DOCSLIB.ORG

ROBERT HELPS in Berlin Chamber Music with Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ROBERT HELPS in Berlin Chamber Music with Piano 559696-97 bk Helps US 22/6/11 12:21 Page 20 Also available from Spectrum Concerts Berlin: AMERICAN CLASSICS ROBERT HELPS in Berlin Chamber Music with Piano Spectrum Concerts Berlin ATOS Trio Robert Helps, Piano 8.559199 2 CDs 8.559696-97 20 559696-97 bk Helps US 22/6/11 12:21 Page 2 CD 1 55:36 CD 2 62:13 Also available from Spectrum Concerts Berlin: 1 Postlude for Horn, Violin Trio I for Violin, Cello and Piano (1957) 14:36 and Piano (1964) 8:43 1 I. Mesto 5:37 2 II. Molto marcato 4:18 2 Fantasy for Violin and Piano (1963) 6:57 3 III. Maestoso 4:41 Quartet for Piano, Violin, Trio II for Violin, Cello and Piano (2000) 12:23 Viola and Cello (1997) 17:52 4 I. Duets: Allegro 3:06 5 3 I. Prelude 5:32 II. Horizons: Austere, but intense 6:47 6 4 II. Intermezzo (Flowing – Expressive – Sempre legato) 2:22 III. Toccata frustrata 2:30 5 III. Scherzo 3:19 7 Felix Mendelssohn (1809-47): Six Lieder, Op. 71 6 IV. Postlude 4:38 No. 4: Schilflied (1842-47, arr. Helps 1988) 3:53 7 V. Coda – The Players Gossip (Allegro giocoso) 2:01 8 John Ireland (1879-1962): Love is a Sickness Full of Woes (1921, arr. Helps 1995) 2:59 8 Duo for Cello and Piano (1977) 8:10 9 Francis Poulenc (1899-1963): Quintet for Violin, Cello, Flute, Intermezzo in A flat major (1943) 4:18 Clarinet and Piano (1997) 13:54 Leopold Godowsky (1870-1938): 9 I. Moving 5:54 Studies on Chopin’s Études (1894-1914) 0 II. Relentlessly (without inflection) 2:24 0 Study No. 45 in E major, 1st version after ! III. Dolce e legato 5:37 Nouvelle étude No. 2 in A flat major (1906) 5:52 ! Study No. 12 in G flat major, 1st version after 8.559282 8.559324 Étude Op. 10, No. 5 (1909) 3:06 @ Helps: Shall We Dance (1994) 11:20 # Ireland: From the Darkened Valley (1919) 3:46 Recorded at Siemens Villa, Berlin, Germany*, from 21st to 23rd June, 2010 (CD 1), and on 24th June, 2010 (CD 2 1-6), and live in the Kammermusiksaal der Philharmonie, Berlin, on 5th November, 1997 (CD 2 7-0), and on 6th November, 2000 (CD 2 !-#) *Producer: Christoph Franke • *Engineer: Boris Manych • *Technician: Sarah Hoelscher Generous support for this project was extended by the following: Abby Whiteside Foundation, Aaron Copland Fund for Music, Inc., Nina von Maltzahn, Deutschlandradio, Edward T. Cone Foundation, Friends of Spectrum Concerts Berlin e.v., Spectrum Concerts Berlin-USA, Inc., Susquehanna University, University of the Arts Berlin Publishers: American Composers Edition (CD 1 1-2; CD 2 1-3, 7); American Composers Alliance (CD 1 9-!); Manuscript (CD 1 8; CD 2 8); C. F. Peters, Inc. (CD 1 3-7; CD 2 4-6, @); Max Eschig (CD 2 9); 0 ! # Schlesinger (Robert Lienau) (CD 2 - ); Stainer & Bell (CD 2 ) 8.559355 8.559696-97 2 19 8.559696-97 559696-97 bk Helps US 22/6/11 12:21 Page 18 Robert Helps (1928-2001) Also available from Spectrum Concerts Berlin: Robert Helps is not only the pianist’s pianist restricted to verbal dedications to other composers; with and the Composer’s Composer, but he is the Helps they became short profiles, pieces in which he composer’s pianist and the pianist’s composer, observes the tonal language of his colleagues, takes it for, sinCe his teen-age performanCe of musiC over, varies it in his own way and rethinks it. that was deemed unperformable he has played Naturally Helps’s experience as an interpreter also inComparably Compositions whiCh other influenced his composing. He was completely at ease pianists Could not or would not perform. The with large, but never sprawling forms; but above all he singular pianistic mastery which he brought to was the master of lyrical concentration. As an interpreter these performances moulds his own writing for he knew for how long the tension of a musical arc could piano, from whiCh pianists have disCovered be sustained. The