Boston Symphony Orchestra Concert Programs, Season 45,1925-1926
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Keyboard Music
Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No. -
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
Nicolas Horvath Erik Satie (1866-1925) Intégrale De La Musique Pour Piano • 2 Nouvelle Édition Salabert
SATIE INTÉGRALE DE LA MUSIQUE POUR PIANO • 2 NOUVELLE ÉDITION SALABERT LE FILS DES ÉTOILES NICOLAS HORVATH ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 2 NOUVELLE ÉDITION SALABERT LE FILS DES ÉTOILES NICOLAS HORVATH, Piano Numéro de catalogue : GP762 Date d’enregistrement : 10 décembre 2014 Lieu d’enregistrement : Villa Bossi, Bodio, Italie Publishers: Durand/Salabert/Eschig 2016 Edition Piano : Érard de Cosima Wagner, modèle 55613, année 1881 Producteur et Éditeur : Alexis Guerbas (Les Rouages) Ingénieur du son : Ermanno De Stefani Rédaction du livret : Robert Orledge Traduction française : Nicolas Horvath Photographies de l’artiste : Laszlo Horvath Portrait du compositeur : Paul Signac, (c. 1890, Crayon Conté on paper) © Musée d’Orsay, Paris Cover Art: Sigrid Osa L’artiste tient à remercier sincèrement Ornella Volta et la Fondation Erik Satie. 2 LE FILS DES ÉTOILES (?1891) * 73:56 1 Prélude de l’Acte 1 – La Vocation 03:53 2 Autre musique pour le Premier Acte 21:28 3 Prélude de l’Acte 2 – L’Initiation 03:25 4 Autre musique pour le Deuxième Acte 20:59 5 Prélude de l’Acte 3 – L’Incantation 05:10 6 Autre musique pour le Troisième Acte 18:38 7 FÊTE DONNÉE PAR DES CHEVALIERS NORMANDS EN L’HONNEUR D’UNE JEUNE DEMOISELLE (XIe SIÈCLE) (1892) 03:08 * PREMIER ENREGISTREMENT MONDIAL DURÉE TOTALE: 77:10 DE LA VERSION RÉVISÉE PAR ROBERT ORLEDGE 3 ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • NOUVELLE ÉDITION SALABERT À PROPOS DE NICOLAS HORVATH ET DE LA NOUVELLE ÉDITION SALABERT DES « ŒUVRES POUR PIANO » DE SATIE. En 2014, j’ai été contacté (en tant que professeur de musicologie spécialiste de Satie) par Nicolas Horvath, un jeune pianiste français de renommée internationale, à propos d’un projet d’enregistrement des œuvres complètes pour piano. -
Geoffrey Baer, Who Each Friday Night Will Welcome Local Contestants Whose Knowledge of Trivia About Our City Will Be Put to the Test
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT This month, WTTW is excited to premiere a new series for Chicago trivia buffs and Renée Crown Public Media Center curious explorers alike. On March 26, join us for The Great Chicago Quiz Show hosted by 5400 North Saint Louis Avenue Chicago, Illinois 60625 WTTW’s Geoffrey Baer, who each Friday night will welcome local contestants whose knowledge of trivia about our city will be put to the test. And on premiere night and after, visit Main Switchboard (773) 583-5000 wttw.com/quiz where you can play along at home. Turn to Member and Viewer Services page 4 for a behind-the-scenes interview with Geoffrey and (773) 509-1111 x 6 producer Eddie Griffin. We’ll also mark Women’s History Month with American Websites wttw.com Masters profiles of novelist Flannery O’Connor and wfmt.com choreographer Twyla Tharp; a POV documentary, And She Could Be Next, that explores a defiant movement of women of Publisher color transforming politics; and Not Done: Women Remaking Anne Gleason America, tracing the last five years of women’s fight for Art Director Tom Peth equality. On wttw.com, other Women’s History Month subjects include Emily Taft Douglas, WTTW Contributors a pioneering female Illinois politician, actress, and wife of Senator Paul Douglas who served Julia Maish in the U.S. House of Representatives; the past and present of Chicago’s Women’s Park and Lisa Tipton WFMT Contributors Gardens, designed by a team of female architects and featuring a statue by Louise Bourgeois; Andrea Lamoreaux and restaurateur Niquenya Collins and her newly launched Afro-Caribbean restaurant and catering business, Cocoa Chili. -
Reducing the Term of Copyright in Unpublished Works (“2039” Rule)
December 2014 Consultation on reducing the duration of copyright in unpublished (“2039”) works in accordance with section 170(2) of the Copyright, Designs and Patents Act 1988 About UK Music 1. UK Music is the umbrella body representing the collective interests of the UK’s commercial music industry, from songwriters and composers to artists and musicians, studio producers, music managers, music publishers, major and independent record labels, music licensing companies and the live music sector. 2. UK Music exists to represent the UK’s commercial music sector, to drive economic growth and promote the benefits of music to British society. The members of UK Music are listed in annex 1. General 3. We see no justification to change the 2039 Rule to the extent that it impacts music, whether it is for sound recordings or musicial works. The rule constitutes a compromise achieved in 1988 in order to bring the calculation of term for unpublished works in line with the one for published works in 2039. We note that Government has not provided any evidence in the Impact Assessment which would justify their preferred Option 2a with regards to sound recordings and is otherwise very limited for other forms of works. 