEROME RAGNI AIN’T MISBEHAVIN’ (from “ Ain’t Misbehavin’ ) (100% in Scandinavia, including Finland) Music by THOMAS “FATS” WALLER and HARRY BROOKS Lyrics by ANDY RAZAF ALL I DO IS DREAM OF YOU (from “ Singin’ in the Rain ”) (Excluding Europe) Music by NACIO HERB BROWN Lyrics by ARTHUR FREED ALL TIME HIGH (from “ Octopussy ”) (Excluding Europe) Music by JOHN BARRY Lyrics by TIM RICE ALMIGHTY GOD (from “ Sacred Concert No.