School of Music Program Notes
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Francis Poulenc and Surrealism
Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof. -
Heitor Villa-Lobos and the Parisian Art Scene: How to Become a Brazilian Musician*
1 Mana vol.1 no.se Rio de Janeiro Oct. 2006 Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician* Paulo Renato Guérios Master’s in Social Anthropology at PPGAS/Museu Nacional/UFRJ, currently a doctoral student at the same institution ABSTRACT This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion. The article concludes that social actors from the periphery tend themselves to accept the opinions and judgements of the social actors from the centre, taking for granted their definitions concerning the criteria that validate their productions. Key words: Heitor Villa-Lobos, Brazilian Music, National Culture, Cultural Flows In July 1923, the Brazilian composer Heitor Villa-Lobos arrived in Paris as a complete unknown. Some five years had passed since his first large-scale concert in Brazil; Villa-Lobos journeyed to Europe with the intention of publicizing his musical output. His entry into the Parisian art world took place through the group of Brazilian modernist painters and writers he had encountered in 1922, immediately before the Modern Art Week in São Paulo. Following his arrival, the composer was invited to a lunch in the studio of the painter Tarsila do Amaral where he met up with, among others, the poet Sérgio Milliet, the pianist João de Souza Lima, the writer Oswald de Andrade and, among the Parisians, the poet Blaise Cendrars, the musician Erik Satie and the poet and painter Jean Cocteau. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions. -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
La Voix Humaine Digital Premiere Oct
Francis Poulenc La Voix HumaIne Digital Premiere Oct. 24, 2020 | 7:30pm 2020–2021 DIGITAL SEASON REIMAGINED FOR THE SCREEN CANADA’S ONLY 5-TIME WINNER OF WINERY OF THE YEAR Since 1981, Mission Hill Family Estate has pioneered British Columbia’s Okanagan Valley as a premium wine making region. Founded by Proprietor Anthony von Mandl, the iconic family-owned winery is known as Canada’s only 5-time winner of the Winery of the Year Award by WineAlign Canada. Guests can experience international award-wining wines and indulge in an epicurean adventure all while enjoying the panoramic views of mountains, lakes, and vineyards. MISSIONHILLWINERY.COM Francis Poulenc La Voix HumaIne Tom Wright, General Director Jonathan Darlington, Music Director Emeritus CONTENTS VO Administration and Ticket Centre 6 Cast & Creative 19 Behind the Scenes The Michael and Inna O’Brian Centre for Team Vancouver Opera 21 Patron Information 1945 McLean Drive 7 Production Team Vancouver, BC, V5N 3J7 22 VO Board & Staff Administration 8 Synopsis T: 604 682 2871 F: 604 682 3981 9 Notes from the Creative Team VO Ticket Centre Sponsored by Mission Hill Family Estate T: 604 683 0222 10 Biographies [email protected] www.vancouveropera.ca 15 Opera in Context 16 Opera Allsorts Vancouver Opera acknowledges that we work and perform on the unceded and traditional territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Publication Manager Vincent Wong Design & Layout Annie Mack Vancouver Opera is a professional company. It operates under the jurisdiction of Canadian Actors’ Equity Association, Vancouver Musicians’ Association, and IATSE, and is a member of OPERA America and Opera.ca 2020–2021 DIGITAL SEASON Privacy Vancouver Opera is committed to REIMAGINED FOR THE SCREEN protecting your privacy. -
Cliftonkm026.Pdf
Copyright by Kevin Mark Clifton 2002 The Dissertation Committee for Kevin Mark Clifton Certifies that this is the approved version of the following dissertation: Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality Committee: ______________________________ James Buhler, Supervisor ______________________________ Roger Graybill ______________________________ Stefan Kostka ______________________________ Andrew Dell’Antonio ______________________________ Fred Maus Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality by Kevin Mark Clifton, B.A., M.M. Dissertation Presented to the Faculty of the Graduate School of The Univeristy of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2002 Table of Contents Chapter 1: Ambivalence Theory: Definition, Context, and Methodology 1 Chapter 2: Poulenc’s Mouvements Perpétuels: A Case for Musical Cubism 25 Chapter 3: Revealing Tonal Axes and Musical Masks in Poulenc’s Concerto for Two Pianos in D minor, I 61 Chapter 4: Sexualizing the Exotic: Evocation and Meaning of the Gamelan in Poulenc’s Aubade and the Concerto for Two Pianos in D minor 108 Conclusion: Poulenc’s Ambivalence Reconsidered 149 Bibliography 155 Vita 159 iv Chapter 1 “ A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” -- Leonard Bernstein Ambivalence Theory: Definition, Context, and Methodology Introduction I would like to begin my study of the musical language of Francis Poulenc (1899-1963) by considering Ned Rorem’s description of Poulenc’s personality: Like his name he was both dapper and ungainly. His clothes came from Lanvin but were unpressed. -
Francis Poulenc'in Flüt Ve Piyano Sonati Hakkinda Bir
