British Composer Awards 2014
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The Legacy of J O H N P
THE UNITED STATES ARMY FIELD BAND The Legacy of J OHN P. P AY N T E R Washington, D.C. “The Musical Ambassadors of the Army” rom Boston to Bombay, Tokyo to Toronto, The United States Army Field Band has been thrilling audiences of all ages for more than half a century. As F the premier touring musical representative for the United States Army, this internationally-acclaimed organization travels thousands of miles each year presenting a variety of music to enthusiastic audiences throughout the nation and abroad. Through these concerts, the Field Band keeps the will of the American people behind the members of the armed forces and supports diplomatic efforts around the world. The Concert Band is the oldest and largest of the Field Band’s four performing components. This elite 65-member instrumental ensemble, founded in 1946, has per- formed in all 50 states and 25 foreign countries for audiences totaling more than 100 million. Tours have taken the band throughout the United States, Canada, Mexico, South America, Europe, the Far East, and India. The group appears in a wide variety of settings, from world-famous concert halls, such as the Berlin Philharmonie and Carnegie Hall, to state fairgrounds and high school gymnasiums. The Concert Band regularly travels and performs with the Soldiers’ Chorus, together presenting a powerful and diverse program of marches, overtures, popular music, patriotic selections, and instrumental and vocal solos. The organization has also performed joint concerts with many of the nation’s leading orchestras, including the Boston Pops, Cincinnati Pops, and Detroit Symphony Orchestra. -
Ithaca College Concert Band Ithaca College Concert Band
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-14-2016 Concert: Ithaca College Concert Band Ithaca College Concert Band Jason M. Silveira Justin Cusick Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Silveira, Jason M.; and Cusick, Justin, "Concert: Ithaca College Concert Band" (2016). All Concert & Recital Programs. 1779. http://digitalcommons.ithaca.edu/music_programs/1779 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band "Road Trip!" Jason M. Silveira, conductor Justin Cusick, graduate conductor Ford Hall Thursday, April 14th, 2016 8:15 pm Program New England Tritych (1957) William Schuman I. Be Glad Then, America (1910–1992) II. When Jesus Wept 17' III. Chester More Old Wine in New Bottles (1977) Gordon Jacob I. Down among the Dead Men (1895–1984) II. The Oak and the Ash 11' III. The Lincolnshire Poacher IV. Joan to the Maypole Justin Cusick, graduate conductor Intermission Four Cornish Dances (1966/1975) Malcolm Arnold I. Vivace arr. Thad Marciniak II. Andantino (1921–2006) III. Con moto e sempre senza parodia 10' IV. Allegro ma non troppo Homecoming (2008) Alex Shapiro (b. 1962) 7' The Klaxon (1929/1984) Henry Fillmore arr. Frederick Fennell (1881–1956) 3' Jason M. Silveira is assistant professor of music education at Ithaca College. He received his Bachelor of Music and Master of Music degrees in music education from Ithaca College, and his Ph. -
Cbarber Repertoire 2020.Pdf
Carolyn A. Barber University of Nebraska-Lincoln Conducting Repertoire, 2001-present UNL Wind Ensemble 2020 [April 28 concert cancelled due to COVID-19 precautions on campus] March 11, Kimball Recital Hall Joan Tower, Fanfare for the Uncommon Woman No. 1 (1987) Victoria Bond, The Indispensable Man (2010) *Nebraska premiere performance Felicia Sandler, Rosie the Riveter (2000) *Nebraska premiere performance Jonathan Newman, Symphony No. 1: My Hands Are a City (2009) 2019 December 11, Kimball Recital Hall https://youtu.be/4HBj7rIC6vk Gustav Holst, Suite in E-flat (1909) Percy Grainger, arr. Perna, Mock Morris (1910/2016) Joshua Cutting, doctoral associate conductor J.S. Bach, arr. N. Falcone, Passacaglia and Fugue in C minor (1712/1969) Gustav Holst, Bach’s Fugue à la Gigue (1707/1928) Rubén Gómez, doctoral associate conductor Percy Grainger, Colonial Song (1919/1997) Paul Hindemith, Symphony in B-flat (1951) October 2, Kimball Recital Hall https://youtu.be/RkzJB7msUuY Stephen Montague, Intrada 1631 (2003) Donald Grantham, Circa 1600 (2018) Kathryn Salfelder, Crossing Parallels (2011) Bob Margolis, Terpsichore (1981) Roberto Sierra, arr. Scatterday, Tumbao from Sinfonia No. 3 (2005/2009) *Nebraska premiere performance [Spring semester sabbatical – Newell Scholar at Georgia College] 2018 December 5, Kimball Recital Hall https://youtu.be/OwTWlg7jmiI Larry Tuttle, Across the Divide (2018) Carter Pann, The Three Embraces (2013) Cindy McTee, California Counterpoint: The Twittering Machine (1993) Carter Pann, My Brother’s Brain: A Symphony for Winds (2011) Carter Pann, Floyd’s Fantastic Five-Alarm Foxy Frolic (2009) October 3, Kimball Recital Hall Bernard Rogers, Three Japanese Dances: Dance with Pennons (1933/1956) Jennifer Jolley, The Eyes of the World Are Upon You (2017) *Nebraska premiere performance Frank Ticheli, Amazing Grace (1994) Rubén Gómez, doctoral associate conductor David Maslanka, Symphony No. