DOCSLIB.ORG

CD Inventory 031315.Xlsx

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Title Artist Performers Record Label Year Comments Recorded A Civil War Scrapbook Hesperus Tina Chancey, Bruce Hutton, Zan McLeod, Kathryn Montoya, Maggie's Music 2013 Matthew Olwell, Charlie Pilzer,Maggie Sansone American Landscapes Tina Chancey Tina Chancey ‐ viola de gamba, kamenj Golden Apple 2010 Tina Chancey's 3rd CD celebrating the Versatile Viol: swing, blues, Old Time, renaissance, Provençal, and Irish Molly Andrews ‐ vocals Recordings music. Bruce Hutton ‐ vocals, guitar, banjo, mandolin, ukulele, lap dulcimer Zan McLeod ‐ guitar An Evening with Bach Voices of Music Hanneke van Proosdij, Louis Carslake, Dan Laurin, Joanna Pandore 2005 Based on the creative vision of directors David Tayler and Hanneke van Proosdij, the Voices of Music Blendulf, Elizabeth Blumenstock, Rodney Gehrke, Lisa Grodin, ensemble takes the view that Renaissance and Baroque music should be centered around the very finest Katherine Kyme, Jennifer alane, Victoria Gunn Pich, Susanne singing—a philosophy that really shines through on An Evening With Bach. Along with the transcendent, Ryden, William Skeen, David Tayler instantly recognizable instrumentals of the opener, "Air on a G string," this album contains some truly lilting vocal performances. Susanne Ryden's soprano sounds amazing and weightless on tracks like "Bist du bei mir," while Jennifer Lane's rich alto serves as ideal counterpoint on more somber ones such as "Es is vollbracht." This recording features some of the world's finest early musicians and rightly showcases their talents on several purely instrumental selections, including Bach's "Prelude in G Major" played on solo theorbo instead of cello—a lovely choice. Bach & Telemann Sonatas, Preludes Voices of Music Hanneke van Proosdij ‐ Recorder & Harpsichord Pandore 2008 Beautiful chamber music by Bach & Telemann & Fantasias David Tayler ‐ Archlute Joanna Blendulf ‐ Baroque Cello, Viol Rodney Gehrke ‐ Baroque Violin Carla Moore ‐ Baroque Violin William Skeen ‐ Baroque Cello Bach, J.S.: Trios for Two L'Ensemble Portique Lisette Kielson, recorder & flute; Paul Boehnke, harpsichord & Centaur 2010 Six sonatas chosen from his organ trio sonatas (BWV 525 & 526); flute sonatas (BWV 1020 & 1032); and violin organ sonatas (BWV 1014 & 1017). Baroque Music from England & Musick Fyne Alison Melville & Colin Savage, recorders; with other members EBS Records GmbH 1990 Baroque music from Scotland & England, including Purcell & Oswald, & arrangements of music from The Scotland of Musick Fyne. Beggar's Opera by Pepusch. Buried Treasure ‐ Topaz & Sapphire Ensemble Vermillian Frances Blaker, Barbara Blaker Krumdieck, Katherine Heater, farfarela recordings Elisabeth Reed Cançonièr Cançonièr Annette Bauer ‐ Recorders Kunaki, LLC 2008 Tim Rayborn ‐ Percussion, Psatery, Harp, Symphonie, Lute Shira Kammen ‐ Vielle (track 2) Celebration Scott Reiss Scott Reiss, recorders, psaltery, hammered dulcimer, dumbek Golden Apple 2012 This recording is the first in a series celebrating Scott Reiss by re‐issuing collections of his solos and featured Robert Eisenstein, viol, vielle, rebec, recorder, lute performances. The selections on this CD were drawn from 10 Folger Consort recorderings made from 1986‐ Christopher Kendall, lute, harp, mandora 1995: A Distant Mirror, Carmina Burana, Medieval Tapestry, A Medieval Christmas, Showers of Harmonie, Shakespeare's Music, Divisions on an Ayre, When Birds Do Sing, Of Kindly Lust and Playing With Fire. Circle of the Dance Alma Brasileira Clea Galhano, Joan Griffith, Lucia Newell Creation Audio 2009 Colonial America Hesperus Tina Chancey ‐ Bass viola, fiddle & recorder Maggie's Music 2003 From the first colonists to the American Revolution and the birth of our republic Hesperus' music reflects a Scott Reiss ‐ Recorders & pennywhistle time of new ideas, freedom and vitality. In town and village, parlor and ballroom, from the Appalachian Grant Herried ‐ Lute, theorbo, early guitars & recorders mountains to the great concert halls hear the musical pulse of early American music performed on a wide variety of folk and early music instruments. Includes: lively country‐dance tunes, evocative Shape Note Hymns, old time Appalachian fiddle tunes, graceful European parlor music, French cotillions, divisions and improvisations. Concordi Musici: Scarlatti, Mancini, Concordi Musici Leonard Kwon, recorder; Rebecca Huber & Tomasz Plusa, Audioguy 2010 The first project of Concordi Musici, features chamber music between Napoli and Venezia, that includes the Vivaldi violin; Ji Yun Kang, cello; Josep Casadellà, bassoon; Cristian most beautiful Italian concerts with solo recorder, and was played during the Utrecht Oudemuziek Festival Gutiérrez, guitar & theorbo; Edoardo Valorz, harpsichord 2010. 