Volume 66, Number 12 (December 1948) James Francis Cooke

Total Page:16

File Type:pdf, Size:1020Kb

Volume 66, Number 12 (December 1948) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1948 Volume 66, Number 12 (December 1948) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 66, Number 12 (December 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/67 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. V „ " ' premiere on November 4, when it was THE AMERICAN MUSICOLOGICAL SO- presented by the Albuquerque Civic Sym- Kurt Fred- CIETY has issued a Journal which, as phony Orchestra, directed by to be opus was commissioned by the Number 1 of Volume 1, is planned erick. The Foundation. A men’s a regular project of the Society. With an Koussevitzky Music Narrator are called for in Recent Editorial Board made up of distinguished chorus and a premiere perform- figures in their field, headed by Oliver the work and in the head of the Strunk as Editor-in-Chief, the Journal ance. Dr. Sherman Smith, the University presents articles and reviews, together Chemistry Department of narrator. with reports and announcements of spe- of New Mexico, was the members of the Publications cial interest not only to Society, but to all those interested in musicology. The Choir Invisible THE PITTSBURGH L£ FRANZ LEHAR, world- T’s SYMPHONY, which is famous Viennese com- p this season lAY operating poser, whose operetta, d conductor °bts under a guest “The Merry Widow,” ulJ y arrangement, has an- r, ise n headed a long list of that Vladimir nounced successful musical stage duets aver s a the asso- ^tily , re d Bakaleinikoff, works, died October 24 r ‘ Sa f,l'0 Sn?d ciate conductor of the U]p _ ' rk.; . country home at c^Id, Ptj\ at his grad is to be its e Ca ° orchestra, Ischl, Austria, He and - f the Bad **usT* lnte Vladimir next as, nd musical adviser Mr. seventy-eight years e , Bakaleinikoff the va- of Music, University of Rochester. was Franz season. The opening ing necessary arrangements with LehAr conduct a series of of age and was one of highlight of the season de Ribaupierre will ro7>W‘ 'o* concert was conducted by Artur Rodzin- rious unions. A outlive the copy- "4*0 master classes for advanced violin stu- the few composers to conductors who will ap- will be a performance of “Salome,” in became ski; and other stay in this country. right on the works for which he '^1IKQP debut dents, during his es ° he de Sabata, Leonard Bern- which Fritz Reiner will make his nc Pu. pear are Victor he has been head of the famous. The son of a military bandmas- °°nle- ^.- Munch, and conductor with the Metropolitan. For some years stein, Paul Paray, Charles as a master Lehar was raised in a musical at- en Violin Department and teacher of ter, Pra, Erich Leinsdorf. Geneva mosphere, and following his graduation THE MUSIC TEACHERS’ ASSOCIATION classes in violin playing in the ,cy ^gal,orie from the Prague Conservatory, joined his ’ a adopted Conservatory, Geneva, Switzerland. sre< for of California has unanimously 7 PHI MU ALPHA SINEONIA Men’s Na- father’s band as assistant conductor. complete courses of study in bus Po Fraternity will hold its plans for encouragement he turned aher tional Music With Dvorak’s ’ re tn, for its entire member- STRING QUARTET gave crea ess convention “Music Therapy’’ THE LONDON Merry ro , *dy fiftieth anniversary national composing. His operetta, “The f *d s - rh to the e s Thus, a leading musical organiza- in October a two day Beethoven Festival < he- P 30. A ship. and * V 0 Co arai ‘tiv.e Pnic in Chicago on December 28, 29, Widow,” was a sensational success n ° "eSi in sponsoring appearance being <S° tf>° *oPon *i tion takes a step forward in New York City, this sJ, c Of convention will be the publisher immense *0 °"f the feature of the brought him and his ^re (eot of music in the treatment of that city in fourteen years. <5 fits chap- the use its first in in n am of installation of the one hundredth wealth. At one time it was performed °ted °n the diseases in State and Government group is marking its fortieth f tb. mental The famous five the- e b. ter of the fraternity. Buenos Aires simultaneously in study 0ni 'e/Je- Charles O’Leary, prominent season. It was founded th hospitals. F. anniversary this languages. Other %>° type aters in five different <p 0/ Los Angeles attorney, is California State in 1908 by Charles Warwick Evans, who ** RAY GREEN, American composer, for- well known operettas were "The Count of oV Chairman on Music Therapy of the As- has been ’cellist of the organization from o#’ Special Services, Luxembourg,” “Alone at Last,” “Gypsy mer Chief of Music, Pennington, first vi- <?" 