driving force of rhythm and its resourCes of nuanCe, rhythmiC subtlety, opposite, the almost long-forgotten virtue of repose, dynamic control and sound, which endow their persisting in a harmonic atmosphere, are features of his own playing with a new sensitivity and work. Both come together in a sound-world which is not sensibility. His Chamber and orChestral limited to traditional harmonic associations and their Compositions are not pianistiC transCriptions delicate concentration. It springs always from the specific but the fresh realization of the same awareness concept of the work. In Helps’s music instrumental in these non-pianistic media. He long has been virtuosity manifests itself as tonal quality, not as a legend in his time, and he deserves it. superficial acrobatics. One should not hear from the music that it is difficult to play, or take account of how 8.557153 8.572213 Milton Babbitt, 1996 much trouble the interpreter has had with a work, but rather the persuasiveness of the artistic result. Helps The Chamber Music of Robert Helps mastered many ways of expressing himself as a composer but did not limit himself exclusively to any particular one. Robert Helps and Spectrum Concerts Berlin are closely The diversity of his forms of expression finds its inner connected. The history they share is rooted in coherence in a unique personal style. Metaphorically transatlantic cultural tensions and connections, which are speaking, one can recognize his handwriting, regardless Spectrum Concert Berlin’s raison d’être. In a more of whether he writes in ink, pencil or brush. But in every personal sense it is rooted in Helps’s “double life” as a genre it achieves a particular aura. composer and a performing musician. Both kinds of musical professionalism came for him from one source. CD 1 He stressed the importance of live performance and imbued each of them with a special character. The Helps and paradox: Postludium interpreter must have appropriated a work in order to present it to the public with his own stamp upon it. That The recording begins with a typical Helps paradox. was Helps’s artistic creed. Through the constant inner Postludium means Epilogue. Helps placed the eight- collaboration of Helps as both composer and “inventor”, minute piece at the end of his three-movement Serenade and of Helps the interpreter, his œuvre contains works but he sanctioned performances of it as a stand-alone which have become rare of their kind: transcriptions and work without the other movements – the Fantasy for homages. In his transcriptions he brought a new character violin and piano and the Nocturne for string quartet. He 8.559173 to works written by other artists. His “homages” are not starts the Postlude, however, like a prelude: with horn 8.559696-97 18 3 8.559696-97 559696-97 bk Helps US 22/6/11 12:21 Page 4 fanfares which constantly delineate a particular tonal composed originally as an independent piano piece Etüden fügen den ohnehin hohen technischen seine Kammermusikwerke immer wieder auf und area, with gestures of invitation and promise. Violin and called RadianCe but later Helps identified in it the Herausforderungen noch astronomische Schwierig- verliehen ihnen mustergültige, vitale Deutungen. Das piano answer the call. potential which lay in its idiosyncratic sound world. keiten hinzu. Für ihn eröffnete – ähnlich wie für Robert Klavierstück Shall We Dance inspirierte den Maler Alan The violin continues with the final notes of the When he received the commission from the Helps – die souveräne Virtuosität die Möglichkeit, Magee zu einem Bild, das inzwischen fast zum Emblem melody which are integrated into the fanfares. After Koussevitzky Foundation for his piano quartet he chose Werke des bekannten Repertoires in gesteigerter, für Spectrum Concerts Berlin wurde. Mit gutem Grund, playing an accompanying rôle the piano emerges ever Radiance