4. There are some important general points about the Impact Assessment that we would wish to note: a) On page 1 it is stated that the works cannot be lawfully published if copyright owners cannot be identified. The Government has recently introduced an orphan works licensing scheme to permit lawful publication of such works. In addition the Impact Assessment does not consider whether works subject to the 2039 Rule could be cleared via an extended collective licence. -
SATIE Gymnopédies
1000 YEARS OF CLASSICAL MUSIC SATIE Gymnopédies VOLUME 74 | THE MODERN ERA FAST FACTS • Erik Satie is famous for his deeply eccentric nature, which extended to his dress (at one point he bought seven identical velvet suits and then, for more than ten years, wore nothing else), his eating habits (he claimed to eat only white food: ‘eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, SATIE chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white Gymnopédies varieties), cotton salad, and certain kinds of fish, without their skin’), and the instructions he gave to those performing his music: his scores are full of enigmatic notes such as ‘Light as an egg’, ‘Open your head’, ERIK SATIE 1866–1925 ‘Work it out yourself’ and ‘Don’t eat too much’. Trois Gymnopédies [9’44] 1 No. 1: Lent et douloureux (Slow and full of suffering) 3’37 • His sharp wit, irreverence and refusal to do as expected led him to reject the big, lush Romantic 2 No. 2: Lent et triste (Slow and sad) 3’06 tradition of composers like Wagner, and turn instead to shorter, simpler pieces in which melody was 3 No. 3: Lent et grave (Slow and solemn) 2’54 the central element. 4 Je te veux (I Want You) 5’17 • Satie broke new ground in many different musical ways. His familiarity with the world of cabaret (he [7’16] Trois Gnossiennes supported himself for several years by working as a pianist at Le Chat Noir and other Montmartre 5 No. -
Scholarly Program Notes for the Graduate Voice Recital of Laura Neal Laura Neal [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2012 Scholarly Program Notes for the Graduate Voice Recital of Laura Neal Laura Neal [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp I am not submitting this version as a PDF. Please let me know if there are any problems in the automatic conversion. Thank you! Recommended Citation Neal, Laura, "Scholarly Program Notes for the Graduate Voice Recital of Laura Neal" (2012). Research Papers. Paper 280. http://opensiuc.lib.siu.edu/gs_rp/280 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES FOR MY GRADUATE VOCAL RECITAL by Laura S. Neal B.S., Murray State University, 2010 B.A., Murray State University, 2010 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters in Music Department of Music in the Graduate School Southern Illinois University Carbondale May 2012 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON MY GRADUATE VOCAL RECITAL By Laura Stone Neal A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters in the field of Music Approved by: Dr. Jeanine Wagner, Chair Dr. Diane Coloton Dr. Paul Transue Graduate School Southern Illinois University Carbondale May 4, 2012 ACKNOWLEDGMENTS I wish to thank first and foremost my voice teacher and mentor, Dr. Jeanine Wagner for her constant support during my academic studies at Southern Illinois University Carbondale. -
Piano Works Uspud • Le Fils Des Étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works
SATIE Piano Works Uspud • Le Fils des étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works 1 Allegro (1884) 0:21 & Tendrement (version for piano) (1902) 3:59 While the world of music composition has attracted some borrowings and stylistic fusions. Leit-motiv du ‘Panthée’ is 2 Leit-motiv du ‘Panthée’ (1891) 0:45 Le Fils des étoiles: 3 Preludes (1891) 13:34 ‘colourful characters’, from Mozart’s vulgar letters and cat the composer’s only monodic composition, written as a 3 Verset laïque et somptueux (1900) 1:27 * Act I: Prélude, ‘La Vocation’ 4:39 impressions to Peter Warlock’s ultimately fatal interest in contribution to Joséphin Péladan’s novel Panthée (in his ( witchcraft and sadism, surely the greatest eccentric of cycle La Décadence latine: éthopée). With its unpredictable 4 Fugue-valse (1906) 1:59 Act II: Prélude, ‘L’Initiation’ 3:51 ) Act III: Prélude, ‘L’Incantation’ 4:57 them all is the Parisian, Erik Satie (1866–1925). Always harmonic shifts, Verset laïque & somptueux seems to Cinq Grimaces pour Le Songe d’une nuit d’été appearing in one of seven identical suits, Satie would eat inhabit the world of Debussy’s more reflective piano works, (arr. Darius Milhaud for piano) (1915) 3:57 Sonatine bureaucratique (1917) 4:25 ¡ only white food, carried a hammer with him to defend though the same could not be said of the relatively 5 No. 1. Préambule 0:50 I. Allegro 1:08 ™ II. Andante 1:20 himself from any assailants, and even founded his own extensive and bizarre Fugue-Valse (surely the sole attempt 6 No. -
Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson
Document généré le 23 sept. 2021 22:49 Canadian University Music Review Revue de musique des universités canadiennes Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson Volume 21, numéro 2, 2001 Résumé de l'article La pièce pour piano Vexations d’Erik Satie comporte une « Note de l’auteur » URI : https://id.erudit.org/iderudit/1014483ar où le compositeur demande apparemment aux interprètes de répéter le DOI : https://doi.org/10.7202/1014483ar morceau 840 fois. Les opinions des biographes de Satie divergent quant à savoir si Satie voulait ou non une exécution « complète » de la pièce. Dans cet Aller au sommaire du numéro article, l’auteur évalue comment une interprétation littéraire de la Note peut jeter un éclairage sur les intentions de Satie. Il conclut que Vexations n’est pas tant un morceau de bravoure qu’un exercice : un moment musical conçu pour Éditeur(s) dégager les interprètes des notions occidentales conventionnelles de développement linéaire et de réception cumulative, en faveur d’un style Canadian University Music Society / Société de musique des universités musical personnel d’où est absent le développement, et pour les préparer à canadiennes jouer d’autres pièces, telles une Gymnopédie ou une Gnossienne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Dawson, C. (2001). Erik Satie's Vexations—An Exercise in Immobility. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 29–40. https://doi.org/10.7202/1014483ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
Table of Contents Is Interactive
Sheet TM Version 2.0 CDMusic 1 French Piano Music, Part I The Ultimate Collection Welcome to the CD Sheet Music™ edition of French Piano Music, Part I, the Ulti- mate Collection. This Table of Contents is interactive. Click on a title below to open the sheet music. The “composers” on this page and the bookmarks section on the left side of the screen navigate to sections of The Table of Contents.Once the music is open, the bookmarks become navigation aids to find section(s) of the work. Return to the Table of Contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. The FIND feature may be used to search for a particular word or phrase. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM (click on a composer to go to that section of the Table of Contents) ALKAN FRANCK RAVEL BIZET IBERT ROUSSEL CHABRIER KOECHLIN SAINT-SAËNS CHAMINADE MASSENET SATIE D’INDY MILHAUD SCHMITT DUKAS POULENC VIERNE The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 CDMusic 2 VALENTIN ALKAN IV. La Bohémienne Saltarelle, Op. 23 V. Les Confidences Prélude in B Major, from 25 Préludes, VI. Le Retour Op. 31, No. 3 Variations Chromatiques de concert Symphony, from 12 Études Nocturne in D Major I. Allegro, Op. 39, No. -
Departmental Programs 2009
1 Prairie View A&M University Henry Music Library 3/20/2012 Departmental Programs 2009 Spring 2009 Seminar January 29, 2009 Trk. 1 Arabesque No. 1 (Claude Debussy) Quodesia Johnson, piano Trk. 2 Sonata in g minor, Op. 49 No. 1 (Beethoven) Christopher Jackson, piano Trk. 3 Variations on Cobbler’s Bench (Arthur Frackenpohl) Ronald Floyd, tuba Seminar February 5, 2009 Trk. 1 Concert Etude in D-flat Major “Un Sospiro” (Franz Liszt) Dr. Vicki A. Seldon, piano Trk. 2 Russian Sailor’s Dance (Reinhold Gliére) Kristopher Gentry, euphonium Seminar February 19, 2009 Trk. 1 Lied der Mignon (Schubert) Laura Patterson, soprano Trk. 2 Waltz Theme (from Sleeping Beauty) (Tschaikowsky) Michael Foucher, clarinet Trk. 3 Scherzino (Walter Hartley) Anthony Terrell, euphonium Trk. 4 Suite for Tuba (Don Haddad) Ron Darius Wynn, bass trombone Mvt, II Trk. 5 City Signs: A Spiritual Walk Through the City (Robert Morris Imani Anderson, Class of ’95, soprano No Money Down: I’m Glad Salvation is Free Security System Engaged: He Sees All You Do Rent to Own: King Jesus Will Be Mine Seminar February 26, 2009 Trk. 1 Allerseelen (Strauss) Jessica Simmons, soprano Trk. 2 Prelude in g minor, Op. 28, No. 22 (Frederic Chopin) Jasmine Brock, piano Seminar March 5, 2009 2 Trk. 1 Sonata in c minor, Op. 10 No. 1 (Beethoven) Kristina Gentry, piano Allegro molto e con brio Trk. 2 If Thou Be Near (J.S. Bach) James Dodd, tuba Trk. 3 Sonata in b minor, BWV 1030 (J.S. Bach) John Lockett, flute Trk. 4 Sonata for Clarinet and Piano (Camille Saint-Saens) Jeffrey Opaleye, clarinet Lento Trk.