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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
1Er Février 2015 — 15 H Salle De Concert Bourgie Prixopus.Qc.Ca
e 18 GALA1er février 2015 — 15 h Salle de concert Bourgie prixOpus.qc.ca LE CONSEIL QUÉBÉCOIS DE LA MUSIQUE VOUS SOUHAITE LA BIENVENUE À LA DIX-HUITIÈME ÉDITION DU GALA DES PRIX OPUS 14 h : accueil 15 h : remise des prix 17 h 30 : réception à la Galerie des bronzes, pavillon Michal et Renata Hornstein du Musée des beaux-arts de Montréal Écoutez l’émission spéciale consacrée au dix-huitième gala des prix Opus, animée par Katerine Verebely le lundi 2 février 2015 à 20 h sur les ondes d’ICI Musique (100,7 FM à Montréal) dans le cadre des Soirées classiques. Réalisation : Michèle Patry La Fondation Arte Musica offre ses félicitations à tous les finalistes et aux lauréats des prix Opus de l’an 18. La Fondation est fière de contribuer à l’excellence du milieu musical québécois par la production et la diffusion de concerts et d’activités éducatives, à la croisée des arts. Au nom de toute l’équipe du Musée des beaux-arts de Montréal et de la Fondation Arte Musica, je vous souhaite un excellent gala ! Isolde Lagacé Directrice générale et artistique sallebourgie.ca 514-285-2000 # 4 Soyez les bienvenus à cette 18e édition du gala des prix Opus. Votre fête de la musique. Un événement devenu incontournable au fil des ans ! Le gala des prix Opus est l’occasion annuelle de célébrer l’excellence du travail des interprètes, compositeurs, créateurs, auteurs et diffuseurs. Tout au long de la saison 2013-2014, ces artistes ont mis leur talent, leur créativité et leur ténacité au service de la musique de concert. -
Maureen Batt, Soprano: Biography – May 2014 Noted by Opera Canada
Maureen Batt, soprano: Biography – May 2014 Noted by Opera Canada as a “young, lovely and captivating soprano,” and by the Halifax Herald as being “enthusiastically at home on stage” and having an “endlessly energetic and animated interpretation,” Maureen Batt is an accomplished concert and opera artist. Maureen’s opera credits include Belinda, Dido and Aeneas (Purcell), Silvia, L’isola disabitata (Haydn), Lauretta, Gianni Schicchi (Puccini), Rosa, Il campanello (Donizetti), Polly, The Threepenny Opera/Die Dreigroschenoper (Weill), Morgana, Alcina (Händel), Nina, Chérubin (Massenet), Susanna, Le nozze di Figaro (Mozart), Eusebia, Die Freunde von Salamanka (Schubert), Jenny, La Dame Blanche (Boieldieu), Papagena, Die ZauberFlöte (Mozart), Zerlina, Don Giovanni (Mozart), Annina, La Traviata (Verdi), Despina, Così Fan tutte (Mozart), Laetitia, The Old Maid and the ThieF (Menotti), Serpina, The Maid Mistress (Pergolesi), Limonia, Ten Belles Without a Ring (Von Suppe), Miss Silverpeal, The Impresario (Mozart). As an actor, she has appeared in Theatre St. Thomas University’s productions of Measure For Measure, Oh, What a Lovely War, and Caucasian Chalk Circle. She filmed a TV pilot for a series called Oznaberg, which premiered in the 2011 Silverwave Film Festival, and has since aired on Rogers Television. Her selected concert and oratorio credits include Handel’s Messiah and Esther, Mozart’s Vesperae solennes de ConFessore and Exsultate Jubilate, Bach’s BWV 187 Es wartet alles auF dich, BWV 4 Christ lag in Todes Banden, and BWV 245 St. John Passion. Maureen’s formal training includes a Master of Music from the University of Toronto, a Bachelor of Music from Dalhousie University, and a Bachelor of Arts from St. -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
A Clear Apparance
A Clear Apparence 1 People in the UK whose music I like at the moment - (a personal view) by Tim Parkinson I like this quote from Feldman which I found in Michael Nyman's Experimental Music: Cage and Beyond; Anybody who was around in the early fifties with the painters saw that these men had started to explore their own sensibilities, their own plastic language...with that complete independence from other art, that complete inner security to work with what was unknown to them. To me, this characterises the music I'm experiencing by various composers I know working in Britain at the moment. Independence of mind. Independence from schools or academies. And certainly an inner security to be individual, a confidence to pursue one's own interests, follow one's own nose. I donʼt like categories. Iʼm not happy to call this music anything. Any category breaks down under closer scrutiny. Post-Cage? Experimental? Post-experimental? Applies more to some than others. Ultimately I prefer to leave that to someone else. No name seems all-encompassing and satisfying. So Iʼm going to describe the work of six composers in Britain at the moment whose music I like. To me itʼs just that: music that I like. And why I like it is a question for self-analysis, rather than joining the stylistic or aesthetic dots. And only six because itʼs impossible to be comprehensive. How can I be? Thereʼs so much good music out there, and of course there are always things I donʼt know. So this is a personal view. -