as the starting-point for his new work. intensivierter Klanglichkeit erfahrbar zu machen. denn auch Helps’ Klavierstück wirkt wie ein more strongly into the foreground. The piece ends like an Passages from it are echoed in the middle of the second Godowsky’s Kompositionen bleiben im Schatten seiner konzentrierter Ausdruck dessen, was das Bestreben von epilogue. It gets quieter, dies away and becomes more movement in which the strings, as an independent pianistischen Leistungen. Helps erinnert an den Spectrum Concerts Berlin war und bleibt: der distant as the three parts assume the character of element, are first introduced over the piano. The third Komponisten Leopold Godowsky und den Interpreten transatlantische Brückenschlag unabhängig von reminiscences. The horn part vanishes into the ether, movement, with its simple beginning in the strings, Godowsky, in dem er zwei von desen Chopin politischen Konjunkturen und Trübungen. something which not every virtuoso player of this appears at first like a transformation of, and antithesis to, Bearbeitungen aufführte. Shall We Dance könnte man als eine Hommage an instrument achieves, the violin plays flautando while the the Radiance idea. The harsh entry of the piano, Man könnte in Robert Helps einen Seelen- Wien, genauer: an die Zweite Wiener Schule, den piano settles on those limpid textures which distinguish however, which silences the strings, turns the Scherzo verwandten von John Ireland sehen. Gewiss faszinierte Komponistenkreis um Arnold Schönberg und Alban Helps’s style. Somewhere in the middle, after the into a scene of conflict. A solution is suggested at the end ihn die schöne Musik Irelands, die er oft gespielt hat; Berg, bezeichnen. Fast eine Viertelstunde Musik zaubert virtuosic and dynamic climax of the violin and the piano, when the strings and piano come together in a unified überdies hat er einige seiner Lieder für Klavier allein Helps aus einer knappen Idee, einem kurzen the horn follows with its big solo, devotes itself more to sound which contains clear references to the Prelude.
Load more

Recommended publications
  • Download Booklet
    559199 bk Helps US 12/01/2004 11:54 am Page 8 Robert HELPS AMERICAN CLASSICS (1928-2001) ROBERT HELPS Shall We Dance Piano Quartet • Postlude • Nocturne Spectrum Concerts Berlin 8.559199 8 559199 bk Helps US 12/01/2004 11:54 am Page 2 Robert Helps (1928-2001) ROBERT HELPS (1928-2001) Shall We Dance • Piano Quartet • Postlude • Nocturne • The Darkened Valley (John Ireland) 1 Shall We Dance for Piano (1994) 11:09 Robert Helps was Professor of Music at the University of Minneapolis, and elsewhere. His later concerts included Piano Quartet for Piano, Violin, Viola and Cello (1997) 25:55 South Florida, Tampa, and the San Francisco memorial solo recitals of the music of renowned Conservatory of Music. He was a recipient of awards in American composer Roger Sessions at both Harvard and 2 I. Prelude 10:24 composition from the National Endowment for the Arts, Princeton Universities, an all-Ravel recital at Harvard, 3 II. Intermezzo 2:24 the Guggenheim, Ford, and many other foundations, and and a solo recital in Town Hall, NY. His final of a 1976 Academy Award from the Academy of Arts compositions include Eventually the Carousel Begins, for 4 III. Scherzo 3:02 and Letters. His orchestral piece Adagio for Orchestra, two pianos, A Mixture of Time for guitar and piano, which 5 IV. Postlude 8:12 which later became the middle movement of his had its première in San Francisco in June 1990 by Adam 6 V. Coda – The Players Gossip 1:53 Symphony No. 1, won a Fromm Foundation award and Holzman and the composer, The Altered Landscape was premièred by Leopold Stokowski and the Symphony (1992) for organ solo and Shall We Dance (1994) for 7 Postlude for Horn, Violin and Piano (1964) 9:11 of the Air (formerly the NBC Symphony) at the piano solo, Piano Trio No.