3/13/2015 1 Title Artist Performers Record Label Year Comments Recorded Conversations ‐ Baroque Sonatas Breve Deborah Booth, recorder & flute; Stephen Rapp, harpsichord; Breve 2012 Works by Dario Castello, Jacque‐Martin Hotteterre, Georg Philipp Telemann, and Francesco Mancini. from Italy, France & Germany Maxine Neuman, baroque cello; Rachel Begley, baroque bassoon Conversations explores music of the 17th and 18th centuries from Italy, France, and Germany on original instruments‐recorders, flutes, harpsichord, organ, cello, viola da gamba, and bassoon. Dolce Musica ‐ A Contemplative Healing Muses Eileen Hadidian, Renaissance & Baroque Flute and Recorder Healing Muses 2005 Celtic, Renaissance and Medieval melodies for recorder and flute with Celtic harp. Journey Natalie Cox, Renasissance & Celtic Harp Recordings East of the River Nina Stern and Dapha Mor Daphna Mor and Nina Stern, recorders; Omer Avital, bass & oud; East of the River 2007 An album of haunting melodies and exhilarating rhythms from Armenia and the Balkans by New York based Uri Sarlin, accordion; Tomer Tzur, percussion. Music recorder virtuosi, Daphna Mor and Nina Stern. Fire Beneath My Fingers Musica Pacifica Judith Linsenberg ‐ Recorder Dorian/Sono 2008 Fire Beneath My Fingers tells a fascinating story of great performers and performances! This program Elizabeth Blumenstock ‐ Violin Luminus showcases Antonio Vivaldi, Guiseppe Sammartini, and Guiseppe Tartini; three of the most legendary Michael McCraw ‐ Bassoon composers of this era who were also virtuoso performers in their own rights. The sensitivity of their writing to Robert Mealy ‐ Violin the best each instrument had to offer made their sonatas and concerti models of new compositional genres. Clarie Jolivet ‐ Violin This program embodies a repertoire of music that is as rich and satisfying to bring to the stage today as it was Peter Bucknell ‐ Viola when the ink was still wet on the page. Josj Lee ‐ Double Bass Daniel Swenberg ‐ Theorbo, Archlute, Baroque Guite Charles Sherman ‐ Harpsichord, Organ Fruit of a Different Vine Allison Melville Alison Melville, Natalie Michaud & Colin Savage, recorders; ATMA Works by Berkeley, Genzmer, Hindemith, Leigh, Staeps. Supported by the 1994 ARS Professional Recording Alayne Hall, piano. Grant. S.R.I. Garden of Healing Healing Muses Eileen Hadidian, recorder & Baroque flute; Patrice Haan, Celtic Healing Muses 2009 Soothing Heart & Spirit. Music of the Celtic, American & World Traditions harp & voice; Maureen Brennan, Celtic harp, Natalie Cox, Celtic Recordings harp Gathering/Hui Belladonna Baroque Clean Galhano, Belladonna Baroque Quartet & Gao Hong, 10,000 Lakes 2005 Folk Melodies from China and 17th Century Europe performed by Belladonna Baroque Quartet and Gao Hong, Quartet & Gao Hong Chinese Pipa Chinese Pipa. Handel: The Italian Years Julianne Baird Elissa Berardi, recorder & baroque flute; Julianne Baird, soprano; Dorian/Sono 1991 Handel, Nel dolce dell'oblio & Tra le fiamme, two important pieces for obbligato recorder & soprano; Philomel Baroque Orchestra. Luminus Telemann, Trio in F; Vivaldi, All'ombra di sospetto. I Love Lucette Hesperus Scott Reiss, Tina Chancey, Jane Hershey, recorders & other early Koch Int'l. 1998 Charming, bawdy,sentimental music from French Renaissance theatrical tradition. Divisions on Contente instruments; Rosa Lamoreaux, soprano; Howard Bass, lute. Desir, Il Fault Bien Aimer; good recorder trio work. In Nova Cantica, a Celebration of Healing Muses Eileen Hadidian, flute and recorder; Elisabeth Engan, soprano; Healing Muses 2003 Medieval and traditional carols, chansons and festive dances from the 13th to 17th centuries. Christmas Neal Rogers, tenor; Shira Kammen, vielle, violin, harp, alto; Kit Recordings Robberson, vielle, viola da gamba; David Tayler, lute, baroque guitar. Johann, I'm Only Dancing Red Priest Piers Adams, recorders; Julia Bishop, violin; Angela East, cello: Allegro Media 2009 A dynamic presentation of music by the greatest genius of the baroque era, J.S. Bach, performed with Red Howard Beach, harpsichord Group Priest's legendary blend of creativity, wit and virtuosity! The program includes epic transcriptions of Brandenburg Concerto no.3 and the great Toccata and Fugue in D minor, alongside a host of dazzling allegros, whirling dances and some of the most sublime adagios ever composed. Red Priest's arrangements are inspired by Bach's own improvisatory zeal, and the play from memory with astonishing energy, creating a virtual orchestra from their four instruments. Les Amis du Baroque Paul Nauta Paul Nauta; recorder. Jan De Winne; transverse flute. Koen Highlight Intl 1989 Ensemble in CD title plays music by Bassani, Corelli, Vivaldi, etc. Dieltiens; recorder. Michiyo Kondo; violin. Makoto Akatsu; violin. Christina Mahler; cello. Frank Coopieters;
Recommended publications
  • 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord

    6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord

    Valerio Losito Baroque violin 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 harpsichord Telemann GEORG PHILIPP TELEMANN (1681–1767) Six Sonatas for Solo Violin, 1715 6 Sonatas ‘Frankfurt 1715’ for solo violin and harpsichord “My Lord, I am not without fear in dedicating these sonatas to Your Highness. It is, Sire, that without mentioning the vivacity of your sublime mind, you also have such certain taste in this fine art, which is the only one with the advantage of begin eternal, Sonata No.1 in G minor TWV41:g1 Sonata No.4 in G TWV41:G1 though it is very hard to create in a work worthy of your approbation. My Lord, I 1. Adagio 1’43 13. Largo 1’12 flatter myself that with this gift of the first pieces that I have had published you will 2. Allegro 2‘45 14. Allegro 2’18 find acceptable my intention of recognizing in some way the favour with which you 3. Adagio 1’08 15. Adagio 2’48 have hitherto honoured me. If, my Lord, my work is thus fortunate enough to meet 4. Vivace 3’03 16. Allegro 2’30 with your pleasure, then I am assured of the support of all connoisseurs, because no one can hope to achieve such understanding as yours. The beauty of the Concertos Sonata No.2 in D TWV41:D1 Sonata No.5 in A minor TWV41:a1 that you yourself have written at such a young age is admired by all those who have 5. Allemanda, Largo 3’52 17. Allemanda, Largo 2’37 seen them, and this is a guarantee for me in my aim.
  • Download Booklet

