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Jazz Concert
Artist Series presents Sonatas for Violin and Piano featuring Maria Sampen, violin and Oksana Ezhokina, piano Saturday, November 14, 2015 at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents: Artist Series Sonatas for Violin and Piano Maria Sampen, violin Oksana Ezhokina, piano Saturday, November 14, 2015, at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Scherzo in C Minor for Violin and Piano, WoO 2 ............................................ Johannes Brahms (1833-1897) Sonata for Violin and Piano in A Major, Op. 100 ................................................................. Johannes Brahms Allegro amabile Andante tranquillo – Vivace Allegretto grazioso INTERMISSION Sonata No. 3 for Violin and Piano in A Minor, Op. 25 .......................................... George Enescu (1881-1955) Moderato malinconico Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso About the Artists Russian-born pianist Oksana Ezhokina appears frequently as guest recitalist and chamber musician on concert series across the United States and abroad. She has soloed with the Seattle Symphony, St. Petersburg Chamber Philharmonic and Tacoma Symphony, and performed in venues such as the Phillips Collection in Washington DC, Benaroya Hall in Seattle, Governor’s Mansion in Olympia, Davies Orchestra Hall in San Francisco, and Klassik Keyifler Festival in Turkey. A dedicated performer of new music, she has premiered works by Marilyn Shrude, Wayne Horvitz, Bern Herbolsheimer, and Laura Kaminsky, among others. -
2015-10-23 Monteverdi Vespers
welcome pacific musicworks ensemble I will never forget the first Stephen Stubbs time I participated in a full music director & lute performance of the Monteverdi Joseph Adam Vespers. It was one of a handful organ of pivotal moments in my life Maxine Eilander so far when I felt that I was harp not really in control of my own Tekla Cunningham & Linda Melsted destiny. It might sound like violins hyperbole, but my experience Laurie Wells & Romeric Pokorny is that this is a work of such violas persuasive power, architectural Photo credit Jan Gates brilliance and raw beauty, that it literally changed the course William Skeen cello of my life. Christopher Jackson was the conductor of the Studio de Musique Ancienne de Montréal on that occasion Moriah Neils and I remember the joy, fascination and pure enthusiasm he bass managed to communicate to everyone involved. I was totally Bruce Dickey & Kiri Tollaksen hooked and felt so compelled and intrigued with how this cornettos work made me feel, that 25 years later, I am still spending Greg Ingles, Erik Schmalz and Mack Ramsey my time convincing anybody who will listen, that there is no sackbuts music that will make them feel luckier to be alive. Christopher Jackson died on September 25th, 2015, after a long and extremely influential career as a master of renaissance and baroque music. His inspirational work with the SMAM and as Dean of the Faculty of Arts at Concordia brought him into regular contact with hundreds of young and vancouver chamber choir aspiring musicians over the years. I will be forever grateful to him for first introducing me and many others to this wondrous music, as well as for instilling in me a desire to perform and promote art that still has the amazing power to transform lives over 400 years later. -
The Viola Da Gamba Society Journal
The Viola da Gamba Society Journal Volume Nine (2015) The Viola da Gamba Society of Great Britain 2015-16 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Linda Hill, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Esha Neogy, Marilyn Pocock, Rhiannon Evans ADMINISTRATOR Sue Challinor, 12 Macclesfield Road, Hazel Grove, Stockport SK7 6BE Tel: 161 456 6200 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 9 (2015): Andrew Ashbee, 214, Malling Road, Snodland, Kent ME6 5EQ [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES David Pinto, Consort anthem, Orlando Gibbons, and musical texts 1 Andrew Ashbee, A List of Manuscripts containing Consort Music found in the Thematic Index 26 MUSIC REVIEWS Peter Holman, Leipzig Church Music from the Sherard Collection (Review Article) 44 Pia Pircher, Louis Couperin, The Extant Music for Wind or String Instruments 55 Letter 58 NOTES ON THE CONTRIBUTORS 59 Abbreviations: GMO Grove Music Online, ed. D. -
VILLA I TAT TI Via Di Vincigliata 26, 50135 Florence, Italy
The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy Volume 30 E-mail: [email protected] / Web: http://www.itatti.it Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2010 or the eighth and last time, I fi nd Letter from Florence to see art and science as sorelle gemelle. Fmyself sitting on the Berenson gar- The deepening shadows enshroud- den bench in the twilight, awaiting the ing the Berenson bench are conducive fi reworks for San Giovanni. to refl ections on eight years of custodi- In this D.O.C.G. year, the Fellows anship of this special place. Of course, bonded quickly. Three mothers and two continuities are strong. The community fathers brought eight children. The fall is still built around the twin principles trip took us to Rome to explore the scavi of liberty and lunch. The year still be- of St. Peter’s along with some medieval gins with the vendemmia and the fi ve- basilicas and baroque libraries. In the minute presentation of Fellows’ projects, spring, a group of Fellows accepted the and ends with a nostalgia-drenched invitation of Gábor Buzási (VIT’09) dinner under the Tuscan stars. It is still a and Zsombor Jékeley (VIT’10) to visit community where research and conver- Hungary, and there were numerous visits sation intertwine. to churches, museums, and archives in It is, however, a larger community. Florence and Siena. There were 19 appointees in my fi rst In October 2009, we dedicated the mastery of the issues of Mediterranean year but 39 in my last; there will be 31 Craig and Barbara Smyth wing of the encounter. -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
The Flutist Quarterly Volume Xxxv, N O
VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus. -
Chamber Music Handbook 2019–20 2 Office Staff
INSTRUMENTAL CHAMBER MUSIC HANDBOOK 2019–20 2 OFFICE STAFF David Geber, Artistic Advisor to Chamber Music Katharine Dryden, Managing Director of Instrumental Ensembles [email protected] 917 493-4547 Office: Room 211 TABLE OF CONTENTS Introduction 4 Who is required to take chamber music? 5 Semester overview 6 Chamber music class policies 7 Beginning-of-semester checklist 9 End-of-semester checklist 10 How to make future group requests 11 Chamber music competitions at MSM 13 Chamber music calendar for 2019-20 14 Chamber music faculty 17 Table of chamber music credit requirements 18 3 INTRODUCTION Chamber music is a vital part of study and performance at Manhattan School of Music. Almost every classical instrumentalist is required to take part in chamber music at some point in each degree program. Over 100 chamber ensembles of varying size and instrumentation are formed each semester. The chamber music faculty includes many of the School’s most experienced chamber musicians, including current or former members of the American, Brentano, Juilliard, Mendelssohn, Orion and Tokyo string quartets, Orpheus Chamber Orchestra, and Chamber Music Society of Lincoln Center, among others. Our resident ensembles, American String Quartet and Windscape, also coach and give seasonal performances. Masterclasses given by distinguished artists are available to chamber groups by audition or nomination from the chamber music faculty. In addition to more traditional ensembles, Baroque Aria Ensemble is offered in fulfillment of one semester of instrumental chamber music. Pianists may earn chamber music credit from participation in standard chamber groups or two-piano teams. Other options for pianists include participation in the following chamber music classes: the Instrumental Accompanying Class (IAC), vocal accompanying classes including Russian Romances and Ballads and Songs of the Romantic Period, and Approaches to Chamber Music for Piano and Strings. -