    [Show full text]
  • New Chamber & Solo Music
    NWCR649 New Chamber & Solo Music David Del Tredici, Robert Helps, Jan Radzynski, Tison Street 7. III - Allegro Minacciando (…Diabolique) ......... (1:25) 8. IV - Largo ............................................................ (4:37) David Del Tredici, piano Jan Radzynski 9. String Quartet (1978) ........................................... (12:00) The Aviv String Quartet: Hagai Shaham, violin; John McGross, violin; Yariv Aloni, viola; Zvi Plesser, cello 10. Canto (1981) ....................................................... (10:18) Arnon Erez, piano Five Duets (1982) 11. I – Risoluto .......................................................... (1:25) 12. II – Allegro .......................................................... (1:05) 13. III – Allegretto burlesco ...................................... (1:19) 14. IV – Remembering Sepharad .............................. (2:51) 15. V – Agitato .......................................................... (2:25) Maya Beiser, Zvi Plesser, cellos Tison Street Robert Helps 16. Trio (1963) .......................................................... (9:38) 1. Hommage à Fauré (1972) ................................... (3:56) Members of Spectrum Ensemble Berlin: Per Sporrong, violin; Brett Dean, viola; Frank Dodge, cello 2. Hommage à Rachmaninov (1972) ....................... (2:17) Robert Helps 3. Hommage à Ravel (1972) ................................... (4:30) Robert Helps, piano 17. Nocturne (1960) .................................................. (7:42) Members of Spectrum Ensemble Berlin Mi-Kyung
    [Show full text]
  • John Mccarthy Oral History
    John McCarthy Oral History San Francisco Conservatory of Music Library & Archives San Francisco Conservatory of Music Library & Archives 50 Oak Street San Francisco, CA 94102 Interview conducted August 28, 2015 Tessa Updike, Interviewer San Francisco Conservatory of Music Library & Archives Oral History Project The Conservatory’s Oral History Project has the goal of seeking out and collecting memories of historical significance to the Conservatory through recorded interviews with members of the Conservatory's community, which will then be preserved, transcribed, and made available to the public. Among the narrators will be former administrators, faculty members, trustees, alumni, and family of former Conservatory luminaries. Through this diverse group, we will explore the growth and expansion of the Conservatory, including its departments, organization, finances and curriculum. We will capture personal memories before they are lost, fill in gaps in our understanding of the Conservatory's history, and will uncover how the Conservatory helped to shape San Francisco's musical culture through the past century. John McCarthy Interview This interview was conducted at the San Francisco Conservatory of Music on Friday, August 28, 2015 by Tessa Updike. Tessa Updike Tessa Updike is the archivist for the San Francisco Conservatory of Music. Tessa holds a B.A. in visual arts and has her Masters in Library and Information Science with a concentration in Archives Management from Simmons College in Boston. Previously she has worked for the Harvard University Botany Libraries and Archives and the Bancroft Library at the University of California, Berkeley. Use and Permissions This manuscript is made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved for the San Francisco Conservatory of Music.
