DOCSLIB.ORG

July 19Th, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
July 19Th, 2019 The Medina Community Band Marcus Neiman, conductor John Connors, associate conductor & Matthew Hastings, assistant conductor In Memory of Edwin Howard Robnett Ice Cream Social Host – Medina Lions Club Friday Evening, July 19th, 2019 Medina Uptown Park Square Gazebo 8:30 p.m. Anthem, Star Spangled Banner (1889/1917) .......................................................................................... Francis Scott Key John Philip Sousa Overture, La Belle Hélène (1864/1958) ............................................................................................... Jacques Offenbach Lawrence Odom March, Emblem of Unity (1941) .................................................................................................... Joseph John Richards Trombone Solo, Morceau Symphonique, Op. 88 (1902) ................................................................. Alexandre Guilmant Wesley Shepard George Rosin, soloist Salute, Fly Me to the Moon (1954/2014) ........................................................................................................ Bart Howard Takashi Hoshide Dance, Sabre Dance (from Gayane) (1942-1947) ................................................................................. Aram Khachaturian Erik William Gustav Leidzén March, Billboard (1901) ................................................................................................................................... John Klohr Suite, Carnival of the Animals (1886/2005) ........................................................................................ Camille Saint-Saëns Jay Bocook March, Semper Fidelis (1888) .............................................................................................................. John Philip Sousa National March, The Stars and Stripes Forever (1896) ........................................................................ John Philip Sousa Patriotic Sing-A-Long, God Bless America (1917) .......................................................................................... Irving Berlin Erik William Gustav Leidzén Program subject to change MCB Gazebo Concert – Friday, July 19th, 2019 – Program Notes – page 1 La Belle Hélène Jacques Offenbach / Lawrence Odom Jacques Offenbach 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffman remains part of the standard opera repertory. Born in Cologne, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling and left after a year. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris' Opéra- Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There he presented a series of his own small-scale pieces, many of which became popular. In 1858, Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), which was exceptionally well received and has remained one of his most played works. During the 1860s, he produced at least 18 full-length operettas, as well as more one-act pieces. His works from this period included La belle Hélène (1864), La vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London and elsewhere in Europe. Offenbach became associated with the Second French Empire of Napoleon III; the emperor and his court were genially satirized in many of Offenbach's operettas. Napoleon III personally granted him French citizenship and the Légion d'Honneur. With the outbreak of the Franco-Prussian War in 1870, Offenbach found himself out of favor in Paris because of his imperial connections and his German birth. He remained successful in Vienna and London, however. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favorites and a series of new works, and undertook a popular U.S. tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.1 La Belle Hélène The Beautiful Helen), is an opéra bouffe in three acts by Jacques Offenbach to an original French libretto by Henri Meilhac and Ludovic Halévy. The operetta parodies the story of Helen's elopement with Paris, which set off the Trojan War. It was first performed at Paris's Théâtre des Variétés on December 17, 1864, starring Hortense Schneider and José Dupuis. While some experts (cf Grove) are of the opinion that the creation of La belle Hélène was a "largely untroubled" affair, others (cf Jacob) paint a different picture: Although Offenbach had managed at great cost to persuade Schneider, known by then as "La Snédèr", to accept the role of Helen, the premiere remained in doubt to the very last minute. During rehearsals, La Snédèr constantly complained that the extravagant Léa Silly (in a male role as Oreste) was trying to upstage her: La Silly extemporized (a privilege reserved for the prima donna); she imitated her; she danced a cancan in her back while she was singing an important aria, etc. etc. La Snédèr not only walked off the set repeatedly, 1 https://en.wikipedia.org/wiki/Jacques_Offenbach MCB Gazebo Concert – Friday, July 19th, 2019 – Program Notes – page 2 but kept threatening to leave the world, or at least Paris, altogether! It took all of Offenbach's skills at creating harmony to see the production through. La belle Hélène was an instant success with both the public and the critics and enjoyed an initial run of 700 performances. Premieres in Vienna (1865), Berlin (1865), London (1866), and Chicago (1867) followed shortly. It also had a run in New York City at the Grand Opera House beginning on April 13, 1871. It had its Czech premiere in Prague in 1875, under Adolf Čech.2 Emblem of Unity March Joseph John Richards Joseph