DOCSLIB.ORG

Daniel Baldwin Works Performed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Daniel Baldwin Works performed Updated 11-4-15 Adler City by the Lake Albinoni Adagio in G minor Concerto for Oboe in D minor; Op. 9, No. 2 Arnold Concerto for Flute and Strings, Op. 45 Bach, C.P.E. Symphony in D major, Wq. 183/1 Bach, J. S. Ach wie flüchtig, ach wie nichtig, BWV 26 Brandenburg Concerto No. 2 Brandenburg Concerto No. 3 Brandenburg Concerto No. 4 Brandenburg Concerto No. 5 Christ lag in Todesbanden, BWV 4 Concerto for Harpsichord in D minor, BWV 1052 Concerto for Violin and Oboe in C minor, BWV 1060 Concerto for Violin in A minor, BWV 1041 Concerto for Violin in E major, BWV 1042 Double Concerto for two violins, strings, and continuo, in D minor Ein feste Burg ist unser Gott, BWV 80 Herz und Mund und Tat und Leben, BWV 147 Jesu, der du meine Seele, BWV 78 "Komm Süsser Tod" (trans. by Stokowski) Magnificat in D major Orchestral Suite No. 1, BWV 1066 Schmücke dich, o liebe Seele, BWV 180 Wachet auf, ruft uns die Stimme, BWV 140 Was Gott tut, das ist wohlgetan, BWV 99 Weinen, Klagen, Sorgen, Zagen, BWV 12 Barber Adagio for Strings Concerto for Violin and Orchestra, Op. 14 First Essay for Orchestra, Op. 12 Bartok Rumanian Folk Dances 1 Beethoven Coriolan Overture Egmont Overture Octet for Winds, Op. 103 Overture to the Consecration of the House Piano Concerto No. 1 Piano Concerto No. 4 Piano Concerto No. 5 Symphony No. 1 Symphony No. 2 Symphony No. 3 Symphony No. 5 Symphony No. 6 Symphony No. 8 Bennett, Robert Russell The Many Moods of Christmas Berlioz Harold in Italy, Op. 16 Hungarian March, from Damnation of Faust Roman Carnival, Op. 9 Bernstein Chichester Psalms Dance Episodes, from On the Town “Glitter and be Gay,” from Candide Overture to Candide Selections from West Side Story Bizet "Au fond du temple saint," from The Pearl Fishers Carmen Suite No. 1 Carmen Suite No. 2 L'Arlesienne Suite No. 1 L'Arlesienne Suite No. 2 Borodin Polovtsian Dances, from Prince Igor Brahms Academic Festival Overture Concerto for Piano in D minor, Op. 15 Concerto for Violin, Op. 77 "Es ist ein Ros' Entsprungen" Ein Deutsches Requiem Symphony No. 1 Symphony No. 2 Symphony No. 3 Tragic Overture Variations on a theme of Haydn. Op. 56a 2 Britten Simple Symphony Soirées Musicales Bruch Violin Concerto in G minor, Op. 26 Chabrier España Rhapsody Chopin Concerto for Piano in E minor, Op. 11 Copland An Outdoor Overture Appalachian Spring, Suite for 13 instruments Appalachian Spring, Suite for large orchestra Billy the Kid, Ballet Suite Dance Episodes, from Rodeo Down a Country Lane Quiet City The Red Pony, Film Suite Corelli Concerti Grossi, Op. 6, Nos. 2 and 8 Cortés Meditation on Christ lag in Todesbanden David Concertino No. 4 for trombone and orchestra, Op. 4 Debussy Danses Sacrée et Profane for harp and strings Nocturnes Petite Suite Prelude to "The Afternoon of a Faun" de Falla Three Dances, from The Three-Cornered Hat Donizetti Elixir of Love (complete) "O luce di quest' anima," from Linda di Chamounix "O Mio Fernando," from La Favorita Dvorák Cello Concerto in B minor, Op. 104 Serenade in D minor, Op. 44 