    [Show full text]
  • 3P14 Program Book
    3P 14 Third Practice Electroacoustic Music Festival PROGRAM CONTENTS Welcome ..........................................................................................2 Credits .............................................................................................3 Schedule Overview ..........................................................................5 Ensemble-in-Residence .................................................................6 Featured Artists ..............................................................................8 Installation ....................................................................................11 Concert One ..................................................................................12 Concert Two ..................................................................................20 Concert Three ...............................................................................26 Concert Four .................................................................................33 1 WELCOME Welcome to the 2014 Third Practice Electroacoustic Music Festival at the University of Richmond. Now in its fourteenth year, the festival continues to present a wide variety of music with technology; this year’s festival includes works for traditional instruments, no-input mixer, pipa, fixed media, live electronics, and motion sensors. We are delighted to present eighth blackbird as ensemble-in-residence and special guests Duo Klang, violinist Sarah Plum, and flutist Jane Rigler. Festivals are collaborative
    [Show full text]
  • A Performer's Interpretation of David Del Tredici's Chana's Story
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2011 A performer's interpretation of David Del Tredici's Chana's Story: a cycle of six songs on texts of Chana Bloch Shelly Lenn Buchanan-Garlotte Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Buchanan-Garlotte, Shelly Lenn, "A performer's interpretation of David Del Tredici's Chana's Story: a cycle of six songs on texts of Chana Bloch" (2011). LSU Major Papers. 34. https://digitalcommons.lsu.edu/gradschool_majorpapers/34 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A PERFORMER’S INTERPRETATION OF DAVID DEL TREDICI’S CHANA’S STORY: A CYCLE OF SIX SONGS ON TEXTS OF CHANA BLOCH A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By Shelly Lenn Buchanan-Garlotte B.M., Louisiana State University, 1990 M.M., Indiana University, 1997 December 2011 ACKNOWLEDGMENTS In the past, when asked whether I planned to pursue my doctorate, my first reaction was typically some recollection of observing my mother go through this process. My unwavering response was always, “Never!” Since beginning this degree, however, I have amended my response.
    [Show full text]
  • Defending Feeling and Time 30 Jahre Spectrum Concerts Berlin
    30. SAISON 2018 FRANK SUMNER DODGE – GRÜNDER UND KÜNSTLERISCHER LEITER Defending Feeling and Time VON JOHN H. BECK SEITE 30 Jahre Spectrum Concerts Berlin EINE BILANZ VON HABAKUK TRABER SEITE Spectrums Arbeit im Kosovo 2012 – 2018 SEITE Tipp: Bei Vorlage dieser Anzeige und Ihres Parktickets für den gleichen Tag erhalten Sie 30. SAISON 2018 FRANK SUMNER DODGE GRÜNDER UND KÜNSTLERISCHER LEITER 10% Rabatt auf Ihre Restaurant- oder Barrechnung. BORIS BROVTSYN CLARA-JUMI KANG ALEXANDER SITKOVETSKY Violine MAXIM RYSANOV AMIHAI GROSZ GARETH LUBBE Viola TORLEIF THEDÉEN JENS PETER MAINTZ Vor dem Konzert… GARY HOFFMAN Violoncello …ist nach dem Konzert! THORSTEN JOHANNS Ob zum Dinner im Restaurant M oder auf einen Drink in der „Le Bar“ – bei uns © Kelli Dailey – Fotolia.com Klarinette ergänzen Sie Ihren Konzertabend mit geselligen und kulinarischen Momenten, nur fünf Minuten Fußweg von der Philharmonie entfernt. ROBERT LEVIN Restaurant M YA-FEI CHUANG Regional – authentisch – mmh... Schnitzelliebhaber aufgepasst: ELDAR NEBOLSIN Erleben Sie einen Gaumenschmaus in Jeden Freitag ab 16 Uhr ist DENIS KOZHUKHIN gemütlicher Atmosphäre. Auf unserer Schnitzeltag! Ob klassisches Speisekarte finden Sie typische Gerichte „Wiener Schnitzel“ oder Schnitzel VADYM KHOLODENKO aus Berlin und Brandenburg, zubereitet „Rumpsteak“ – Ihr Lieblings- Klavier aus regionalen Produkten. schnitzel ist bestimmt dabei! „Le Bar“ – Cocktails, Snacks und mehr Nachmittags Kaffee, Tee und Kuchen. Abends Cocktails, Longdrinks und Premium Spirituosen. Wechselnde Bar-Specials. Sky