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarSpace at University of Hawai'i at Manoa Tunes of Impairment: An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota Abstract: "Tunes of Impairment: An Ethnomusicology of Disability" contemplates the theory and methodology of disability studies in music, a sub-field currently in only its earliest phase of development. The article employs as its test case the field of Western art ("classical") music and examines the reasons for the near total exclusion from training and participation in music performance and composition by people with disabilities. Among the issues around which the case is built are left-handedness as a disability; gender construction in classical music and its interface with disability; canon formation, the classical notion of artistic perfection and its analogy to the flawless (unimpaired) body; and technological and organizational accommodations in music-making present and future. Key words: music; disability; classical Introduction: The Social Model of Disability Current scholarship in Disability Studies (DS) and disability rights activism both subscribe to the social modeli that defines disability as a construct correlated to biological impairment in a manner analogous to the relationship between gender and sex in feminist theory.ii Disability is thus a largely oppressive practice that cultures visit upon persons with, or regarded as having, functional impairments. While social constructs of femininity may not always be oppressive, the inherent negative implications of 'dis-ability' automatically imply oppression or at least dis-advantage. Like constructions of gender, categorizations of disability are fluid; variable between and within cultures. -
Professor Bad Trip Uproar Wales New Music Ensemble
PROFESSOR BAD TRIP UPROAR WALES NEW MUSIC ENSEMBLE UPROAR.org.uk @UPROAR_Wales “…virtuosic, exuberant and playful” **** On UPROAR’s 10x10, The Guardian 2018. UPROAR Funders 2019-2020 We would like to thank our funders and supporters who made this programme possible: Arts Council of Wales Diaphonique Foyle Foundation Garfi eld Weston Foundation Hinrichsen Foundation Italian Cultural Institute Oakdale Trust PRS Foundation The Stafford House Foundation Tŷ Cerdd RVW Trust Wales Arts International Donations Private donation in memory of Peter Reynolds Peter Golob Pyrenees Cycle Ride Fund Sally Groves Professor Mick Peake UPROAR gratefully acknowledges the kind support of Electroacoustic Wales, Tessa Shellens, Michael Ellison, Andrew Rafferty Charity Registration Number: 1174587 The Oakdale Trust ABOUT UPROAR UPROAR is the new contemporary music ensemble for Wales. Led by conductor Michael Rafferty, the ensemble comprises some of the UK’s most accomplished musicians specialising in new music. Committed and hungry to bring the most raw, adventurous and imaginative new music from Welsh and international composers to audiences in Wales and the UK. Professor Bad Trip is the second project from UPROAR which launched in 2018 with its inaugural sell-out performance in Cardiff and gained critical acclaim in local and national press. UPROAR Artistic Director & Conductor Michael Rafferty Michael Rafferty, founder of UPROAR, is an award winning conductor based in South Wales. Passionate about contemporary culture, he conducts the world’s fi nest contemporary music ensembles and has collaborated with over 100 living composers. He co-founded Music Theatre Wales and was its Music Director for 25 years. He was awarded an MBE in 2016 for services to music in Wales. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
October 21 and 24, 2015
XcapeSeason_SongscapeProgram.pdf 1 9/30/15 2:41 PM C M Y CM MY CY CMY K Message from the Artistic Director Welcome to the 2015-16 Season of the San Francisco Contemporary Music Players! And, welcome to our first concert, Songscape, in which we’ll examine the nature of utterance and memory through song. The beginning of every concert season is a fresh opportunity for exploration: new ideas to be illuminated and new options to be considered. But with Songscape we’ll start by thinking about the end of things, by examining the language of loss. In Death Speaks, David Lang culls photo by Bill Dean through the songs of Franz Schubert for instances in which death speaks to the living. Lang uses excerpts from thirty-two songs, cutting and assembling them to form a melancholy collage of music and a terrifying image of the voice of death. Whether as “Der Erlkönig,” in which death is as fleet as a racing horse or Die Schöne Müllerin, in which it is a seductress, beckoning the miller to cross the veil, the voice of death is rendered audible, personal and powerful. Lee Hyla’s We Speak Etruscan imagines the sound of ancient Etruscan as it might be spoken by modern reed instruments. It also forces us to contend with the death of a language. How did Etruscan (from this word we get the modern name, Tuscany), the forerunner of Latin, and the language of a major indigenous culture of significant artistic refinement, simply vanish? That is not far from a more tantalizing question: what happens to the past when we can no longer hear its sounds? By this I don’t mean when we can no longer hear the music of the past. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
GOOD VIBRATIONS Featuring Dame Evelyn Glennie Larkinsurance.Co.Uk
ISSUE 4 GOOD VIBRATIONS Featuring Dame Evelyn Glennie larkinsurance.co.uk What’s Inside Cover Story 8-10 4-7 Tears of joy Professor Colin Lawson CBE tells Lark Private Clients Director Julie Webb he is moved by what students achieve at the Royal College of Music Life on Mars Dame Evelyn Glennie talks to Lark Private Clients Managing Director David Foster about her mission to 16-18 make the world listen Cover picture: Ian West 12-15 Piano forte Fabulously Four Step forward Ulrich Gerhartz, probably the most The world-renowned Endellion String Quartet important behind-the-scenes figure in the piano world. consider what has kept them together as they He simply says his work is ‘a service to the arts’ approach their 38th season Welcome oodness, where did this year go? It has been a busy time at Lark but I am pleased to say the music team is nicely Gsettled into the London head office at Ibex House. The good vibrations continue with all-exclusive features in this issue of LARKmusic and Dame Evelyn Glennie, who I will always remember playing Caliban’s Dream during the London 2012 Olympics, shares her vision for music education with Lark Private Clients Director David Foster. Talking of education, we congratulate Royal College of Music Director, Professor Colin Lawson, on being awarded the CBE in the Queen’s Honours list and he talks to us about life at the RCM. He shares the moment when his first fell in love with music and we broaden this idea to invite readers to talk about their introduction to music. -
Ecstatic Drumbeat Evelyn Glennie Taipei Chinese Orchestra En Shao.Yiu-Kwong Chung
Ecstatic Drumbeat Evelyn Glennie Taipei Chinese Orchestra En Shao.Yiu-Kwong Chung BIS-SACD-1599 BIS-SACD-1599_f-b.indd 1 2012-03-28 17.50 Yiu-Kwong Chung (b. 1956) Concerto for Percussion and Chinese Orchestra 27'00 (2009) after three poems by Qing Huang (Taipei Chinese Orchestra) 1 1. The Moon’s Lament 9'39 2 2. I Believe 9'11 3 3. Heading For 7'55 Keiko Abe (b. 1937) 4 Prism Rhapsody (1995/96) 14'23 for marimba and orchestra (Xebec Music Publishing) Orchestral part arranged for Chinese orchestra by Yiu-Kwong Chung Neboj˘sa Jovan Zivkovi´˘ c (b. 1962) 5 Born to Beat Wild, Op. 30 (2001) (Ed. Musica Europea) 7'37 for suona and percussion Toshiro Mayuzumi (1929–97) Concertino for Xylophone and Orchestra (1965) (Peters Edition) 11'04 Orchestral part arranged for Chinese orchestra by Simon Kong Su Leong 6 1. Allegro vivace 3'31 7 2. Adagietto (attacca) 5'07 8 3. Presto 2'19 2 Ecstatic Drumbeat Evelyn Glennie Taipei Chinese Orchestra En Shao.Yiu-Kwong Chung BIS-SACD-1599 BIS-SACD-1599_f-b.indd 1 2012-03-28 17.50 Yiu-Kwong Chung 9 Emperor Qin Crushing the Battle Formations 13'28 (2010) for two percussionists and Chinese orchestra (Taipei Chinese Orchestra) TT: 75'10 Evelyn Glennie percussion Taipei Chinese Orchestra En Shao conductor (tracks 1–3, 6–8) Yiu-Kwong Chung conductor (other works) Tzu-You Lin suona (track 5) Tsung-Hsin Hsieh percussion (track 9) 3 Yiu-Kwong Chung Percussion Concerto (after three poems by Qing Huang) Yiu-Kwong Chung’s Percussion Concerto was completed in March 2009 and re - ceived its première six months later at the 2009 Deaflympics Concert in Taipei. -
October 4 — November 6, 2019 PROGRAM
October 4 — November 6, 2019 PROGRAM Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2019 2019 EARSHOT JAZZ FESTIVAL Welcome to Earshot Jazz Feast-ival! The table is set, the flavors are var- of some of the most impor- ied and rich, and the music is hot. tant jazz artists of our time. From the tantalizing appetizer of Yes, there are artists from Brian Blade and Life Cycles, to the 15 different countries, and satisfyingly sinful desert of Chick many of the top names on Corea with the entire Seattle Sym- the New York scene, but it phony Orchestra, this is a feast for is the connections to Se- every appetite. And you don’t have attle’s own, acclaimed jazz to be a sophisticated jazz gourmet to history that resonate most enjoy this banquet; you can pull up deeply here.