Symphony No. 8 Symphony No. 9 3 Elgar Cello Concerto, Op. 85 Pomp and Circumstance, March No. 1 Pomp and Circumstance, March No. 4 Serenade for String Orchestra Fauré Elegie Pelléas et Mélisande Suite, Op. 80 Requiem Flory Diaspora (world premiere) Franck Symphony in D minor Frescobaldi/Kindler Toccata Gabrieli Sonata pian’ e forte Gershwin Concerto In F for Piano and Orchestra Cuban Overture Highlights from Porgy and Bess Rhapsody in Blue Gilbert and Sullivan The Pirates of Penzance Glinka Overture to Russlan and Ludmilla Gluck/Wagner Overture to Iphigenia in Aulis Gordeli Concerto for flute and orchestra Gould American Salute Gounod “Ah! Je Veux Vivre,” from Roméo et Juliette “Le veau d’or,” from Faust Petite Symphonie for Wind Instruments Grandjany "Aria in Classic Style" for harp and string orchestra 4 Grieg Concerto in A minor for Piano and Orchestra, Op. 16 Peer Gynt Suite No. 1 Handel Concerto Grosso, Op. 6, No. 1 Concerto Grosso, Op. 6, No. 6 Concerto Grosso, Op. 6, No. 8 “Entrance of the Queen of Sheba,” from Solomon Messiah Music for the Royal Fireworks Hanson Serenade for flute, harp, and strings, Op. 35 Harbison Remembering Gatsby (Foxtrot for Orchestra) Haydn Cello Concerto in D major Lord Nelson Mass Oboe Concerto in C major Paukenmesse (Mass in Time of War) Piano Concerto in D major Symphony No. 39 Symphony No. 82 Symphony No. 101 Symphony No. 104 Heiss Songs of Nature Holst Brook Green Suite Saint Paul Suite The Planets (Mars, Jupiter) Hovhaness Alleluia and Fugue And God Created Great Whales Prayer of Saint Gregory for trumpet and strings Humperdinck Prelude to Hansel and Gretel Ives Symphony No. 3 The Unanswered Question Jacob Concerto for Horn and String Orchestra 5 Joyce O Nobilissima Viriditas (world premiere) rocks, rivers, earth, and sky (world premiere) Kabalevsky The Comedians Kelly Columbia River Suite Khatchaturian Masquerade Suite Kodály Háry János Suite Korngold “Mariettas Lied,” from Die tote Stadt Kreisler, Alexander von Passacaglia Lalo Symphonie Espagnole, Op. 21 Lehár The Merry Widow (complete) Liebermann Concerto for Flute, Op. 39 Liszt Les Préludes Márquez Danzón No. 2 Mascagni "Intermezzo," from Cavalleria Rusticana Massenet "Vision fugitive," from Herodiade Mendelssohn Fingal's Cave Overture, Op. 26 Overture and Incidental Music to A Midsummer Night's Dream Piano Concerto in G minor, Op. 25 Violin Concerto in E minor, Op. 64 6 Mozart Abduction from the Seraglio, Overture Adagio and Fugue in C minor, K. 546 Concerto for Clarinet in A major, K. 622 Concerto for Flute in G major, K. 313 Concerto for Flute and Harp, K. 299 Concerto for Horn in E-flat major, K. 447 Concerto for Oboe in C major, K. 314 Concerto for Piano in A major, K. 414 Concerto for Piano in D minor, K. 466 Cosi fan Tutte (complete) Idomeneo, Overture “Madamina, il catalogo è questo,” from Don Giovanni Marriage of Figaro (complete) Masonic Funeral Music Mass in C, K. 317 (“Coronation”) Requiem Serenade in C minor, K. 388 Sinfonia Concertante, K. 364 Symphony No. 1 Symphony No. 27 Symphony No. 29 Symphony No. 35 Symphony No. 38 Symphony No. 40 The Impresario (complete) The Magic Flute (complete) Mussorgsky Introduction and Gopak, from The Fair at Sorochinsk Night on Bald Mountain Pictures at an Exhibition (Ravel orchestration) Nicolai The Merry Wives of Windsor (complete) O’Connor Appalachia Waltz Offenbach Overture to Orpheus in the Underworld Intermezzo and Barcarole from The Tales of Hoffman Pachelbel Kanon Panerio Te Deum (world premiere) 7 Parry An English Suite I was glad Jerusalem Pärt Cantus in Memoriam Benjamin Britten Prokofiev Lieutenant Kijé, Symphonic Suite Piano Concerto No. 3 in C major, Op. 26 Romeo and Juliet Suite No. 2 Violin Concerto No. 2 in G minor, Op. 63 Puccini Gianni Schicchi (complete) Suor Angelica (complete) Purcell Incidental Music, from Abdelazer Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Ravel Bolero Ma Mere L'Oye (Five Pieces for Children) Reinecke Ballade, Op. 288 Concerto for Flute, Op. 283 Respighi Ancient Airs and Dances, suite 1 Ancient Airs and Dances, suite 3 Pini di Roma Trittico Botticelliano Rimsky-Korsakov Capriccio Espagnol "Polonaise," from Christmas Eve Suite Russian Easter Overture Scheherazade Rosauro Concerto for Vibraphone Rosetti Symphony In G minor 8 Rossini Overture to Italian in Algiers Overture to The Barber of Seville Overture to William Tell Rota Concerto for Trombone and Orchestra Saint-Saëns Concerto for Cello, Op. 33 Concerto for Piano, Op. 22 Danse Macabre Symphony No. 3 Sarasate Zigeunerweisen, Op. 20 Schubert Rosamunde Overture Symphony No. 8 Schumann Cello Concerto, Op. 129 Concertstück for 4 horns, Op. 86 Piano Concerto, Op. 54 Shostakovich Concerto for Cello, Op. 107 Symphony No. 1 Sibelius Andante Festivo, Op. 117a Finlandia, Op. 26, No. 7 Symphony No. 1 Symphony No. 2 Violin Concerto, Op. 47 Smetana The Moldau Spohr Symphony No. 4 Symphony No. 6 Strauss, Johann "Adele's Laughing Song," from Die Fledermaus An der schönen blauen Donau, Op. 314 Kaiserwalzer, Op. 437 Roses from the South Tales from the Vienna Woods Voices of Spring 9 Strauss, Richard Horn Concerto, Op. 11 Serenade for Winds, Op. 7 Tod und Verklärung, Op. 24 Stravinsky Firebird Suite (1919) Suite No. 2 for small orchestra Tchaikovsky Marche Slave, Op. 31 Nutcracker Suite No. 1 Overture-Fantasy Romeo and Juliet Symphony No. 4 Symphony No. 5 Violin Concerto, Op. 35 Telemann Concerto in D major for four violins Vaughan Williams Concerto for Oboe Fantasia on a theme by Thomas Tallis Five Variants of “Dives and Lazarus” Symphony No. 3 Two Hymn-Tune Preludes Verdi Overture to I Vespri Siciliani Overture to Nabucco Requiem Stabat Mater Vieuxtemps Violin Concerto No. 5, Op. 37 Vivaldi Concerto Grosso, Op. 3, No. 8 Concerto Grosso, Op. 3, No. 11 Concerto Grosso, Op. 47, No. 2 Gloria Wagner Overture to Rienzi Prelude to Act III of Lohengrin Prelude to Die Meistersinger von Nürnberg Siegfried Idyll 10 Walton Belshazzar’s Feast Crown Imperial: Coronation March Henry V Suite Washburn Elegy for Orchestra Weber Overture to Oberon Overture to Der Freischütz Weill Little Threepenny Music, for Wind Instruments Wharton Verdant Twilight Wieniawski Violin Concerto No. 2, Op. 22 Yasinitsky The Appleville Musicians 11 .
Recommended publications
  • Music%2034.Syllabus