    [Show full text]
  • Guide to the Robert Helps Collection, 1928-2001 Descriptive Summary
    Guide to the Robert Helps collection, 1928-2001 Descriptive Summary Title : Robert Helps collection Creator: Helps, Robert (1928-2001) Dates : 1928-2001 ID Number : H58 Size: 94 boxes Abstract: This collection consists of the papers of compose Robert Helps. Language(s): English Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Helps, Robert, 1928-2001 Acquisition Donation. Information: Access Conditions: The contents of this collection may be subject to copyright. Visit the United States Copyright Office's Website at http://www.copyright.gov/for more information. There is one box containing restricted documents (Series 1: Biographical Materials; Sub-series 5: Restricted documents). Use Conditions: Restrictions on reproduction of published scores and audio recordings due to copyright. Processing processed History: Preferred Citation: Robert Helps Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Biographical Note Robert Helps (1928-2001) was an American pianist and composer. He studied under Abby Whiteside, piano, and Roger Sessions, composition. Helps served as Professor of Piano at the New England Conservatory, the San Francisco Conservatory, Princeton University, Stanford University, the University of California at Berkeley, and the Manhattan School of Music. He was Professor of Music at the University of South Florida in Tampa, Florida from 1980 until his death at 72 in 2001. He performed internationally as a soloist and chamber musician. He composed piano, chamber, and symphonic works. Most of them were published by C. F. Peters, Associated Music Publishers, E.
    [Show full text]
  • December 14, 1997 2250Th Concert
    The Fifty-sixth Season of 1) (a piano solo movement)...Radiance, but of a subdued sort; of the work appears in the Andante movement, where a soaring passage 2) the most ‘human’ movement - perhaps Intimacy, again of a sub­ of Wagnerian bliss is left in a cadence that is unresolved in C minor. THE WILLIAM NELSON CROMWELL and dued sort; - Program notes by Elmer Booze 3) at last some Speed, falling into an ABA shape, in this case, de­ F. LAMMOT BELIN CONCERTS fined as such mostly by soft, LOUD, soft; Concerts at The National Gallery of Art 4) the return of movement no. 1, the piano being joined by the Under the Direction of George Manos other three instruments, thus altering somewhat the percep­ National Gallery of Art tion; December 1997 5) a good-natured finale. The title of the movement, Coda - the 21 Columbia Collegiate Chorale Christmas concert Players Gossip, pretty well describes one way of looking at it.” James Bingham, conductor Robert Helps, American pianist and teacher, studied piano in New 28 Gottlieb 'WaWisch, pianist Beethoven: Sonata, Opus 81a York with Abby Whiteside and composition with Roger Sessions Debussy: Estampes (1943-1956). In addition he took courses at Columbia University Chopin: Sonata No. 2 (1947-1949) and the University of California at Berkeley (1949— 1951). In 1966 Helps received a Guggenheim fellowship. He has taught at Princeton University, the San Francisco Conservatory of January 1998 4 National Gallery Orchestra Gala Viennese New Music, the University of California at Berkeley, the New England George Manos, conductor Year concert Conservatory of Music in Boston, the Manhattan School of Music, and since 1978 at the University of Southern Florida.
    [Show full text]
  • A Conductor's Guide to David Del Tredici's in Wartime
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 A CONDUCTOR’S GUIDE TO DAVID DEL TREDICI’S IN WARTIME Joe David Moore University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Moore, Joe David, "A CONDUCTOR’S GUIDE TO DAVID DEL TREDICI’S IN WARTIME" (2013). Theses and Dissertations--Music. 14. https://uknowledge.uky.edu/music_etds/14 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work.
