ITF Program Michael Dease.Qxp Layout 1 6/5/19 10:12 AM Page 1

Total Page:16

File Type:pdf, Size:1020Kb

ITF Program Michael Dease.Qxp Layout 1 6/5/19 10:12 AM Page 1 PROGRAM seshires.com INTRODUCING THE TWIN VALVE Made you look. Twice. CONTENTS Welcome . 3 ITF Venues Map . 9 Officers, Boards and Advisors . 11 Exhibitors and Exhibit Hours . 11 ITF Schedule . 12 ITF Composers Workshop . 48 Youth ITF Workshop . 50 About Solo and Ensemble Competitions . 53 2019 Student Workers . 55 Advertiser Index . 56 WELCOME WELCOME Chris Van Hof, Host AA native of Grand Rapids, Dr. Karen Marston, Michigan, Chris Van Hof is the Festival Director Assistant Professor of Trombone Karen joined the ITF as Director at Ball State University, and in 2017, having previously Host of the 2019 International served as grant-writer for the Trombone Festival. An S. E. Shires organization. She is also on the Performing Artist, he is trombonist faculty at Mt San Antonio College in the Emerald Brass, and since in Walnut, CA, where she works relocating to Indiana in 2017 is a with brass players in both applied regular extra/substitute performer and chamber settings, and teaches with the Indianapolis Symphony academic music courses. Previously, she was an applied Orchestra and the Kalamazoo Symphony Orchestra, as well teacher and ensemble director at San Jacinto College in as jazz and commercial ensembles in the Indianapolis metro Pasadena, TX. Karen holds degrees in trombone performance area. Chris has spent time equally as a symphonic player from the University of North Texas and Rice University, with the orchestras of Rochester (NY), Madison (WI), Fort and both a masters and doctorate in music education from Collins (CO), and Cheyenne (WY); and as a section member Columbia University. Her teachers include Jan Kagarice, of commercial horn sections, and jazz big bands. Along with Dr. Vern Kagarice, Dr. Royce Lumpkin, and David Waters. bass trombonist Evan Conroy, he performs in the duo Make More Noise, which gave four world premieres in 2018 at As founder and Artistic Director of Omni Brass, a cutting- the American Trombone Workshop and the International edge, multi style brass and percussion ensemble, Karen has Trombone Festival. Chris has also been an invited artist/faculty performed and taught at venues and festivals around the member at Rekkenze Brass Week in Bavaria (2018) and the world, including Cal State Los Angeles, the University of Texas Taller de Trombones Panamá (2017). at Tyler, Baylor University, Lamar University, Texas A&M University Corpus Christi, Texas Christian University, San He has recently been invited to perform David Jacinto College, Brazosport College, the Houston Symphony Biedenbender’s trombone concerto “Their Eyes Are Fireflies” League, Menil Fest (Houston), Café Corotu (Panama City, with the Eastman Wind Ensemble in January of 2020. And he Panama), and numerous middle and high school programs will release his first national label recording in Spring of 2020 across the country. Karen has also performed with the on MSR Classics: “Danzón” is a record comprised completely Houston Symphony, the San Antonio Symphony, the Ebony of Chris’ arrangements for brass quintet (music by Ravel, Opera Guild, Orchestra X (Houston), the American Radio Márquez, Piazzolla, Fauré, Albéniz, and Stravinsky), recorded Chamber Orchestra, the Composers Orchestra of Houston, by the Emerald Brass with Chris performing on trombone. and the Resonance Brass Choir, and was featured on the With over ten years of experience in higher education Chris West Coast tour of Alliance Brass. has a deep background in teaching and is passionate about his As a researcher, Karen has completed an extensive work at Ball State. He trains his students to be adept at all styles dissertation project focusing on the causes and pedagogical of music on the trombone, to establish clear career objectives, interventions relevant to focal task specific embouchure to explore entrepreneurial and alternative paths of employment dystonia, and her work has twice been published in the in the arts, and to focus on a strong process to accomplish all Journal of the International Trombone Association. She has those goals. He has presented clinics for the Indiana All-State been active in the ITF for many years, having presented or Orchestra, Colorado Music Educators Association Conference, performed at numerous Festivals, the first of which was a and BIGXII Trombone Conference, he has also judged for the concert with the University of North Texas Trombone Octet American Trombone Workshop and the Indiana All-State Solo in 1994, when the late Vern Kagarice lead that ensemble Festival. Chris promotes a keen attention to teaching style and to a winning recording in the Remington Competition. fluency among his students at BSU. Chris studied with Mark Karen has also received performance and pedagogy grants Hetzler for his Doctorate (UW-Madison, DMA), Mark Kellogg from the San Jacinto Foundation, the Brown Foundation, for his Master’s (Eastman School of Music, MM), and Steve the American Chamber Music Players of New York, and Wolfinbarger for his Bachelor’s (Western Michigan University, the Houston Arts Alliance. BM Music