    Download Booklet

    1685 1759 - Violin Sonata in G HWV 358 Violin Sonata in E HWV 373 1 I. [Allegro] 1.57 20 I. Adagio 1.54 2 II. [Adagio] 0.49 21 II. Allegro 2.53 3 III. [Allegro] 2.35 22 III. Largo 1.35 .23 IV Allegro 2.47 Violin Sonata in D minor HWV 359a 4 I. Grave 2.32 Violin Sonata in G minor HWV 368 5 II. Allegro 1.43 24 I. Andante 2.19 6 III. Adagio 0.51 25 II. Allegro 2.49 . 7 IV Allegro 2.35 26 III. Adagio 2.01 .27 IV [Allegro moderato] 2.32 Violin Sonata in A HWV 361 8 I. Andante 2.26 Violin Sonata in F HWV 370 9 II. Allegro 1.54 28 I. Adagio 3.12 10 III. Adagio 0.50 29 II. Allegro 2.13 .11 IV Allegro 2.43 30 III. Largo 3.19 .31 IV Allegro 3.53 Violin Sonata in G minor HWV 364a 12 I. Larghetto 1.56 Violin Sonata in D HWV 371 13 II. Allegro 1.44 32 I. Affettuoso 3.11 14 III. Adagio 0.41 33 II. Allegro 2.57 .15 IV Allegro 2.14 34 III. Larghetto 2.46 .35 IV Allegro 3.55 Violin Sonata in A HWV 372 80.00 16 I. Adagio 1.15 17 II. Allegro 2.24 The Brook Street Band 18 III. Largo 1.14 Rachel Harris baroque violin .19 IV Allegro 2.57 Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel’s Violin Sonatas For a composer as well known as George Frideric Handel, the history of his violin sonatas is somewhat complicated.
  • Austinmusicawards2017.Pdf

    Austinmusicawards2017.Pdf

    Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers.
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy

    Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy

    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
  • The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von

    The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von

    THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document.
  • Going for a Song

    Going for a Song

    FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school.
  • News from Around the Region Geraldine Elliott, Director North

    News from Around the Region Geraldine Elliott, Director North

    Geraldine Elliott, Director North Central Region, AHS 753 Crestwood Dr. Waukesha, WI 53188 262.547.8539 [email protected] A tax-exempt non-profit corporation founded in 1962 Greetings to All Harpists in the North Central Region. I am honored to be your Regional Director at this exciting time in the life of the American Harp Society. Please let me know how I can facilitate communications between and among harpists in the Region. This Newsletter is one means of spreading the word among all the chapters in the Region, but it comes only once a year. There will be a second, email-only, message in the spring, so it is vitally important that we have accurate email addresses for all harpists. We send this newsletter to let you know about harp-happenings that are closer and less expensive (some are even free!) than the National meetings that are coming up. Please let me know of new items that arise so I can include them in the spring email blast. And donʼt forget to send me your accurate email address. THE AMERICAN HARP SOCIETY 9TH SUMMER INSTITUTE AND 19TH NATIONAL COMPETITION JUNE 19-23, 2011 THE LYON AND HEALY AWARDS JUNE 18-19, 2011 DENTON, TX (DALLAS/FT. WORTH AREA) WWW.MUSIC.UNT.EDU/HARP The University of North Texas welcomes the American Harp Society to enjoy a wonderful week. All events will be geared towards students and will include master classes, workshops, ensemble performances and viewing of historic harps. Performances will feature harpists of the Southwest and Emily Mitchell, guest artist and Heidi Van Hoesen Gorton, the AHS Concert Artist, and Michael Colgrass will be guest clinician.
  • A History of British Music Vol 1

