Wilson Poffenberger, Saxophone
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The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia
Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory. -
Le Saxophone: La Voix De La Musique Moderne an Honors
Le Saxophone: La Voix de La Musique Moderne An Honors Thesis by Nathan Bancroft Bogert Dr. George Wolfe Ball State University Muncie, Indiana April 2008 May 3, 2008 Co Abstract This project was designed to display the versatility of the concert saxophone. In order to accomplish this lofty goal, a very diverse selection of repertoire was chosen to reflect the capability of the saxophone to adapt to music of all different styles and time periods. The compositions ranged from the Baroque period to even a new composition written specifically for this occasion (written by BSU School of Music professor Jody Nagel). The recital was given on February 21, 2008 in Sursa Hall on the Ball State University campus. This project includes a recording of the performance; both original and compiled program notes, and an in-depth look into the preparation that went into this project from start to finish. Acknowledgements, I would like to thank Dr. George Wolfe for his continued support of my studies and his expert guidance. Dr. Wolfe has been an incredible mentor and has continued his legacy as a teacher of the highest caliber. I owe a great deal of my success to Dr. Wolfe as he has truly made countless indelible impressions on my individual artistry. I would like to thank Dr. James Ruebel of the Ball State Honors College for his dedication to Ball State University. His knowledge and teaching are invaluable, and his dedication to his students are tings that make him the outstanding educator that he is. I would like to thank the Ball State School of Music faculty for providing me with so many musical opportunities during my time at Ball State University. -
Manuel De Falla's Homenajes for Orchestra Ken Murray
Manuel de Falla's Homenajes for orchestra Ken Murray Manuel de Falla's Homenajes suite for or- accepted the offer hoping that conditions in Ar- chestra was written in Granada in 1938 and given gentina would be more conducive to work than in its first performance in Buenos Aires in 1939 war-tom Spain. So that he could present a new conducted by the composer. It was Falla's first work at these concerts, Falla worked steadily on major work since the Soneto a Co'rdoba for voice the Homenajes suite before leaving for Argentina. and harp (1927) and his first for full orchestra On the arrival of Falla and his sister Maria del since El sombrero de tres picos, first performed in Carmen in Buenos Aires on 18 October 1939 the 1919. In the intervening years Falla worked on suite was still not ~omplete.~After a period of Atldntida (1926-46), the unfinished work which revision and rehearsal, the suite was premiered on he called a scenic cantata. Falla died in 1946 and 18 ~ovember1939 at the Teatro Col6n in Buenos the Homenajes suite remains his last major original Aires. Falla and Maria del Carmen subsequently work. The suite consists of four previously remained in Argentina where Falla died on 14 composed pieces: Fanfare sobre el nombre de November 1946. Arbds (1933); orchestrations of the Homenaje 'Le Three factors may have motivated Falla to tombeau de Claude Debussy' (1920) for solo combine these four Homenajes into an orchestral guitar; Le tombeau de Paul Dukas (1935) for pi- suite. He may have assembled the suite in order to ano; and Pedrelliana (1938) which-wasconceived give a premiere performance in Argentina. -
Alfred Desenclos