John Richards DOB: August 27th, 1878, (Cwmvon, Wales) DOD: March 16th, 1956 (Long Beach, California) Joseph John Richards was born August 27, 1878 in Cwmavon, Wales. His family immigrated to the United States four years later, settling in Peterson, Kansas. He began learning various brass instruments at the age of ten, progressing rapidly, playing in various amateur bands. At the age of nineteen he was appointed leader of the Norton-Jones Circus Band, beginning a long career as bandmaster with numerous ensembles. Richards’ first composition appeared in print in 1899; during this period he began writing marches and other works, and certainly many of his early works were first performed by the bands that he led. His career as a circus bandleader culminated with his directorship of the Ringling Bros. Circus Band from 1911 through 1918. During the circus off-seasons, Richards attended Kansas State Teachers College and the American Conservatory of Music. Beginning in the early 1920’s, he taught school music and directed bands in various Illinois towns through 1944. In 1945, upon the death of Herbert L. Clarke, he was appointed director of the famed Long Beach, California Municipal Band, a post he held until 1950. Subsequently, Richards returned to Illinois in the spring and summer to lead the Mt. Morris Band while wintering in Long Beach. He died on March 16, 1956 in Long Beach. Richards was highly regarded by his peers. He was elected to the American Bandmasters Association in 1939 and served as its president in 1948. He composed well over one hundred works that were published. Undoubtedly his most famous composition - one which enjoys great popularity today - is the marvelous “Emblem of Unity” march. Historical Comments: Emblem of Unity was written in a traditional march form with slight deviations. Of particular interest is Richards’ use of augmented sixth chords in the introduction, as well as solo measures for the snare drum. Possibly the most recognizable feature of the march is the prominent use of the horn section, combined with the baritones on solo measures in the first strain. The horns are featured again in the second strain with exposed octaves accompanied only by chromatic passages in the woodwinds and trumpet parts. 2 https://en.wikipedia.org/wiki/La_belle_H%C3%A9l%C3%A8ne MCB Gazebo Concert – Friday, July 19th, 2019 – Program Notes – page 3 The march was written while he was directing both the public school and municipal bands in Sterling, Illinois. Barnhouse published the march in 1941. This brilliant march, Richard’s most popular, was written while he was living in Sterling, Illinois, conducting both the high school and community bands. A classic and exciting composition, this work is played by hundreds of school and professional bands each year. Some of the composition’s unique features include: the
Load more

Recommended publications
  • The US Presidential Campaign Songster, 1840–1900
    This is a repository copy of The US Presidential Campaign Songster, 1840–1900. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/132794/ Version: Accepted Version Book Section: Scott, DB orcid.org/0000-0002-5367-6579 (2017) The US Presidential Campaign Songster, 1840–1900. In: Watt, P, Scott, DB and Spedding, P, (eds.) Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster. Cambridge University Press , Cambridge, UK , pp. 73-90. ISBN 9781107159914 https://doi.org/10.1017/9781316672037.005 © 2017, Paul Watt, Derek B. Scott and Patrick Spedding. This material has been published in Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster edited by P. Watt, D. Scott, & P. Spedding. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request.
    [Show full text]
  • The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
    THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school.
    [Show full text]
  • Virtuosity and Technique in the Organ Works of Rolande Falcinelli
    Virtuosity and Technique in the Organ Works of Rolande Falcinelli A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Keyboard Studies Division of the College-Conservatory of Music by Loretta Graner BM, University of Kansas, 1984 MM, University of Kansas, 1988 April 2014 Committee Chair: Michael Unger, DMA ABSTRACT This study considers Rolande Falcinelli’s cultivation of technique and virtuosity as found in her organ methods and several of her organ works which have been evaluated from a pedagogical perspective. Her philosophical views on teaching, musical interpretation, and technique as expressed in three unpublished papers written by the composer are discussed; her organ methods, Initiation à l’orgue (1969–70) and École de la technique moderne de l’orgue (n.d.), are compared with Marcel Dupré’s Méthode d’orgue (pub. 1927). The unpublished papers are “Introduction à l’enseignement de l’orgue” (n.d.); “Regard sur l’interprétation à l’orgue,” (n.d.); and “Panorama de la technique de l’orgue: son enseignement—ses difficultés—son devenir” (n.d.). The organ works evaluated include Tryptique, Op. 11 (1941), Poèmes-Études (1948–1960), and Mathnavi, Op. 50 (1973). ii iii ACKNOWLEDGEMENTS Many people have given generously of their time and resources to help me bring this document to fruition, and I am filled with gratitude when I reflect on their genuine, selfless kindness, their encouragement, and their unflagging support. In processions, the last person is the most highly honored, but I cannot rank my friends and colleagues in order of importance, because I needed every one of them.