    A History of British Music Vol 1

    A History of Music in the British Isles Volume 1 A History of Music in the British Isles Other books from e Letterworth Press by Laurence Bristow-Smith e second volume of A History of Music in the British Isles: Volume 1 Empire and Aerwards and Harold Nicolson: Half-an-Eye on History From Monks to Merchants Laurence Bristow-Smith The Letterworth Press Published in Switzerland by the Letterworth Press http://www.eLetterworthPress.org Printed by Ingram Spark To © Laurence Bristow-Smith 2017 Peter Winnington editor and friend for forty years ISBN 978-2-9700654-6-3 1 3 5 7 9 8 6 4 2 Contents Acknowledgements xi Preface xiii 1 Very Early Music 1 2 Romans, Druids, and Bards 6 3 Anglo-Saxons, Celts, and Harps 3 4 Augustine, Plainsong, and Vikings 16 5 Organum, Notation, and Organs 21 6 Normans, Cathedrals, and Giraldus Cambrensis 26 7 e Chapel Royal, Medieval Lyrics, and the Waits 31 8 Minstrels, Troubadours, and Courtly Love 37 9 e Morris, and the Ballad 44 10 Music, Science, and Politics 50 11 Dunstable, and la Contenance Angloise 53 12 e Eton Choirbook, and the Early Tudors 58 13 Pre-Reformation Ireland, Wales, and Scotland 66 14 Robert Carver, and the Scottish Reformation 70 15 e English Reformation, Merbecke, and Tye 75 16 John Taverner 82 17 John Sheppard 87 18 omas Tallis 91 19 Early Byrd 101 20 Catholic Byrd 108 21 Madrigals 114 22 e Waits, and the eatre 124 23 Folk Music, Ravenscro, and Ballads 130 24 e English Ayre, and omas Campion 136 25 John Dowland 143 26 King James, King Charles, and the Masque 153 27 Orlando Gibbons 162 28 omas
  • Finnish Folk Fiddling Legends to Tour the US

    Finnish Folk Fiddling Legends to Tour the US

    Volume 40 No. 10 October 2014 Finnish Folk Fiddling The Madison Folk Music Society’s Annual Legends to Tour the US Meeting, Saturday Oc- Cousins Arto and Antti Järvelä Canada, Denmark, Norway and United tober 25 at the WilMar are members of the famous Järvelä mu- States. They are also experienced teach- Community Center from sic family of Kaustinen, Finland. With ers of their music and traditions, and so centuries of family tradition behind them, there are a number of possibilities at each 6:30-8:30PM will feature they are touring the US in Fall 2014 tour date for educational workshops. a set from two local musicians,followed playing music from their first album to- Arto plays with JPP, Nordik Tree, Kai- by a Sing-along, and a sale of gently gether, ‘Os Fera Liluli’. Come hear these vama, Maria Kalaniemi, Erik Hokkanen used folk music CDs. world-class musicians in what promises & Lumisudet and performs solo. Antti is Following a brief business meeting, to be an amazing concert on Tuesday, known for his work with Frigg, JPP, Baltic Mac Robertson and Marli Johnson October 7 at 7:00PM at The Brink Crossing, Troka and Kings of Polka. Fid- will do a short set, then lead the audi- ence in a Singalong, similar to those Mac Lounge. dling friend has been leading at Blue Mounds State Järvelä fiddlers have been fiddling in Bruce Molsky enthuses: “Thanks to Park for the past nine summers. There the front line of weddings in Ostrobothnia Arto and Antti for allowing us a peek into will also be an opportunity to purchase (on the eastern shore of the Gulf of Both- this sweet musical family affair.
  • Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity

    Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity

    Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International
  • The Program E E