    Music%2034.Syllabus

    Music 34, Detailed Syllabus INTRODUCTION—January 24 (M) “Half-step over-saturation”—Richard Strauss Music: Salome (scene 1), Morgan 9 Additional reading: Richard Taruskin, The Oxford History of Western Music, vol. 4 (henceforth RT), (see Reader) 36-48 Musical vocabulary: Tristan progression, augmented chords, 9th chords, semitonal expansion/contraction, master array Recommended listening: more of Salome Recommended reading: Derrick Puffett, Richard Strauss Salome. Cambridge Opera Handbooks (Cambridge, New York: Cambridge University Press, 1989) No sections in first week UNIT 1—Jan. 26 (W); Jan. 31 (M) “Half-steplessness”—Debussy Music: Estampes, No. 2 (La Soiré dans Grenade), Morgan 1; “Nuages” from Three Nocturnes (Anthology), “Voiles” from Preludes I (Anthology) Reading: RT 69-83 Musical vocabulary: whole-tone scales, pentatonic scales, parallelism, whole-tone chord, pentatonic chords, center of gravity/symmetry Recommended listening: Three Noctures SECTIONS start UNIT 2—Feb. 2 (W); Feb. 7 (M) “Invariance”—Skryabin Music: Prelude, Op. 35, No. 3; Etude, Op. 56, No. 4, Prelude Op. 74, No. 3, Morgan 21-25. Reading: RT 197-227 Vocabulary: French6; altered chords; Skryabin6; tritone link; “Ecstasy chord,” “Mystic chord”, octatonicism (I) Recommended reading: Taruskin, “Scriabin and the Superhuman,” in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton: Princeton University Press, 1997), 308-359 Recommended listening: Poème d’extase; Alexander Krein, Sonata for Piano UNIT 3—Feb. 9 (W); Feb. 14 (M) “Grundgestalt”—Schoenberg I Music: Opus 16, No. 1, No. 5, Morgan 30-45. Reading: RT 321-337, 341-343; Simms: The Atonal Music of Arnold Schoenberg 1908-1923 (excerpt) Vocabulary: atonal triads, set theory, Grundgestalt, “Aschbeg” set, organicism, Klangfarben melodie Recommended reading: Móricz, “Anxiety, Abstraction, and Schoenberg’s Gestures of Fear,” in Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, ed.
  • On the Question of the Baroque Instrumental Concerto Typology

    On the Question of the Baroque Instrumental Concerto Typology

    Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
  • Apollo's Fire

    Apollo's Fire

    CAL PERFORMANCES PRESENTS PROGRAM Saturday, November 9, 2013, 8pm Johann David Heinichen (1683–1789) Selections from Concerto Grosso in G major, First Congregational Church SeiH 213 Entrée — Loure Menuet & L’A ir à L’Ita lien Apollo’s Fire The Cleveland Baroque Orchestra Heinichen Concerto Grosso in C major, SeiH 211 Jeannette Sorrell, Music Director Allegro — Pastorell — Adagio — Allegro assai Francis Colpron, recorder Kathie Stewart, traverso PROGRAM Debra Nagy, oboe Olivier Brault, violin Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 3 in G major, BWV 1048 Bach “Brandenburg” Concerto No. 4 in G major, BWV 1049 Allegro — Adagio — Allegro Allegro — Andante — Presto Olivier Brault, violin Bach “Brandenburg” Concerto No. 5 in D major, Francis Colpron & Kathie Stewart, recorders BWV 1050 Allegro Affettuoso The Apollo’s Fire national tour of the “Brandenburg” Concertos is made possible by Allegro a generous grant from the National Endowment for the Arts. Jeannette Sorrell, harpsichord Apollo’s Fire’s CDs, including the complete “Brandenburg” Concertos, are for sale in the lobby. Olivier Brault, violin The artists will be on hand to sign CDs following the concert. Kathie Stewart, traverso INTERMISSION Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. 16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES PROGRAM NOTES a mountaintop experience: extraordinary power to move, delight, and cap- Concerto No. 5 requires from the harpsi- performing concertos for the virtuoso bands of europe tivate audiences for 250 years. But what is it that chordist a level of speed in the scalar passages gives them that power—that greatness that we that far exceeds anything else in the repertoire.
  • The Double Keyboard Concertos of Carl Philipp Emanuel Bach