    [Show full text]
  • Aram Khachaturian
    Boris Berezovsky ARAM KHACHATURIAN Boris Berezovsky has established a great reputation, both as the most powerful of Violin Sonata and Dances from Gayaneh & Spartacus virtuoso pianists and as a musician gifted with a unique insight and a great sensitivity. Born in Moscow, Boris Berezovsky studied at the Moscow Conservatory with Eliso Hideko Udagawa violin Virsaladze and privately with Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as "an artist of exceptional promise, a player of dazzling virtuosity and formidable power". Two years later he won the Gold Boris Berezovsky piano Medal at the 1990 International Tchaïkovsky Competition in Moscow. Boris Berezovsky is regularly invited by the most prominent orchestras including the Philharmonia of London/Leonard Slatkin, the New York Philharmonic/Kurt Mazur, the Munich Philharmonic, Oslo Philharmonic, the Danish National Radio Symphony/Leif Segerstam, the Frankfurt Radio Symphony/Dmitri Kitaenko, the Birmingham Sympho- ny, the Berlin Symphonic Orchestra/ Marek Janowski, the Rotterdam Philharmonic, the Orchestre National de France. His partners in Chamber Music include Brigitte Engerer, Vadim Repin, Dmitri Makhtin, and Alexander Kniazev. Boris Berezovsky is often invited to the most prestigious international recitals series: The Berlin Philharmonic Piano serie, Concertgebouw International piano serie and the Royal Festival Hall Internatinal Piano series in London and to the great stages as the Théâtre des Champs-Elysées in Paris, the Palace of fine Arts in Brussells, the Konzerthaus of Vienna, the Megaron in Athena. 12 NI 6269 NI 6269 1 Her recent CD with the Philharmonia Orchestra was released by Signum Records in 2010 to coincide with her recital in Cadogan Hall.
    [Show full text]
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
    Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr.
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • Til OOIHT Seiel 1 %
    EISITY Mil 8 IB AIL SOCIETY EARL V. MOORE, Musical Director CHARLES A. SINK, Business Manager BOARD OF DIRECTORS FRANCIS W. KELSEY, President HARRY B. HUTCH INS Vice-President DURAND W. SPRINGER Secretary- LEVI D. WINES Treasurer G. FRANK ALLMENDINGER HORACE G. PRETTYMAN JUNIUS E. BEAL SHIRLEY W. SMITH MARION LEROY BURTON ALBERT A. STANLEY JAMES INGLIS JAMES H. WADE A Til OOIHT SEiEl 1 % FIFTH SEASON FIRST CONCERT No. CCCXCVIII COMPLETE SERIES SOUSA AND HIS BAND Lieutenant-Commander JOHN PHILIP SOUSA, Conductor HARRY ASKIN, Manager Miss NORA FAUCHALD, Soprano MR. JOHN DOLAN, Comet Miss RACHEL, SENIOR, Violin MR. GEORGE CAREY, Xylophone MONDAY EVENING, OCTOBER 22, 1923, AT EIGHT O'CLOCK HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM 1. RHAPSODY, "THE INDIAN" Orem Among those who have made careful records and researches of the music of the Aborigines of America may be named Thurlow Lieurance, Charles Cadman, and Arthur Farwell. The Indian themes introduced into this rhap­ sody were recorded by Mr. Lieurance and welded into rhapsodic form by the well-known composer, Preston Ware Orem. 2. CORNET SOLO, "CLEOPATRA" Denture MR. JOHN DOLAN 3. PORTRAITS, "AT THE KING'S COURT" Sousa (a) "Her Ladyship, the Countess" (b) "Her Grace, the Duchess" (c) "Her Majesty, the Queen" 4. SOPRANO SOLO, "THE LARK NOW LEAVES HIS WAT'RY NEST" Parker (OVER) PROGRA M—Continued 5. FANTASY, "THE VICTORY BALL" ScJielling This is Mr. Schelling's latest-completed work. The score bears the inscription, "To the memory of an American soldier." The fantasy is based on Alfred Noyes' poem, "The Victory Ball," here­ with reprinted, by permission, from "The Elfin Artist and Other Poems," by Alfred Noyes, copyright 1920, by Frederick A.