    The Program E E

    W the program E E 24 K june RISING STAR SERIES 4 y a d s Daria Rabotkina, piano e u T 8 PM “FLOW MY TEARES” (1600) John Dowland (1563-1626)/arr. Daria Rabotkina SONATA IN E MAJOR, K. 162 (1756-57) Domenico Scarlatti (1685-1757) Andante—Allegro—Andante—Allegro SELECTIONS FROM ORDRE 18ÈME DE CLAVECIN IN F MAJOR (1722) François Couperin (1668-1733) ITALIAN CONCERTO, BWV 971 ( ca . 1735) Johann Sebastian Bach (1685-1750) [without tempo designation] Andante Presto :: intermission :: SONATINE (1903-05) Maurice Ravel (1875-1937) Modéré Mouvement de menuet Animé SONATA NO. 3 IN A MINOR FOR PIANO, OP. 28 (1917) Sergei Prokofiev (1891-1953) Allegro tempestoso—Moderato—Allegro tempestoso—Moderato—Più lento—Più animato—Allegro I—Poco più mosso FANTASY SUITE AFTER BIZET’S CARMEN , 1ST MOVEMENT Sergei Rabotkin (b. 1953) This concert is made possible in part through the generosity of Pat Petrou. Ms. Rabotkina is a winner of the Concert Artists Guild International Competition and is represented by Concert Artists Guild. concertartists.org 33RD SEASON | ROCKPORT MUSIC :: 51 “FLOW MY TEARES” John Dowland (b. London, 1563; d. London, February 20, 1626)/arr. Daria Rabotkina Composed 1600 Non otthees program In addition to wide-ranging “traditional” piano repertoire, Daria Rabotkina has acquired a substantial store of piano works borrowed and adapted from far-flung places in the music by world, including her own concert arrangement* of ragtime legend “Luckey” Roberts’s “Pork Sandra Hyslop and Beans.” As the opening offering on this evening’s concert—in contrast to the fantasy on Bizet’s stormy opera Carmen with which she closes—Ms.
  • 2017 NCMEA Professional Development Conference November 11

    2017 NCMEA Professional Development Conference November 11

    NORTH CAROLINA MUSIC EDUCATOR 2017 NCMEA Professional Development Conference The Every Student Succeeds Act: Over 200 clinics, sessions and Opportunities for Music concerts, including Educator Action by Lynn Tuttle Tim Lautzenheiser Sunday Afternoon Keynote U.S. Navy Band Commodores Sunday Evening Concert Piedmont Wind Symphony Monday Evening Concert November 11 - 14 • Winston-Salem #musicmakesmeNC Volume 68 Number 2 NORTH CAROLINA Conference MUSIC EDUCATOR 2017 | 1 Board of Directors EXECUTIVE OFFICERS SECTION CHAIRS President: James Daugherty Band: Rodney Workman Jazz Education: Keith Grush [email protected] [email protected] [email protected] Immediate Past President: Band Section Delegate: Jamie Beam Jazz Section Delegate: Richard Holmes [email protected] Marjorie Harrison [email protected] [email protected] Collegiate NAfME: Emily Lott President-Elect: Jazzmone Sutton [email protected] Middle School Choral: Catherine Butler [email protected] [email protected] Elementary: Janet Berry Recording Secretary: Aria Westbrook [email protected] Orchestra: Sarah Russell [email protected] [email protected] High School Choral: Eddie Adams Member-at-Large: Andy Carter [email protected] Orchestra Section Delegate: Joey Walker [email protected] Higher Education: Cynthia Wagoner [email protected] Member-at-Large: Jeffrey Danielson [email protected] [email protected] Non-Voting Members COMMISSION & COMMITTEE CHAIRS DISTRICT PRESIDENTS Exceptional Children & General Music: Research: Jennifer Walter District 1: Jennifer Fowler Rue S. Lee-Holmes [email protected] [email protected] [email protected] Retired Membership: David S. Albert D i s t r i c t 2 : V i c k i e W h i t fi e l d Conference Chair: Barbara Geer [email protected] [email protected] [email protected] Student Activities: Jazzmone Sutton District 3: Jessica Ferguson Asst.