Balkan Müzik ve Sanat Dergisi Nisan 2021 Cilt 3 Sayı 1 (107-120) 107 DOI: 10.47956/bmsd.898174 İnceleme Makalesi FRANCIS POULENC’İN FLÜT VE PİYANO SONATI HAKKINDA BİR İNCELEME A REWIEV OF FRANCIS POULENC’S FLUTE AND PIANO SONATA Çisem ÖNVER ZAFER* Geliş Tarihi: 16.02.2021 Kabul Tarihi: 15.03.2021 (Received) (Accepted) Öz: Çağdaş dönem müziği denilince akla gelen isimlerden biri olan Francis Poulenc, üflemeli çalgıların repertuvarlarına zenginlik kazandırmıştır. Sadece piyano eşlikli eserler değil, oda müziği alanında da çalışmalar yapan besteci, dönemin özelliklerini müziğine yansıtmıştır. Aynı zamanda kendine has melodik yapıları da eserlerinde kullanan besteci, klasik müzikte tanınan isimler arasında yerini almıştır. Bestecinin melodik üslubunu sergileyen en önemli örnekler arasında üç eser, Flüt ve Piyano için Sonat (1956-57), Klarnet ve Piyano için Sonat (1962) ve Obua ve Piyano için Sonat (1962) sayılabilir. Tek bir nefesli çalgı ve piyano, her üflemeli çalgının tamamen yeteneklerini gösterdiği ve şiirsel bir metnin yokluğu göz önüne alındığında, saf melodik çizginin ifadesi için mükemmeldir. Ayrıca bu eserler altı yıl içinde yazılmış olup, bestecinin en olgun tarzını temsil etmektedirler. Bu bağlamda yazdığı flüt ve piyano sonatı birçok öğrenci ve sanatçının repertuvarında yer alan gözde eserlerin başında gelmektedir. Anahtar Kelimeler: Çağdaş Dönem, Flüt sonatı, Francis Poulenc Abstract: Francis Poulenc, one of the names that comes to mind when it comes to contemporary music, enriched the repertoire of wind instruments. The composer, who not only works with piano accompaniment but also works in the field of chamber music, reflected the characteristics of the period to her music. At the same time, the composer, who uses his own melodic structures in his works, has taken his place among the well-known names in classical music. -
Poulenc, Francis (1899-1963) by Mario Champagne
Poulenc, Francis (1899-1963) by Mario Champagne Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Francis Poulenc with harpsichordist Wanda Landowska. One of the first openly gay composers, Francis Poulenc wrote concerti, chamber music, choral and vocal works, and operas. His diverse compositions are characterized by bright colors, strong rhythms, and novel harmonies. Although his early music is light, he ultimately became one of the most thoughtful composers of serious music in the twentieth century. Poulenc was born on January 7, 1899 into a well-off Parisian family. His father, a devout Roman Catholic, directed the pharmaceutical company that became Rhône-Poulenc; his mother, a free-thinker, was a talented amateur pianist. He began studying the piano at five and was following a promising path leading to admission to the Conservatoire that was cut short by the untimely death of his parents. Although he did not attend the Conservatoire he did study music and composition privately. At the death of his parents, Poulenc inherited Noizay, a country estate near his grandparents' home, which would be an important retreat for him as he gained fame. It was also the source of several men in his life, including his second lover, the bisexual Raymond Destouches, a chauffeur who was the dedicatee of the surrealistic opera Les mamelles de Tirésias (1944) and the World War II Resistance cantata La figure humaine (1943). From 1914 to 1917, Poulenc studied with the Spanish pianist Ricardo Viñes, through whom he met other musicians, especially Georges Auric, Erik Satie, and Manuel de Falla. -
ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata . -
"Springtime in France: Music of Les Six" Featuring Pianist
CONTACT: Adriane Cleary Marketing and Communications Manager Remote work number available upon request [email protected] music.ucsb.edu FOR IMMEDIATE RELEASE / April 21, 2021 UC SANTA BARBARA DEPARTMENT OF MUSIC PRESENTS “SPRINGTIME IN FRANCE: MUSIC OF LES SIX” FEATURING PIANIST DR. NATASHA KISLENKO AND FRIENDS Faculty pianist Dr. Natasha Kislenko and special guests Richie Hawley, Matthew Swihart, Chavdar Parashkevov, and Tali Morgulis present music by Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre Santa Barbara, CA (April 21, 2021)—The UC Santa Barbara Department of Music will present a virtual chamber music recital, “Springtime in France: Music of Les Six,” on Friday, May 7, 2021 at 6 pm PDT as a YouTube Premiere via the Department of Music’s YouTube channel. The concert will feature UC Santa Barbara faculty member and pianist Dr. Natasha Kislenko and special guests, including clarinetist Richie Hawley, trumpeter Matthew Swihart, violinist Chavdar Parashkevov, and pianist Tali Morgulis. The program will include solo and chamber works by the members of Les Six—Arthur Honegger, Georges Auric, Darius Milhaud, Germaine Tailleferre, Francis Poulenc, and Louis Durey. Following ideas of the well-known poet and playwright Jean Cocteau and composer Erik Satie, this group of young composer friends came together in their negative reaction to weighty German romanticism and complex writings of Debussy and Ravel in the years post-World War I. They took their inspiration from street and cafe music in Paris, as well as the transparent writing style of the old masters such as Jean- Philippe Rameau and Jean-Baptiste Lully.