Education). July 10–13, 2019 | Ball State University 3 WELCOME Dr. Justin Cook, Dr. Jonathan Allen, Festival Manager Festival Program Justin Cook is the Assistant Coordinator Professor of Trombone at the Dr. Jonathan Sayre Allen University of Central Arkansas joined the faculty at the where he teaches studio trombone, University of Iowa in trombone choir, brass ensembles, 2011 where he serves as and low brass methods. Prior Lecturer of Trombone. to his appointment at UCA, Dr. Allen holds degrees Dr. Cook was on the faculties of from The University of Tarleton State University, Eastfield Iowa, University of Utah, and the University of Northern College, and the University of Colorado. His teachers have included Edwin “Buddy” Baker, North Texas. In addition to his college teaching, Justin has Dr. Nathaniel Wickham, Larry Zalkind, Dr. Donn Schaefer, been on staff at the Blue Lake Fine Arts Camp in Twin Lake, and Dr. David Gier. Michigan, Phantom Regiment Drum and Bugle Corps in Allen began his professional career as a member of the Rockford, Illinois, and is currently the Festival Manager for Greeley Philharmonic Orchestra. As a member of the Orchestra the International Trombone Festival. at Temple Square (UT), he appears on weekly international Justin Cook holds a Bachelor of Music Education and television and radio broadcasts with the Mormon Tabernacle Bachelor of Trombone Performance degree from Northern Choir, in addition to being heard on several audio and video Arizona University, a Master of Music in Instrumental recordings with the ensemble. He has performed with the Utah Conducting from Northern Arizona University, and a Doctor Symphony, Orchestra Iowa, Quad-City Symphony, Boulder of Musical Arts degree from the University of North Texas. Philharmonic, Cheyenne Symphony, and Ft. Collins Symphony. While at the University of North Texas, Justin performed as a In addition, he can be heard on several film soundtracks and member of the internationally acclaimed North Texas Wind commercial recordings. He has performed at the International Symphony, and can be heard on the GIA Windworks series Trombone Festival, the Eastern Trombone Workshop, and “Teaching Music Through Performance in Band”. Recently, the Southeast Trombone Symposium as a member of the Justin has performed William Bolcom’s Trombone Concerto Professor’s Choir. with the UCA Wind Ensemble and Richard Peaslee’s Arrows Under his baton, the University of Iowa Trombone Choir of Time with the Little Rock Wind Symphony. He is a member performed at the 2013 International Trombone Festival in of The Pinnacle Brass Quintet, the resident brass quintet at Columbus, Georgia. His students have received scholarships the University of Central Arkansas. As a freelancer, and graduate assistantships to attend many of the top music Dr. Cook has performed with the Arkansas Symphony, schools in the United States, including the New England Lone Star Wind Orchestra, Irving Symphony, Las Colinas Conservatory, Eastman School of Music, University of Miami, Symphony, Fort Smith Symphony, Lyric Stage Musical Mannes College, Indiana University, and Western Michigan. Productions at the Irving Arts Center, Dallas Summer Students have won positions in prestigious ensembles, such as Musicals, and The Arkansas Repertory Theatre. the Grammy All-Star Band, Next-Generation Jazz Orchestra, Equally at home as an educator and performer, the Brubeck Jazz Colony, and Jazz Band of America. Jonathan UCA trombone studio has seen tremendous success since Allen was host of the 2018 International Trombone Festival Dr. Cook’s arrival. The studio has tripled in size and now and now serves as ITF Festival Program Manager. features two trombone choirs: The BearBones Trombone Choir, and the Natural Slides Trombone Ensemble. The trombone choirs have performed at the American Trombone Workshop in Washington D.C., the Big 12 Trombone Conference at Texas Tech University, the Arkansas Music Educator’s Conference, the Texas State Trombone Symposium and the 2018 International Trombone Festival at the University of Iowa. Dr. Cook’s students have graduated and been accepted to some of the nation’s most prestigious universities. 4 International Trombone Festival 2019 International Trombone Festival Ball State University, Muncie, Indiana | July 10-13, 2019 Debra Scott, Andrea Van Hof, Director of Composers Director of Youth Workshop ITF Workshop Dr. Deb Scott is the professor of Andrea Van Hof is a ten-year trombone and bass trombone at veteran public school music Stephen F. Austin State University. teach and band director, as She is a performing artist for well as an active performer on Rath Trombones and is active flute and alto saxophone. Van as a performer and clinician. Hof received her Bachelor’s of Her solo CD, Playing Favorites, Music Education from Western was released in 2017 by Navona Michigan University and her Records. She has been a featured soloist and faculty member Master’s in Educational Leadership with Principal Licensure in Santa Fe, Argentina at Trombonanza, and her CD has been from Colorado State University.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
    Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker.