Spring 2020 Edition the Newsletter of the School of Music at the University of British Columbia UBC High Notes
Spring 2020 Edition The Newsletter of the School of Music at the University of British Columbia UBC High Notes The Queen in Me Soprano Teiya Kasahara (BMus’07) on carving their own path in opera as a queer, multidisciplinary Japanese-Canadian performer www.music.ubc.ca SPOTLIGHT LIBERATING THE QUEEN IN ME Photo: Takumi Hayashi/UBC In their new play The Queen in Me, soprano Teiya Kasahara (BMus’07) liberates one of opera’s most iconic villains — and challenges the industry’s centuries-old prejudices Photo: Tallulah By Tze Liew In The Queen in Me, the Queen of the Night at age 15, after seeing Ingmar Bergman’s film begins to sing her most iconic aria, “Der Hölle version of The Magic Flute. “I saw her perform For more than two centuries, the iconic Queen Rache,” like she would in any Magic Flute show. and was like, Oh God, I want to do that,” they of the Night from Mozart’s Die Zauberflöte But midway through, she halts. “Stopp! Stopp remember. has been thrilling audiences with her vengeful die Musik!” she screams. Breaking the fourth spirit, bloodthirsty drive, and volatile high Fs. wall, she laments the stifling act everyone’s With this as their dream role, Kasahara dove Qualities that make her the ultimate villain, come to see; one she’s been trapped in for headfirst into voice training, made it into fated to eternal doom while the hero and over two centuries. the UBC Opera program, and honed their heroine, demure as lambs, skip off to enjoy craft for four years under the tutelage of their happy ending. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
2016/2017 Annual Report Contents
2016/2017 ANNUAL REPORT CONTENTS Concert Season 4 Education & Outreach Initiatives 8 Financial Statements 10 Donors & Sponsors 11 Board & Staff 13 Cover: Mezzo-Soprano Andrea Ludwig and Percussionist Ryan Scott in R. Murray Schafer’s Odditorium. Photo by Trevor Haldenby This page: Conductor Kaspars Putninš and the Estonian Philharmonic Chamber Choir. Photo by Peeter Poldre. 2 SOUNDSTREAMS.CA EXECUTIVE SUMMARY Lawrence Cherney Artistic Director STIMULATING CULTURAL CONVERSATIONS In the lead up to our milestone 35th season, the 2016-17 season reaffirmed our commitment to creating a platform for uniquely Canadian cultural conversations. With a renewed focus on stimulating and provoking these conversations through carefully curated themes, we aimed to bring even greater depth, impact and relevancy to our work. This exploration of themes spurred us to incorporate dramatic enhancements in our productions, whose goal is to create immersive experiences for our audiences that will appeal to a wide range of ages and musical backgrounds. Ben Dietschi Executive Director One such example was Magic Flutes, which flowed seamlessly through a century of great flute repertoire from the lyricism of Debussy to a contemporary Canadian work inspired by Inuit shamanism. The season also saw the return of the legendary Estonian Philharmonic Chamber Choir, in a concert that explored significant Canadian and Estonian repertoire including world premieres by Omar Daniel and Riho Esko Maimets. As Canada approached its national sesquicentennial, Soundstreams’ programs like Music of the Rainbow Nation: A Tribute to Nelson Mandela’s Dream sought to bring global perspectives to issues of inclusivity, as always through the lens of intercultural collaboration. At the same time, productions Daniel Weinzweig like R. -
October 8, 1982 Concert Program