    The Double Keyboard Concertos of Carl Philipp Emanuel Bach

    The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R.
  • Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn

    Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn

    The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence.......
  • 9. Vivaldi and Ritornello Form

    9. Vivaldi and Ritornello Form

    The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op.
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum

    NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum

    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
  • Not One of Them

    Not One of Them

    Not One of Them DAVID CRAIG Steve plowed through the snow, past "Yeah. I want to hear 'em." the college, and up fraternity row, with a Steve put Bizet's Carmen Suite on the fiat, square package clutched under one Vic, sprawled out in a leather arm chair, arm. He was a big, blonde boy with a pink and lit a cigarette. He rubbed his hand face and a wash board wave, which made over a two day growth of blonde beard and him look as if he just had come out from tried to act relaxed. under the dryer. He walked briskly with Blackie tapped his foot to the opening his shoulders back and his stomach pulled strains of the Intermezzo and said, "What's in, until he came to the little incline in the that?" sidewalk where he always began to move "First part of Bizet," Steve said. "It's as if he had lead in his feet. At the top got a lot of feeling." of the incline he would turn right into the "That's beautiful," Blackie said. red brick fraternity house with the dirty "Yeah. I rather like it. I spent a hell cream pillars. of a long while picking the stuff out for It was mid-afternoon and he noted my collection." that Onnie's jallopy was not yet parked out "How many records have you got, in front. He assumed an elaborately casual Steve?" air as he climbed the steps, opened the Steve made a deprecating gesture with door softly, and stepped inside, listening as his hands.
  • Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet

    Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet

    Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet MPG/Big Idea: State Standard: MPG3: Listen to music with 9.2 understanding 9.4 MPG4: Make value judgments about music Enduring Understandings: 3. Music from various styles, cultures and historical eras globally affects all individuals 4. Music is a lifelong avocation that requires personal choices and critical response Essential Questions: 3. How does music impact all of us? 4. What makes good music good? Knowledge: 1. Musical works and composers from varied historical periods are an important component of musical literature 3. Significant musical works and composers continue to impact music 3. Audience etiquette is a necessary part of being a responsible music consumer Skills: Procedure: Historical Context 1. Click on the RED link below and listen to the “Classics 2. Recognize significant composers and/or for Kids” episode about famous American composer, musicians from various genres and periods George Gershwin Aesthetic Response https://www.classicsforkids.com/shows/shows.php?id=70 3. Demonstrate attentiveness and be actively engaged when listening to a Music heard in this episode: variety of music of appropriate length and complexity Gershwin: Prelude #1 Gershwin: Sweet and Lowdown Gershwin: Rhapsody in Blue Gershwin: Let’s Call the Whole Thing Off Gershwin: I Got Rhythm Gershwin: I Got Rhythm Variations Gershwin: An American in Paris Gershwin: Piano Concerto in F Gershwin: Porgy and Bess: Summertime 2. When finished complete the assignment on the Google Form below Assessment: Answer the multiple-choice questions by using the BLUE link below to open the Google form: https://forms.gle/VMryZf38P3rTPYL8A George Gershwin was born in a.
  • 2012-0331 Program.Pdf