    [Show full text]
  • The Group for Contemporary Music Harvey Sollberger and Charles Wuorinen, Directors Concerts and Repertoire 1962
    The Group for Contemporary Music Harvey Sollberger and Charles Wuorinen, Directors Concerts and Repertoire 1962 - lst Season 1. October 22, 1962, McMillin Theater, Columbia University Thomas Morley Christes Crosse (1597) Peter Westergaard Quartet for violin, vibraphone, clarinet, and cello( 1960) Peter Westergaard Trio for flute, cello, and piano (1962) Ritornellos and Variations Karlheinz Stockhausen Kreuzspiel (1951) Otto Luening Trio for flute, cello, and piano (1962) Ralph.Shapey Chamber Symphony (1962) 2. November 19, 1962, McMillin Theater Music from the Mensural Codex of Nikolaus Apel (late 15th century) George Perle Monody No. 1 for flute solo (1960) Ernst Krenek Flotenstuck Neunphasig, Part B (1959) Roman Haubenstock-Ramati Interpolation, mobile for flute (1959) Edward Staempfli Ornaments (1960) Pierre Boulez Sonatine (1946) 3. December 17, 1962, McMillin Theater Charles Wuorinen Bearbeitungen uber das Liederbuch (1477-88;1962) Raoul Pleskow Movement for Flute, Cello, and Piano (1962) Isaac Nemiroff Variations to a Theme (1958) Roger Reynolds Abrupt Antic Acceptance Acquaintances Donald Martino Cinque Frammenti for Oboe and String Bass (1961) Igor Stravinsky String Quartet Music (1959 & 1914) 4. January 14, 1963, McMillin Theater Matheus de Perusio Se je me plaing & Belle sans Per (ca. 1400) Anthonello de Caserta Amour m'a le cuer mis Ursula Mamlok Composition for Solo Cello (1962) Edgard Varese Density 21.5 for Flute Solo (1938, 1946) Harvey Sollberger Trio (1961) Olivier Messiaen Le Merle Noir (1952) Arnold Schoenberg Sechs Kleine Klavierstuecke, Op.19 (1913) Guillaume Dufay Vergine Bella (ca. 1425) Anton Webern Drei Kleine Stuecke, Op. 11 (1914) Anonymous ca. 1500 Jam Insignis, Jam Fulait 5. February 18. 1963, McMillin Theater Perotin? Benediciamus Domino (13th century) Matheus de Perusio Puisque je Sui (ca.
    [Show full text]
  • Robert Helps New Music for the Piano
    NWCR874 Robert Helps New Music for the Piano Paul A. Pisk 9. Nocturnal Interlude ............................................. (3:51) Mel Powell 10. Etude (1957) ........................................................ (1:46) Morton Gould 11. Rag-Blues-Rag .................................................... (4:25) Alan Hovhaness 12. Allegro on a Pakistani Lute Tune, Op. 104, No. 6 (1952) .......................................... (2:02) George Perle 13. Six Preludes, Op. 20B (1946) .............................. (4:20) Norman Cazden 14. Sonata, Op. 53, No. 3 (1950) ............................... (7:41) Joseph Prostakoff 15. Two Bagatelles [[d.?]] ......................................... (3:41) I. Adagio molto e espressivo II. Con moto Peggy Glanville-Hicks 16. Prelude for a Pensive Pupil (1963) ..................... (2:28) Ernst Bacon Ingolf Dahl 17. The Pig Town Fling [[d.?]] .................................. (3:17) 1. Fanfares (1958) .................................................. (2:50) Robert Helps Kent Kennan 18. Image (1957) ....................................................... (3:01) 2. Two Preludes (1951) ........................................... (3:20) Mark Brunswick I. Rather freely; with a feeling of yearning and unrest 19. Six Bagatelles (1958) .......................................... (4:40) II. Boldly, with vigor I. Andante Samuel Adler II. Allegro non troppo 3. Capriccio (1954) ................................................. (1:14) III. Lento Hall Overton IV. Allegro vivace 4. Polarities No. 1 (1958) ......................................
    [Show full text]
  • Download an App to Do Looping
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Extended From What?: Tracing the Construction, Flexible Meaning, and Cultural Discourses of "Extended Vocal Techniques" Permalink https://escholarship.org/uc/item/6qn119zh Author Noble, Charissa Joann Publication Date 2019 License https://creativecommons.org/licenses/by-nd/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42
    [Show full text]