DOCSLIB.ORG

Dissertation Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dissertation Final An Annotated Bibliography of Original Works for Flute, Horn, and Piano By Ian Paul Hewetson, BM, MM A Dissertation In Horn Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Christopher M. Smith Co-Chairperson of the Committee Lisa Rogers Co-Chairperson of the Committee James T. Decker Mark Sheridan Dean of the Graduate School May 2019 Copyright 2019, Ian Paul Hewetson Texas Tech University, Ian Paul Hewetson, May 2019 ACKNOWLEDGEMENTS I would like to thank those who have helped me reach the conclusion of this project. First, I would like to thank my horn professor Christopher M. Smith for his guidance throughout this project. I would also like to thank my committee Dr. Lisa Rogers and Professor James T. Decker for their advice and for taking the time to attend my recitals and review this document. Additionally, I would like to express my deepest gratitude to my previous horn professors at Capital University and the University of Illinois at Urbana-Champaign, each of whom played a critical role in the completion of my Doctoral degree. I am grateful to my professor at Capital University, Kimberly M. McCann, for believing in my abilities and pushing me to reach my potential, especially when I was unsure of myself. I would also like to thank Bernhard Scully at the University of Illinois for helping me develop my musicianship and encouraging me to pursue my doctorate. Finally, I want to thank my wife, Kay Hewetson, for her unbelievable patience, encouragement, and support. Additionally, I would also like to thank her for her performance on my chamber recital of works for flute, horn, and piano, a recital from which this final document stemmed. Without her, this would not have been possible. !ii Texas Tech University, Ian Paul Hewetson, May 2019 TABLE OF CONTENTS Acknowledgments. ii Abstract. vii I. Introduction. 1 Justification for the Study. 1 Limitations of the Study. .2 Review of Relevant Sources. 2 Methodology. 3 II. Music for Flute, Horn, and Piano. 4 Abendlied, Op. 306. .. 4 An Evening Serenade for Flute and Horn. 5 Auburn Echos: Fantasie on a Theme by William Wood for Flute, Horn, and Piano. 6 Bagatelle. .. 7 Ballade, Pastorale, and Dance. 9 Changing Light. .. 12 Concerto in F major for Recorder, Horn, and Basso Continuo. 15 Doppler Effect for Flute, Horn in F, and Piano. 17 Diptihs flauta, mežragam un klavierem . 19 Duex Nocturnes Op. 32 for Horn, Flute, and Piano . 21 Esquisse for Horn, Flute, and Piano . 23 Fictional Migrations for Flute/Piccolo, Horn, and Piano . 24 Hochzeits - Ständchen (Wedding Serenade) . 26 !iii Texas Tech University, Ian Paul Hewetson, May 2019 Lanterns . 27 La Primavera Lille Trio for Fløjte, Horn, og Piano . 30 Nocturne Op. 31 . 32 Passages for Flute, Horn, and Piano . 33 Rondo Finale . 35 Scènes de la Forêt for Flûte, Cor en fa, et Piano . 36 Serenade für Flöte, Horn, und Klavier, Op. 15 . 38 Sérénade voor Fluit, Hoorn, en Piano . 39 Serendipity for Flute, Horn, and Piano. 40 Souvenir du Rigi, Op. 34. 42 Summer Night for Flute, Horn, and Strings . 43 Trio for Piano, Flute, and Horn (Kauder) . 45 Trio for Flute, Horn, and Piano (Walters) . 47 Trio for Flute, Horn, and Piano (Moylan) . 48 Vignettes for Flute, Horn, and Piano . 50 War Stories: Three Movements for Flute/Piccolo, Horn in F, and Piano. 52 Water Music for Flute, Horn, and Piano . 54 III. Conclusions . 56 Conclusion . 56 Implications for Future Research . 57 Bibliography . 58 Discography . 63 !iv Texas Tech University, Ian Paul Hewetson, May 2019 Appendices A: List of Works for Flute, Horn, and Piano Alphabetical by Composer . 65 Appendices B: List of Works for Flute, Horn, and Piano Alphabetical by Title . 67 !v Texas Tech University, Ian Paul Hewetson, May 2019 ABSTRACT The music for flute, horn, and piano is relatively new; however, its origins can be traced back to the Baroque era with a trio by Georg Philipp Telemann written for recorder, horn, and basso continuo. Since this time, the genre has slowly grown to a remarkable size for a relatively unknown chamber group. It is the goal of this document to explore the works written for this instrumentation, provide a resource for others looking for new chamber music to perform, help this genre continue to grow through new commissions, and encourage others to explore more unknown genres of music. This document is divided into three major sections. The first section contains the justification for this study, the limitations which were set, a review of the relevant sources utilized in the completion of this project, and the methodology used. The second section is an annotated bibliography of the 30 original works written for flute, horn, and piano which were found as of December 2018. In this section, this author investigates characteristics of each work that would allow the readers to decide if the work would be suitable for their ensembles. Aspects investigated