    [Show full text]
  • Historical Organ-Recitals
    Hl~ I LLNO I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2011. COPYRIGHT NOTIFICATION In Copyright. Reproduced according to U.S. copyright law USC 17 section 107. Contact dcc(&Iibrary.uiuc.edu for more information. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Preservation Department, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2011 . , . ' . OF THE UN IVERS ITY Of ILLINOIS M-76.8G.. 6G4lI music i OF THE JOSEPH BNNET H ISTORICAL O RG.AN-RECITALS IN FIVEVOLUMES iForerunnersof Bach- 2Joan n Sebastian Bac 4.Roman ero:Schu- 3'Handel, .. Mozart, and- mann, Mendelssoh'n, Liszt' Mlastrsofthe.,XVIIIhA SM ern Csar anderl Ith- centure Fran~k toMax.Reger Pice,each,$.00 Eited, an nnotated by JOSEPH;BONET Organist..ofq t . Eustache aris. -,and of: La So ci ettides Concer ts: du-Consgrvatoire. G. SlCH.JEIRMER.. INC . NEW '.YORK JOSEPH BONNET HISTORICAL ORGAN-RECITALS IN FIVE VOLUMES VOL. V Modern Composers: Cesar Franck to Max Reger Eighteen Pieces for Organ Collected, Edited and Annotated by JOSEPH BONNET Organist of St. Eustache, Paris and of La Sociti des Concerts du Conservatoire G. SCHIRMER INC., NEW YORK Copyright, 1929, by G. Schirmer, Inc. 33517 Printed in the U. -S. A. To MR. LYNNWOOD FARNAM. PREFACE It will always be a matter of regret to the organistic world that Beethoven's genius did not lead him to write for the organ.
    [Show full text]
  • Sousa Cover the ONE.Qxd 24/7/08 2:38 Pm Page 1
    Sousa cover THE ONE.qxd 24/7/08 2:38 pm Page 1 Chan 4535 CHANDOS BRASS FROM MAINE TO OREGON THE WILLIAMS FAIREY BAND PLAYS SOUSA MARCHES CONDUCTED BY MAJOR PETER PARKES CHAN 4535 BOOK.qxd 24/7/08 2:41 pm Page 2 Sousa Marches 1 Semper Fidelis arr. C.W. Hewitt 2:55 2 The Crusader arr. Peter Parkes 3:36 3 El Capitan March 2:33 4 The Invincible Eagle arr. Peter Parkes 3:47 5 King Cotton 2:58 6 Hands across the Sea arr. Peter Parkes 2:57 7 Manhattan Beach arr. C.W. Hewitt 2:25 8 Our Flirtations arr. James Howe 2:43 9 The Picadore arr. Peter Parkes 2:58 10 The Gladiator March 2:58 11 The Free Lance arr. Norman Richardson 4:33 12 The Washington Post arr. C.W. Hewitt 2:46 13 The Beau Ideal arr. Peter Parkes 3:36 14 The High School Cadets arr. John Hartmann 2:45 15 The Fairest of the Fair arr. Norman Richardson 3:50 16 The Thunderer arr. Harry Mortimer 2:57 17 The Occidental arr. Peter Parkes 2:55 18 The Liberty Bell arr. J. Ord Hume 3:49 19 The Corcoran Cadets arr. Peter Parkes 3:15 John Philip Sousa (1854–1932) 20 National Fencibles March arr. Norman Richardson 3:36 Royal College of Music 21 The Black Horse Troop arr. Peter Parkes 3:34 22 The Gridiron Club March arr. James Howe 3:38 23 The Directorate arr. Norman Richardson 2:38 24 The Belle of Chicago arr.
    [Show full text]
  • Louis Vierne's Pièces De Fantaisie, Opp. 51, 53, 54, and 55
    LOUIS VIERNE’S PIÈCES DE FANTAISIE, OPP. 51, 53, 54, AND 55: INFLUENCE FROM CLAUDE DEBUSSY AND STANDARD NINETEENTH-CENTURY PRACTICES Hyun Kyung Lee, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Jesse Eschbach, Major Professor Charles Brown, Related Field Professor Steve Harlos, Committee Member Justin Lavacek, Committee Member Benjamin Brand, Director of Graduate Studies of the College of Music Warren Henry, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Lee, Hyun Kyung. Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices. Doctor of Musical Arts (Performance), May 2016, 47 pp., 2 tables, 43 musical examples, references, 23 titles. The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles.
    [Show full text]