NEW MUSIC CONCERTS 1982-83 CONTEMPORARY ENCOUNTERS. CANADIAN MUSIC. GOOD MUSIC. On Sale now from the Canadian Music Centre are: CMC 1 Canadian Electronic Ensemble. Music composed and performed by Grimes, Jaeger, Lake and Montgomery. CMC 0281 Spectra - The Elmer Iseler Singers. Choral music by Ford, Morawetz and Somers. CMC 0382 Sonics - Antonin Kubalek. Piano solo music by Anhalt, Buczynski and Dolin. CMC 0682 Washington Square - The London Symphony Orchestra. Ballet music by Michael Conway Baker. CMC 0582 ‘Private Collection - Philip Candelaria, Mary Lou Fallis, Monica Gaylord. The music of John Weinzweig. CMC 0482 Folia - Available October 1, 1982. Wind quintet music by Cherney, Hambraeus, Sherman and Aitken, performed by the York Winds. In production: Orders accepted now: CMC 0782 2x4- The Purcell String Quartet. Music by Pentland and Somers. CMC 0883 Viola Nouveau - Rivka Golani-Erdesz. Music by Barnes, Joachim, Prévost, Jaeger and Cherney. Write or phone to place orders, or for further information contact: The Canadian Music Centre 1263 Bay Street Toronto, Ontario MSR 2C!1 (416) 961-6601 NEW MUSIC CONCERTS Robert Aitken Artistic Director presents COMPOSERS: HARRY FREEDMAN LUKAS FOSS ALEXINA LOUIE BARBARA PENTLAND GUEST SOLOISTS: ERICA GOODMAN BEVERLEY JOHNSTON MARY MORRISON JOSEPH MACEROLLO October 8, 1982 8:30 P.M. Walter Hall, Edward Johnson Building, University of Toronto EER IONG..R AM REFUGE (1981) ALEXINA LOUIE JOSEPH MACEROLLO, accordion ERICA GOODMAN, harp BEVERLEY JOHNSTON, vibraphone COMMENTA (1981) BARBARA PENTLAND ERICA -
Student Composers Concert
FACULTY of Jv1USIC UNIVERSITY 'iOF TORONTO Thursday, January 31 , 2008 T:30 pm, Walter Hall Student Composers Concert Invocation and Fanfare Sean King Steve Arsenault, Michelle Wylie, trumpets Marina Krickler, horn Stuart Bremner, trombone Ian Feenstra, tuba Elevator Music Fiona Ryan Lynn Kuo, violin Trop Elisha Denburg Tim Crouch, flute Julia Stroud, clarinet Lance McMillan, bassoon Four Poems of Emily Dickinson Lee Parkin Allison Arends, soprano Emma Elkinson, flute Mohsin Bhujwalla, viola Angela Schwartzkoff, harp Samuel Lam, conductor INTERMISSION Calling Loons Avalon Rusk i. Calling Loons Ii. The Arrival iii. Singing With the Loons iv. The Loons Take Flight Lynn Kuo, violin Rhapsody No.2 Constantine Caravassilis Zhenya Yesmanovich, piano Dance of Dragons Kevin Lau Violin 1 - Mark Johnston Violin 2 - Elizabeth Loewen Andrews Violin 3 - Maia Broido Trumpet - Steve Arsenault, Marcel Sekine Trombone - Annemieke Vanderkraay, Stuart Bremner Bass Trombone - Nelson Garces Flute/Piccolo - Sara Moorhouse, Kaili Maimets Piano - Mark Andrews Taiko - Lance McMillan, Michelle Colton Percussion 1 - Greg Samek Percussion 2 - Tricia Mangat Conductor - Brian Current ." Invocation and Fanfare for Brass Quintet is a piece written in 2007 for the When writing music, he draws from a rich palette of sounds, combining Bloor Street Brass. The Invocation is full of space, and overlapping notes that elements of music from a variety of genres and cultures and weaving them come from nowhere and disappear into nothing. The horn comes in with a into something entirely new. Of key interest to Avalon is the combination brilliant and touching melody, which returns later. Parts of the Invocation are of electronic music and acoustic instruments and the incredible level of horn calls and marches and other sounds, the piece is still deciding what versatility and expressive power that it provides. -
Dossier Ensemble Paramirabo
Mot du directeur artistique Le mandat artistique de l’organisme Ensemble Paramirabo est de se présenter comme une voix pour la diffusion de la musique d’aujourd’hui et pour la promotion des compositeurs émergents. Ses membres travaillent de façon à faciliter l’accessibilité et la compréhension de la musique contemporaine auprès de tous les publics et de tous les milieux et se consacrent à la redynamisation du concert grâce à une programmation inédite. L’organisme ne se limite pas à un répertoire strict. Il touche autant à des œuvres de répertoire qu’à la musique actuelle qu’elle soit écrite, improvisée ou électroacoustique. Il fait appel à des musiciens et des artistes de la relève montréalaise afin de concrétiser ses projets et de combler les postes dus aux exigences instrumentales des œuvres présentées. La programmation reflète ce désir d’élargir les horizons et les expériences des auditeurs de nos concerts en favorisant la nouveauté, l’expérimentation et le risque. Nous avons un penchant pour les programmes qui tournent autour d’un thème ou qui offrent plusieurs points de vue divergents sur un même concept. Nous aimons également présenter des projets en collaborations avec des artistes issus d’autres domaines d’art qui amènent de nouvelles explorations et découvertes, citons en exemple les programmes cabarets ou théâtrales tel que nos productions THE CRAZIES! ou À chaque ventre son monstre (gagnant du Prix Opus - Création de l’année 2018). Dans les dernières années, nous avons fait un effort majeur pour créer des projets artistiques qui agissent comme un pont culturel avec des milieux différents.