include: the date of composition, if known; the birth and death dates of the composer, if known; the name of the publisher and year of publication; the current cost to purchase the work; the dedication of the work, if known; the duration of the work, estimated if no recordings exist; the list of definitive recordings of the work, definitive describing a recording made by the commissioning artists or a recording done by record label, and the range required of both the flute and horn performers. In addition to these aspects, a brief biographical sketch of each composer is included to give the reader context for each composition. Following each biographical sketch is a brief description of each work’s contents. !vi Texas Tech University, Ian Paul Hewetson, May 2019 The third section contains final conclusions and implications for further research on the topic of works for flute, horn, and piano. Punctuating this document are two appendices. A chart of all the works found by this author that feature flute and horn, including arrangements, transcriptions, and works containing other accompanying ensembles is found in each appendix. The first chart contains these works organized alphabetically by the composer’s last name, and the second chart is the same information organized alphabetically by the title of the composition. !vii Texas Tech University, Ian Paul Hewetson, May 2019 CHAPTER 1 INTRODUCTION Justification for the Study Just as in life, chamber music by its very nature brings out issues such as hierarchy, balances, choices, and sometimes one must encourage a shy personality to speak up or ask another to follow instead of lead. A 17-year-old student and a 90-year-old veteran can play together. People from different socio-economic, and political views can put that aside for a common purpose. Musicians of all levels can work as a team.1 It is the belief of this author that educating young musicians about chamber music is critical to their development. Teaching the skills necessary to be an effective chamber musician helps to mold students into effective critical listeners and efficient communicators, while opening their eyes to the subtle nuances other instruments can create. Chamber music allows the students to develop these skills in an intimate setting, allowing for more effective feedback from mentors. In turn, these newly developed skills can then be applied in large ensemble settings and, in the case of future music educators, their own rehearsals. The genre of flute, horn, and piano is comprised of a myriad of works in various styles and of vastly differing difficulties, all of which have merit in the education of developing musicians. It is for these reasons this author feels they should be known by those in the professional world. The intent of this document is to provide easier access of these works to teachers looking for new chamber music for their students as well as professionals who might be looking for new pieces to include in a concert series. This in 1Paul Colletti, Why I Play Chamber Music: 19 String Players Talk About their Passion for Playing in Small Ensembles, February 5, 2015, http://stringsmagazine.com/why-i-play- chamber-music/. !1 Texas Tech University, Ian Paul Hewetson, May 2019 turn will help educate students beyond the scope of typical, established chamber ensembles like the woodwind or brass quintet, hopefully encouraging these students to continue to explore new and exciting opportunities in chamber music. Ultimately, this author hopes this will promote this young but versatile ensemble to become an established and sought-after chamber group. Limitations of the Study The scope of this study is limited to original compositions written specifically for the instrumentation of flute, horn, and piano. This list does include pieces which have been reworked by the composer to fit this requirement. While there are many arrangements and transcriptions which exist for this instrumentation, these works have not been included. Any additional works involving flute and horn located during this study have been included in appendix A and B. This study also only includes works which are published and readily accessible to be obtained by the general public through retailers or library-sharing sources. The various recordings referenced in this document are those found either on professionally-produced compact disc recordings or of live performances of the commissioning artists. Review of Relevant Sources The task of locating works for flute, horn, and piano for this project was no small feat. This endeavor is ongoing and will likely continue as these pieces gain more esteem. Each composition in this study was uncovered through the use of various sources including video and audio recordings like YouTube and Soundcloud, as well as various sheet music retailer websites including Sheet Music Plus, Groth Music, Eble Music, Flute World, The FlutePage, McCoy’s Horn Library, and Thompson Edition.