    2012-0331 Program.Pdf

    I\TI\OI)~I ClIO:-;~ Welcorne to Songs ofLight! JUSllikc the anists oftheir day, musicians ofthe Impressionistic CI"'J were intrigued with the cfTt.'C(S ofligtll and 50"0",11 to portray this in their music. With diminished light. the harsh cfTetts ofindustrialization were muted and these llt."\\ landst<q>cs Wert softened and made bc-Jutiful again. l1lis aftcmoon's program is filled wim ethereal depietions of light by Delius. Dehll"S)', and l-Io1st as well a~ with a sparkling new work by Charles Beslor. lei these airy musical work..<; lIallspon you to a time ofday where healilifulligiu softens the lrOublcs ofthe world bringingoullhe best ofany place. Enjo}! ,. As Illusie is lhe poetry OfSOlilld. so is paiming Ihe poclry ofsight. ~ - JUfIlt'JAblJOIf AfcNetillflllfJtler W:.ashillg'lotl Ml'tropolil.U1 rhilhanllonic. UI~"SSCS James. Music Dirt:('lOf & Condm:lor Ulys.<iCS S. James is a fonner lromhonist who studied in BOSlOll aud at Tauglcwood ..•..ith William Gibson. principal trombonist of the Bostoll Symphony On:heslra. He grddlllHcd in 1958 ....ith honurs in llIusi<: from Brown University. Mtcr a 20 yCM ~'aIttr as a surfoc-c ....~Mfare Naval Officer. followed by a second tareer as an organization and management de...e1opmem consultam. he bn-arne the music dire~1or and priocipal condtl~1or of Washington Metropolitan Philharmonic Association in 1985. The Assodation sponsors Washington Metropolitan Philharmonic. Washington ~lctropolitan YOUlh Orchestra. Washington Metropolitan Concen Orchestrd. a weekly summer chamber musie series at The Lyceum ill Old Towll Alexandria. and all anllual cOl1lpo~ition COllllletition for the Mid-Atlantic StUll'S.
  • Hèléne Grimaud, Piano Program Notes Berio

    Hèléne Grimaud, Piano Program Notes Berio

    Hèléne Grimaud, piano Program Notes Berio: Wasserklavier from Six Encores Wasserklavier (Water Piano, 1965) by Italian composer Luciano Berio (1925-2003) serves as a graceful dive into a diverse program of pieces all about water. Like many of Berio’s works, it references music from the past. Here, motifs from Brahms mix with hints of Schubert. Even as the music reaches ever higher toward the quiet climax—the entire piece is incredibly quiet—a repeated, descending motif drips downward, and the ending is left intentionally ambiguous. Liszt: St François de Paule marchant sur les flots Les Jeux d'eau à la Villa d'Este Though he made a name for himself as a demonically virtuosic pianist, late in life Franz Liszt (1811-1886) retreated into his Catholic faith. He spent two years living in a monastery outside Rome, where Pope Pius IX visited him and performed a Bellini aria with Liszt accompanying at the piano. Liszt in turn premiered for the Pontiff his recent religiously inspired work, St. Francis of Paola Walking on the Waters (1863). Legend has it that St. Francis of Paola, Liszt’s patron saint, was turned away trying to cross the Straits of Messina, for want of the fare. “If he is a saint, let him walk,” declared the scornful boatman. So St. Francis lifted up his cloak, which lofted like a sail and bore him safely to the other side. The surging waters roil in the left hand underneath a hymn-like theme that represents the saint. As a stately, solemn conclusion, Liszt quotes a passage from a choral work he had written also as a devotion to the saint, reusing music that sets the words “O let us preserve Love whole.” The composer explained that the story and his musical setting are meant to extol “the law of faith, which governs the laws of nature.” In 1867, Liszt accepted an invitation from a Roman Cardinal to visit the Villa d’Este, a 16th- century palace some twelve miles from Rome, perched on the site of a former Benedictine monastery.
  • Elliott Carter Works List

    Elliott Carter Works List

    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................