FRENCH SAXOPHONE QUARTETS Dubois Pierné Françaix Desenclos Bozza Schmitt Kenari Quartet French Saxophone Quartets Dubois • Pierné • Françaix • Desenclos • Bozza • Schmitt Invented in Paris in 1846 by Belgian-born Adolphe Sax, conductor of the Concerts Colonne series in 1910, Alfred Desenclos (1912-71) had a comparatively late The Andante et Scherzo, composed in 1943, is the saxophone was readily embraced by French conducting the world première of Stravinsky’s ballet The start in music. During his teenage years he had to work to dedicated to the Paris Quartet. This enjoyable piece is composers who were first to champion the instrument Firebird on 25th June 1910 in Paris. support his family, but in his early twenties he studied the divided into two parts. A tenor solo starts the Andante through ensemble and solo compositions. The French Pierné’s style is very French, moving with ease piano at the Conservatory in Roubaix and won the Prix de section and is followed by a gentle chorus with the other tradition, expertly demonstrated on this recording, pays between the light and playful to the more contemplative. Rome in 1942. He composed a large number of works, saxophones. The lyrical quality of the melodic solos homage to the élan, esprit and elegance delivered by this The Introduction et variations sur une ronde populaire which being mostly melodic and harmonic were often continues as the accompaniment becomes busier. The unique and versatile instrument. was composed in 1936 and dedicated to the Marcel Mule overlooked in the more experimental post-war period. second section is fast and lively, with staccato playing and Pierre Max Dubois (1930-95) was a French Quartet. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Download Booklet
THIS PROJECT HAS BEEN MADE POSSIBLE BY DONORS TO THE UNIVERSITY OF ARIZONA COLLEGE OF FINE ARTS DEAN'S FUND FOR EXCELLENCE AND THE UNIVERSITY OF ARIZONA SCHOOL OF MUSIC. RECORDED IN CROWDER HALL AT THE UNIVERSITY OF ARIZONA SCHOOL OF MUSIC ON JANUARY 20-21 AND MAY 21-23, 2007. NOTES BY BRIAN LUCE, WITH THANKS TO LAUREL FAY OF G. SCHIRMER INC. FLUTE: YAMAHA YFL991-H PIANO: STEINWAY MODEL-D SONATA, OP. 14 BY ROBERT MUCZYNSKI, SONATA BY VERNE REYNOLDS AND CANZONE, OP. 38 BY SAMUEL BARBER ARE PUBLISHED BY CARL FISCHER. SONATA BY EDISON DENISOV IS PUBLISHED BY C.F. PETERS. SONATINA IN B MINOR BY GALINA SMIRNOVA IS PUBLISHED BY SOVETSKA MUZYKIA, GOS. MUZYKALNOE IZD-VO. SONATA BY OTAR TAKTAKISHVILI IS PUBLISHED BY ASSOCIATED MUSIC PUBLISHERS. RECORDING AND MIXING ENGINEER: WILEY ROSS ASSISTANT ENGINEER: MARYRUTH CULVER MICROPHONES: DPA 4003, DPA 4004, AND AEA R84 MICROPHONE PREAMP: MILLENA HV-3D 8 AD/DA CONVERSION: LYNX AURORA 16 CONSOLE: YAMAHA 02R96 WORKSTATION: MOTU DIGITAL PERFORMER MONITORS: DUNLAVY SC-4A AND SC-1A ALBANY RECORDS U.S. TROY1059 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2008 ALBANY RECORDS MADE IN THE USA WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. MUSIC OF THE SUPERPOWERS SPUTNIK,SPIES, AND THE SPACE RACE BRIAN LUCE, FLUTE REX WOODS, PIANO WORKS BY ROBERT MUCZYNSKI EDISON DENISOV VERNE REYNOLDS GALINA SMIRNOVA SAMUEL BARBER OTAR TAKTAKISHVILI THE As events and figures of the Cold War are still emerging MUSIC from the shadows, recent revelations are only now begin- ning to show just how turbulent the decade of the 1960s really was. -
FLORENT SCHMITT Mélodies
FLORENT SCHMITT Mélodies Sybille Diethelm soprano Annina Haug mezzo-soprano Nino Aurelio Gmünder tenor René Perler bass-baritone Fabienne Romer piano Edward Rushton piano Florent Schmitt (1870–1958) Chansons à quatre voix, Op. 39 (1905) Quatre Poèmes de Ronsard, Op. 100 (1942) 1. Véhémente [1:22] 19. Si… [2:36] Mélodies 2. Nostalgique [2:01] 20. Privilèges [1:42] 3. Naïve [2:51] 21. Ses deux yeux [2:49] 4. Boréale [1:26] 22. Le soir qu’Amour [3:02] 5. Tendre [4:12] 1–6, 11–13 & 23–25 Sybille Diethelm soprano 6. Marale [1:48] Trois Chants, Op. 98 (1943) Annina Haug mezzo soprano 1–6 & 17–18 23. Elle était venue [5:13] Nino Aurelio Gmünder tenor 1–10 & 19–22 Quatre Lieds, Op. 45 (1912) 24. La citerne des mille René Perler bass-baritone 1–6 & 14–16 7. Où vivre? [1:32] colonnes – Yéré Batan [6:07] Fabienne Romer piano 1–10, 17–18 & 23–25 8. Evocaon [1:38] 25. La tortue et le 1–6, 11–16 & 19–22 9. Fleurs décloses [2:23] lièvre – Fable [4:06] Edward Rushton piano 10. Ils ont tué trois petes filles [2:51] Kérob-Shal, Op. 67 (1924) Total playing me [72:33] 11. Octroi [3:55] 12. Star [2:16] 13. Vendredi XIII [3:38] All world premiere recordings apart Trois Mélodies, Op. 4 (1895) from Op. 98, Op. 100 & Op. 4, No. 2 14. Lied [3:11] 15. Il pleure dans mon coeur [2:57] 16. Fils de la Vierge [2:44] Deux Chansons, Op. -