Load more

Recommended publications
  • The 2021 Ohio Governor's Youth Art Exhibition
    SPONSORS • AMACO/ Brent • Art Academy of Cincinnati • Ashland University • Blick Art Materials • Bowling Green State University, School of Art • Buckeye Ceramic Supply • Cleveland Institute of Art • College for Creative Studies - Detroit, MI • Columbus Clay Company • Columbus College of Art and Design • Kansas City Art Institute (KCAI) - Kansas City, MO • Kendall College of Art and Design of Ferris State University - Grand Rapids, MI • Laguna College of Art and Design - Laguna Beach, CA • Mansfield Art Center • Mayco Colors • Maryland Institute, College of Art - Baltimore, MD • McConnell Arts Center of Worthington • Milwaukee Institute of Art and Design (MIAD) • The Modern College of Design - Kettering, OH • Mount St. Joseph University - Cincinnati, OH • Myers School of Art, The University of Akron • Ohio Art Education Association • Ohio Ceramic Supply • Ohio Designer Craftsmen • Ohio Northern University - Ada, OH • Ohio State Fair Youth Arts Exhibition • Ohio University, School of Art + Design - Athens, OH • Savannah College of Art and Design (SCAD) • School of the Art Institute of Chicago (SAIC) • School of Visual Arts (SVA) - New York, NY • Support for Talented Students, Inc. (STS) • University of Dayton Online Exhibition Opens • University of St. Francis, School of Creative Arts - Ft. Wayne, IN Sunday April 25, 2021 • University of Toledo Department of Art at www.govart.org • Wright State University - Dayton, OH • The Governor of the State of Ohio • The Ohio Department of Education 2021 Top 25 Award of Excellence The 2021 Ohio Governor’s Youth Art Exhibition April 25 through May 21, 2021 Virtual Exhibition and Awards are available for viewing at www.govart.org The Exhibition • is a non-profit organization established in 1970 to promote the arts and to reward the youth of Ohio for their achievements in the visual arts.
    [Show full text]
  • 1867-12-18, [P ]
    Home and Other Itema. Saw, you and Doc. make a good team Mews and Item*. i take part in it Ole Bull, the world- 'fh* Dlckriu. | Those irreverent lads who called names W. \V. Bornartl, of<j<ranper,Minn., call­ Jhc limes. The Commonwealth Ins. Co. is a new and Both Houses will ndjonrn on the ?0th renowned Norwegian violinist, arrived in New York 1ms fairly Out-Bostoned Bos­ after a certain "bald head"' of old, deserv* Hotel Loo£*l ed to see as last week on liis wny east.— 1 THERE IS A NKWLY FINISHED llOTlt A# | strong institution established in Decorah.1 iirst., until the 6th of January One J New York last week, en route for Chicago, ton in the Dickens excitement. The sale ed their untimely end, because nt thnt time When he returns we will say he is a pret­ of tickets for the Dickens readings com­ no panacea had been discovered to restore X.I 3VI E 8PRINO8, McOHEOUK, DEC. 18, 1867 Is that young and thriving city to be the week ago the street cars of New York was where he is expected to arrive some time ty good man, if he will permit it. We are menced at Steinwav Ilall at nine o'clock the human Iiair upon the bald spots. But Oi* nit McOreook Rahwit, INHtMy. Insurance center of the whole west? Suo blockaded with snow The Chicago Dai-1 this week The commissioner of pen- this morning, and lon^ before the hour a now, Ring's Vegetable Ambrosia is known •ltvar? trliid to *te the Chesterfield Mer- That wants to be sold lor eauh or exchanged for a' .