    [Show full text]
  • Perspectives on the American Concert March in Music Education Robert Clark
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • Llegó La Murga: Una Tradición Carnavalesca Del Uruguay
    Llegó la murga: una tradición carnavalesca del Uruguay HÉCTOR SOMMARUGA* Resumen: Se analiza el fenómeno cultural de la murga, género musical cuyo ori- gen se remonta a la chirigota española y que evolucionó hasta conformar una las tradiciones más ricas del carnaval de Montevideo, en Uruguay. Instrumentos típicos, intervenciones dramáticas y letras de canciones en las que permea la crí- tica política y social constituyen la esencia de esta fiesta que se realiza cada año entre los meses de febrero y marzo y que durante cuarenta días alegra las calles octubre-diciembre de 2014 pp. 69-72 ISSN 1405 6313 y barrios de una de las ciudades más pequeñas del planeta. 84 MENA L O Palabras clave: música vocal; compositores; músicos; artistas escénicos; C A Montevideo L The murga has come: a carnival tradition from Uruguay Abstract: This paper analyzes the murga’s cultural phenomenon which is a musical genre dating back to the Spanish chirigota and which evolved to beco- me one of the richest traditions of Montevideo’s Carnival, in Uruguay. Traditio- nal instruments, drama plays and songs' lyrics permeated by social and political criticism, constitute the essence of this festivity celebrated year by year between February and March, livening up the streets and neighborhoods of one of the *Escritor. smallest cities on the planet. Correo e: [email protected] Recibido: 23 de septiembre de 2013 Key words: vocal music; composers; musicians; performers; Montevideo Aceptado: 7 de marzo de 2014 69 El invierno va pasando lento, apuñalando una y por hoy, asisten miles de personas. Según cálculos, otra vez los retoños primaverales con ráfagas de un el público de estas fiestas es mucho mayor que el frío tajante, salpicado de tormentas.
    [Show full text]
  • Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
    SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal
    [Show full text]
  • Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
    SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo­ sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion.
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • Concerto Dos Clérigos
    CONCERTO DOS CLÉRIGOS 0 1 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JEAN – BAPTISTE LULLY ( 1632-1687) Marche pour la cérémonie des Turcs Ópera “Armide” : Ouverture, Marche, Gavotta GIUSEPPE SAMMARTINI (1695- 1750) Sonata op. 2 n. 4 JAN PIETERSZOON SWEELINCK (1562-1621) Ballo del Granduca JOHANN SEBASTIAN BACH (1685 – 1750) Concerto nº1 em Sol Maior de Antonio Vivaldi O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 2 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JOHANN SEBASTIAN BACH ( 1685 – 1750) Concerto nº 7 em Fá M BWV 978 de Antonio Vivaldi Allegro Largo Allegro Concerto nº 5 em Dó M, BWV 976 de Antonio Vivaldi Allegro Largo Allegro O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 3 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JEAN-PHILIPPE RAMEAU ( 1683-1764) Les Sauvages Le tamborin JOHANN SEBASTIAN BACH ( 1685 – 1750) Preludio e fuga n5 BWV 850 Invenção nº 1 BWV 772 nº4 BWV 775 nº8 BWV 779 sinfonia nº7 BWV 793 ALESSANDRO MARCELLO ( 1673 – 1747) Concerto em Ré menor O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 4 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A ANTÓNIO SOLER (1729- 1783) Sonata nº 1 Lá Maior Sonata nº9 Dó Maior Sonata nº 54 Dó Maior “De Clarines” JOHANN PACHELBEL (1653- 1706) Chaconne em Fá menor JOHANN SEBASTIAN BACH ( 1685 –
    [Show full text]
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]