A Village Romeo and Juliet the Song of the High Hills Irmelin Prelude
110982-83bk Delius 14/6/04 11:00 am Page 8 Also available on Naxos Great Conductors • Beecham ADD 8.110982-83 DELIUS A Village Romeo and Juliet The Song of the High Hills Irmelin Prelude Dowling • Sharp • Ritchie Soames • Bond • Dyer Royal Philharmonic Orchestra Sir Thomas Beecham Naxos Radio (Recorded 1946–1952) Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime • Near-CD Quality www.naxosradio.com 2 CDs 8.110982-83 8 110982-83bk Delius 14/6/04 11:00 am Page 2 Frederick Delius (1862-1934) 5 Koanga: Final Scene 9:07 Royal Philharmonic Orchestra • Sir Thomas Beecham (1879-1961) (Royal Philharmonic Orchestra and Chorus) Recorded on 26th January, 1951 Delians and Beecham enthusiasts will probably annotation, frequently content with just the notes. A Matrix Nos. CAX 11022-3, 11023-2B continue for ever to debate the relative merits of the score of a work by Delius marked by Beecham, First issued on Columbia LX 1502 earlier recordings made by the conductor in the 1930s, however, tells a different story, instantly revealing a mostly with the London Philharmonic Orchestra, in most sympathetically engaged music editor at work. comparison with those of the 1940s and 1950s Pulse, dynamics, phrasing, expressive nuance and All recordings made in Studio 1, Abbey Road, London recorded with handpicked players of the Royal articulation, together with an acute sensitivity to Transfers & Production: David Lennick Philharmonic Orchestra. Following these two major constantly changing orchestral balance, are annotated Digital Noise Reduction: K&A Productions Ltd. periods of activity, the famous EMI stereo remakes with painstaking practical detail to compliment what Original recordings from the collections of David Lennick, Douglas Lloyd and Claude G. -
Musical Contents and Symbolic Interpretation in Sofia Gubaidulina’S “Two Paths: a Dedication to Mary and Martha”
MUSICAL CONTENTS AND SYMBOLIC INTERPRETATION IN SOFIA GUBAIDULINA’S “TWO PATHS: A DEDICATION TO MARY AND MARTHA” DMA DOCUMENT Presented in Partial Fulfillment of Requirements for the degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Young-Mi Lee, M.Ed. ***** The Ohio State University 2007 Document Committee: Approved by Professor Jan Radzynski, Adviser Professor Donald Harris Professor Margarita Mazo Adviser Music Graduate Program ABSTRACT Sofia Gubaidulina has been known for using symbolic devices in her music to express her Christian belief. Two paths: A Dedication to Mary and Martha for two violas and orchestra (1998) effectively represents Gubaidulina’s musical aesthetic which is based on the idea of dichotomy. In the wide stretch over various genres, many pieces reflect her dual worldview that implies an irreconcilable conflict between the holy God and the worldly human. She interprets her vision of contradictory attributes between divinity and mortality, one celestial and the other earthly, by creating and applying musical symbols. Thus, Gubaidulina employs the concept of binary opposition as many of her works involve extreme contrasts, conflicts, and tension. In this document I will analyze the musical content in detail. Then I will examine the symbolic devices in terms of dichotomy, which explains how Gubaidulina uses the same musical metaphor in her works and how she employs and develops the musical devices to represent her religious vision. I expect that those findings of my study would explain the symbolic aspect of the music of Sofia Gubaidulina, music rooted in her spiritual insight. ii Dedicated to my parents iii ACKNOWLEDGMENTS First of all, I praise my Lord who made it possible to complete this document. -