    [Show full text]
  • José Lerma B
    José Lerma b. 1971, Seville, Spain Lives and works in Chicago, IL, and San Juan, Puerto Rico EDUCATION 2003 CORE Residency Program, Glassell School, Museum of Fine Arts, Houston, TX 2003 Skowhegan School of Painting and Sculpture, ME Fortaleza 302 Residency Program, San Juan, Puerto Rico 2002 MFA, MA, University of Wisconsin, Madison, WI 1995 University of Wisconsin Law School, Madison, WI 1994 BA, Political Science, Tulane University, New Orleans, LA COLLECTIONS Whitney Museum of American Art, New York, NY Saatchi Collection, London, UK Museum of Fine Arts Houston, TX Milwaukee Art Museum, WI Chazen Museum of Art, Madison, WI Arario Collection, Seoul, South Korea Aby Rosen, New York, NY Phillip Isles, New York, NY Dakkis Joannou, Athens, Greece Fidelity Investments, NY Colección VAC, Valencia, Spain A. De la Cruz Collection, Puerto Rico Phillara Collection, Düsseldorf, Germany Colección Berezdivin, Santurce, Puerto Rico Colección Cesar y Mima Reyes, San Juan, Puerto Rico SOLO AND TWO-PERSON EXHIBITIONS 2019 José Lerma, Galería Leyendecker, Islas Canarias, Spain 2018 José Lerma – Io e Io, Diablo Rosso, Panama City, Republic of Panama 2017 Nunquam Prandium Liberum, Kavi Gupta, Chicago, IL The Last Upper, Brand New Gallery, Milan, Italy 2016 José Lerma: La Venida Cansa Sin Ti, Kemper Museum of Art, Kansas City, MO Museo de Arte Contemporaneo, San Juan, Puerto Rico Huevolution, Halsey McKay Gallery, East Hampton, NY Josh Reames & Jose Lerma, Luis De Jesus Los Angeles, Los Angeles, CA 2014 La Bella Crisis, Museum of Contemporary Art Detroit,
    [Show full text]
  • Bronze & Iron Valves
    C-BIV-0319 C-BIV-0319 AHEAD OF THE FLOW® Bronze & Iron Valves Business-to-Business Solutions Look to NIBCO for technology leadership. The velocity with which e-business evolves demands that new products and serv- ices be continuously developed and introduced to keep our customers at the center of our business efforts. NIBCO provides an entire suite of business-to-business solutions that is changing the way we interact with customers. NIBCOpartner.comsm is an exclusive set of secure web applications that allow quick access to customer-specific information and online order processing. This self-service approach gives you 24/7 access to your order status putting you in total control of your business. Real time information includes: • Online order entry • Current price checks • Viewable invoices & reports • Order status • Inventory availability • Online library of price sheets, catalogs & submittals Electronic Data Interchange (EDI) makes it possible to trade business documents at the speed of light. This technology cuts the cost of each transaction by eliminating the manual labor and paper- work involved in traditional order taking. This amounts to cost-savings, increased accuracy and better use of resources. With EDI, you can trade: • Purchase orders • Product activity data • PO Acknowledgements • Advanced ship notices • Invoices • Remittance advice Vendor Managed Inventory (VMI), a sophisticated service for automated inventory management, reduces your overhead by transferring inventory management, order entry and forecasting to NIBCO. This is an on-going, interactive partnership with NIBCO. Through automation, VMI brings results: • Improves customer service • Cuts transaction costs • Optimum inventory efficiencies • Peace of mind • Better forecasting • Relief from day-to-day management NIBCO INC.
    [Show full text]
  • ABSTRACT Title of Dissertation: PRISMS and POLYPHONY
    ABSTRACT Title of Dissertation: PRISMS AND POLYPHONY: THE LIVED EXPERIENCES OF HIGH SCHOOL BAND STUDENTS AND THEIR DIRECTOR AS THEY PREPARE FOR AN ADJUDICATED PERFORMANCE Stephen W. Miles Doctor of Philosophy, 2012 Dissertation directed by: Professor Francine Hultgren Department of Teaching and Learning, Policy and Leadership College of Education University of Maryland This hermeneutic phenomenological inquiry is called by the question: What are the lived experiences of high school band students and their director as they prepare for an adjudicated performance? While there are many lenses through which the phenomenon of music preparation and music making has been explored, a relatively untapped aspect of this phenomenon is the experience as lived by the students themselves. The experiences and behaviors of the band director are so inexorably intertwined with the student experience that this essential contextual element is also explored as a means to understand the phenomenon more fully. Two metaphorical constructs – one visual, one musical – provide a framework upon which this exploration is built. As a prism refracts a single color of light into a wide spectrum of hues, views from within illumine a variety of unique perspectives and uncover both divergent and convergent aspects of this experience. Polyphony (multiple contrasting voices working independently, yet harmoniously, toward a unified musical product) enables understandings of the multiplicity of experiences inherent in ensemble performance. Conversations with student participants and their director, notes from my observations, and journal offerings provide the text for phenomenological reflection and interpretation. The methodology underpinning this human science inquiry is identified by Max van Manen (2003) as one that “involves description, interpretation, and self-reflective or critical analysis” (p.
    [Show full text]
  • Days & Hours for Social Distance Walking Visitor Guidelines Lynden
    53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days.
    [Show full text]
  • Milwaukee Electric Tool Corporation Product Catalog 2005-2006
    Catalog Cover05_001_188 #2 6/10/05 5:10 PM Page 1 Product Catalog 2005-2006 Corporation Milwaukee Electric Tool MILWAUKEE ELECTRIC TOOL CORPORATION 13135 West Lisbon Road • Brookfield, WI 53005-2550 • Phone: 262-781-3600 • Fax: 262-783-8555 • CUSTOMER SERVICE: Phone: 800-SAWDUST • Fax: 800-638-9582 CANADA: 755 Progress Avenue • Scarborough, Ontario M1H 2W7 • Phone: 416-439-4181 • Fax: 416-439-6210 MEXICO: Blvd. Abraham Lincoln, #13 • Colonia Los Reyes, Zona Industrial • Tlalnepantla, C.P. 54073 • Edo. de Mexico • Telefono (55) 5565-1414 • Fax (55) 5565-0925 www.milwaukeetool.com CAT2005-06/6-05/350M/VH/Printed in U.S.A. MILWAUKEE ELECTRIC TOOL CORPORATION Catalog Cover05_002_187 6/8/05 5:12 PM Page 1 V28 Li-ion RUN TIME DIFFERENCE COMPARE THE TECHNOLOGY. INTRODUCING V28Power.com POWERFUL TOOLS CHOOSE FROM SIX REVOLUTIONARY REVOLUTIONARY 18V NiCd BATTERY FUEL GAUGE BATTERY VOLTS THE NEXT CORDLESS LITHIUM-ION 28 VOLT BAND SAW HAMMER-DRILL CIRCULAR SAW Finally, a cordless band saw that’s The V28 hammer-drill provides awesome Cut faster, longer and with as fast and powerful as Milwaukee’s power with its 28 volt motor giving you more power than any 24 volt corded. V28 gives you 4-3/4” x 600 in.-lbs. of max. torque and up to saw on the market. Get up to 4-3/4” deep-cutting capacity for 27,000 BPM. It drills up to twice the twice the run time of an 18 volt high speed cutting where and when number of holes as an 18 volt. with no extra battery weight.
    [Show full text]
  • The Late Choral Works of Igor Stravinsky
    THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
    [Show full text]
  • Groundbreakers August 17–August 25, 2019 Burlington, Vt
    GROUNDBREAKERS AUGUST 17–AUGUST 25, 2019 BURLINGTON, VT FESTIVAL PROGRAM SOOVIN KIM & GLORIA CHIEN artistic directors DAVID SERKIN LUDWIG resident composer LAKE CHAMPLAIN 11 TH CHAMBER MUSIC FESTIVAL SEASON FESTIVAL ARTISTS Ara Guzelimian, guest speaker Merz Trio with Nicholas Kitchen, guest speaker Tod Machover, guest composer Caroline Copeland Sunday, November 10 at 2 pm Daniel Chong, violin Bella Hristova, violin Jaime Laredo, violin Soovin Kim, violin The Westerlies Jessica Bodner, viola with Lucy Shelton Burchard Tang, viola Sunday, April 12 at 2 pm Priscilla Lee, cello Sharon Robinson, cello Evan Premo, double bass Emi Ferguson, flute Roni Gal-Ed, oboe Romie de Guise-Langlois, clarinet Bixby Kennedy, clarinet Peter Kolkay, bassoon Wei-Ping Chou, horn Richard King, horn Mark Emery, trumpet Gloria Chien, piano Welcome to Groundbreakers, Matan Porat, piano our 11th summer festival! FLYNN Teresa Wakim, soprano This year we focus on visionary Martin Near, alto composers of the last 500 years who shaped the course of music history. Jason McStoots, tenor Sumner Thompson, tenor Over the last few centuries music has gone through a remarkable evolution. Paul Guttry, bass Composers today have an ever-expanding repertoire of expressive musical Joshua Weilerstein, conductor tools. Harmony, rhythm, structure, and instrumentation are only a few of Borromeo String Quartet 19 the compositional elements composers have used to add multiple layers of Nicholas Kitchen, violin complexity. Kristopher Tong, violin Musical evolution has been driven by powerful innovators. Haydn in the Mai Motobuchi, viola 18th century and Bartók in the 20th transformed the string quartet, Beethoven Yeesun Kim, cello expanded musical structure, Debussy and Schoenberg re-imagined harmony, Merz Trio 20 Stravinsky made polyrhythms the norm, and Tod Machover utilizes today’s Brigid Coleridge, violin rapid advances in technology.