Ck[*Ja 8:00 Pm Concert FM University Admission: $15/Adult, $10/Student/Senior
Saint-Saens, with Canadian pianist, Stdphane Lemelin, has received high praise and is now into its second printing. Her second CD, with Stephane Lemelin as her partner, in music for cello and piano by American composers has recently been released on SRI. Canadian pianist Roger Admiral is a DMUS graduate of the University of Alberta. Currently he teaches electroacoustic music in the Department of Music. Roger's main teachers include Helmut Brauss, Peter Smith and Virginia Blaha. He has participated in masterclasses with Cecile Ousset, Paul Badura-Skoda, Boris Berman and Claude Helffer. Roger is a past recipient of the Johann Strauss Foundation scholarships, enabling him to study Lied-duo performance with Paul Schilawsky and Charles Spencer at the Mozarteum in Salzburg. From 1990 to 1993 Roger was a member of a piano and percussion quartet called The Hammerhead Consort. During that time the Consort was awarded the Sir Ernest MacMillan Memorial Award and a first prize in Oit'JjL the CIBC National Music Competition. Many of Roger's performances as a soloist and chamber musician have been broadcast on the local and national networks of the Canadian Broadcasting Corporation. John McCormlck is a graduate of the University of Alberta where he received his Bachelor of Music degree. He has studied at the Music Academy of the West in Santa Barbara, California, with Forest Clarke(Los Angeles), Frank Epstein (Boston Symphony), and is presently performing with the Edmonton Symphony. Mr McCormick is a founding member of the Kashim Percussion Ensemble, is a frequent William H Street, saxophone clinician throughout Alberta, has taught at MusiCamrose, the Sifton Summerfest, and the Spectra Summer Arts Festival, and is teaching percussion at Alberta College with Conservatory and conducting the Alberta College Percussion Ensemble. -
Steve Carmichael DMA Saxophone Recital
About the Artists Steve Carmichael is a candidate for the Doctor of Musical Arts, Saxophone Performance, with a minor in Jazz Studies at the University Of Wisconsin – Madison where he is a student of Les Thimmig. Formerly he was Director of Jazz Studies at Carthage College, Kenosha, Wisconsin. Having served 20 years as a saxophone and flute instrumentalist with the US Navy Bands, he has performed for audiences in over 40 countries, including France, Italy, China, Russia, Australia, Germany, England, Jakarta, Hong Kong, Japan, Scotland, and many others. He has been awarded two Navy Achievement Medals and a Navy Commendation Medal for his leadership as Big Band and Saxophone Quartet director. He has performed as section and solo saxophonist with the San Diego Steve Carmichael Symphony, Chattanooga Symphony, NHK Tokyo Symphony, Chicago’s Northshore Concert Band, Spectrum Saxophone Quartet, the San Diego Wind Ensemble, The Nelson Riddle Orchestra, and with such artist as Bill Holman, DMA Saxophone Recital Louie Bellson, Bill Watrous, Kim Richmond, Pete Christleib, Dave Leibman, Clark Terry, Mike Vax, Florence Henderson, Harry Connick Sr, and Nancy Wilson. Pianist Joseph Ross is an experienced solo performer, chamber musician and accompanist. He has studied and appeared in concert in the United States, Assisted by Canada and Europe. Ross has held positions at Lawrence University, the University of Wisconsin – Madison and the Hungarian State Opera. Joseph Ross, Piano Mr. Ross holds a MM from the Franz Liszt Academy of Music in Budapest, Hungary and a BM degree at Lawrence University. Mikko Utevsky, Viola Mikko Utevsky is a violist and conductor studying at the UW-Madison. -
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