    [Show full text]
  • Music by Women Composers for Clarinet & Piano
    music by women composers for clarinet & piano Set Jessica Lindsey clarinet No Christian Bohnenstengel piano Lim WORKS BY Katherine Hoover Marga Richter WWW.ALBANYRECORDS.COM Lauren Bernofsky its TROY1708 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 Ruth Schonthal TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. Barbara Kolb BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Set No Limits_1708_book.indd 1-2 12/19/17 2:05 PM the music Summer Session to study composition along with flute and music theory. She taught theory for fifteen years at the Manhattan School of Music, and learned com- These five pieces for clarinet-piano duo were composed by five distinguished position techniques mostly on her own, through analyzing and teaching students women working in the United States. Four of the pieces date from the later decades about a variety of twentieth-century scores. Her first composition was published in of the twentieth century and one from mid-century. None of the pieces has been 1972 by Carl Fischer. Two years later, in 1974, she received a master’s degree in issued in commercial recording before now. music theory from the Manhattan School. Besides building an impressive catalog of compositions, Hoover has worked to make known the works of other women Because the repertoire of classical concert music is dominated by men composers, composers, both historical and contemporary. especially dead, white, European men composers, the initial impulse for this record- ing was to highlight other repertoire—more recent music composed by women Hoover wrote Ritual in 1989 during her tenure as New York State Music Teachers in the U.S.
    [Show full text]
  • Adrienne Albert
    Piccolodeon for Piccolo and Piano Adrienne Albert PICCOLODEON is a duet for piccolo and piano that expresses the mood and sonority of the “Nickelodeon,” an early 20th-century arcade instrument used for silent movies, carousels, and vaudeville theatre. The Piccolodeon piece begins as a playful ragtime with the instruments in sync. Gradually, the ensemble unravels to the point for Piccolo and Piano where it’s a toss-up as to which player is off. This musical gem is full of surprise and delight! ADRIENNE ALBERT began her musical career as a singer and collaborator with composers including Igor Stravinsky, Leonard Bernstein, and Philip Glass. She began composing her own music in the 1990s. Adrienne’s chamber, orchestral, choral, vocal, and band works are extensively performed throughout the world. She has received awards including grants and prizes from the National Endowment for the Arts, American Composers Forum, MTC/Rockefeller Foundation, and numerous other organizations. Ms. Albert’s commissions have come from music schools, soloists, universities, and chamber ensembles. She has been Composer-In-Residence at California State University at Fresno, and California State University at Sacramento. Her music is recorded on the Albany, Naxos, Centaur, MRS, Navona, Little Piper, and ABC Classics labels. Also available by Adrienne Albert: ACROSS THE C’S for Mixed Flute Quintet ACROSS THE C’S is an original work by the celebrated American composer Adrienne Albert. This 6-minute work was commissioned by the Norwegian quintet “5 på Tvers/5 Across” who traveled across the seas to premiere the work at the 2015 NFA convention. In addition to the beautiful flowing feel of an ocean crossing, the music begins and ends with a special sonority of winds blowing on the open sea.
    [Show full text]
  • 2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM
    National Flute Association 44th Annual Convention SanSan Diego,Diego, CACA August 11–14, 2016 SDF_5.5x8.5_NFA_Book.pdf 1 6/24/16 7:56 AM C M Y CM MY CY CMY K YOUR VOICE ARTISTRY TOOLS SERVICES unparalleled sales, repair, & artistic services for all levels BOOTH 514 www.flutistry.com 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 3 nfaonline.org 4 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 5 nfaonline.org INSURANCE PROVIDER FOR: ALL YOU NEED TO KNOW ABOUT FLUTE INSURANCE www.fluteinsurance.com Located in Florida, USA or a Computer Near You! FL License # L054951 • IL License # 100690222 • CA License# 0I36013 6 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators ............................................................... 14 From the Convention Program Chair ................................................. 21 2016 Awards ..................................................................................... 23 Previous Lifetime Achievement and Distinguished Service Award Recipients ....................................................................................... 26 Instrument Security Room Information and Rules and Policies .......... 28 General Hours and Information ........................................................
    [Show full text]