60c sociation. its beginning. John p .xr<i* Veterans Administration in Washington, Love,” and “Frederika.” v / V* ^ olinist, has been associated with the Y -^ %& Jsjp <> \<> <&, AO has been appointed Executive Secretary jy THE NATIONAL FEDERATION OF MU- group for nearly twenty years, while the the American Music Center, New JOHN CARLYLE DAVIS, well known for SIC CLUBS, in an effort to familiarize second violinst, Laurent Halleux, and the York City. teacher and composer of Cincinnati, more people with the great hymns of violist, Cecil Bonvalot, joined the Quar- // in that city at the **mv Ohio, died recently the Christian Faith, has inaugurated a tet in recent years. ^/yV 1948- Mr. Davis was the founder #V \tsfl SCHUMAN, recipient for age of seventy. WILLIAM Hymn of the Month Project, under the commission for over forty years the director of 49 of a one thousand dollar national chairmanship of Mrs. Frederic MUSIC and #° Sym- THE SOCIETY FOR FORGOTTEN Wyoming Institute of Musical Art. ,# e .? e a for an original work for the Dallas H. Sterling of Indianapolis, the purpose the //A// is the name of a new group organized in pieces and studies. 0* phony Orchestra, is composing a sym- on a particular He wrote many piano being to focus attention branch of a similar or- 1*3 V^ noted American New York as a c' phony which will be the each month during 1948 and 1949. *h' hymn ganization in Paris, whose aim is to pre- y*V composer’s sixth. It will be given its JOSEPH IVIMEY, well known British oV e^' sent music of past eras with special at- . r ,^ V 1949 under the conductor, died recently at # c°' premiere in February ZOLA MAE SHAULIS, a new child piano violinist and V tention to a “revaluation of the musical director the age of baton of Antal Dorati, musical prodigy, made her debut in November Tunbridge Wells, England, at y heritage of the eighteenth and nineteenth known, of the Dallas Symphony. with the Bridgeton (New Jersey) Sym- eighty-one. Mr. Ivimey is best C centuries.” The idea for the new group v ur perhaps, as conductor, from 1905 to 1932, c.o‘- ,-4V ’o^ phony Orchestra (Carl Gaskill, conduc- . ^ concerts given in v ^d originated with two playing C e Players Amateur Or- V ,\es NATIONAL ASSOCIATION of tor) playing the “Kinder Concerto” of the Strolling '\.^ >* o^ X&-' THE , by Vladimir Dukel- New York last season 1917 he became a Vf/ »t of which Dr. Donald Concerto No. 18, Op. 456 of chestral Society. In - - v.e1’ Schools of Music, based on ‘ e<v Dirmin. Mr. Dukelsky then M - A vV* sky and Rose Trinity College. Speac^ x\cA-^' i Swarthout is president, will hold its Mozart. A sweet, healthy, child, barely professor of violin at BernaiBernard“ -1 tft' eN 0 M. to Paris and established the original et1' SP went _ J f PA( \> e Anniversary Convention in able to sign her name, she played in a en ;v^' Twenty-Fifth Society’s opening concert in - h°' as vV \^' group. At the last t cjV <n' 27 to 31. A full pro- manner which astonished mu- Eol M Heree at satisfy Chicago, December mature feature of the program was Y^ct^N. ^ H« ic't' New York, a vt X ltch°5 . ,,V ^ of helpful and inspiring lectures sicians present. vV V gram a Piano Sonata by Dussek, a composer Competitions .o^» Vi \.o V so’ and concerts has been prepared. e ’ born only four years later than Mozart. vr\d pr*,C1 THE ISRAEL PHILHARMONIC ORCHES- A PRIZE of one thousand dollars is offered "hic V’^ • AP^ ««•« \“- Si’ tc twelve years by the Trustees of the Paderewski Fund >’ «^V A”17 ”* 'le iS' RAWN SPEARMAN, tenor, former soloist TRA, originally organized then JACQUES ABRAM, for the best quartet or quintet for piano - with the Fisk University Singers, is the ago as the Palestine Symphony, and •. r: Philharmonic, well-known American and strings requiring at least twenty ^ * winner of the Marian Anderson an- renamed the Palestine boo8i h°dM <0 with pianist, has been hon- minutes for performance. The closing ,, »“• " ”“ « nual one thousand dollar scholarship. Mr. opened its season on October 2 “,«U given ex- V'.
Recommended publications
  • Theofficialorgan of Thebbg
    Radio Times, duly 9th, 1926, THE WIRELESS SERMON. i naa a AERO DuAOFES sal (Ea? —_ 7 FONg 7 a IRELae! AEWA ent eames Meat LEFOS-aeaorogo AoE eer | Lever aPoo PRecLay et (ALAI \ ql bayer rigs PanaeeTER eeSHERRIE LO alt get Cia se Promt:ere (Recah we F cea) & a AaTauNGrant S08 40508 LA Lay LonDon ot Prtetas _— pe vnaourtl sntt act | PNEd8T i T R a g e ATTYnn ' : A i aTIT THEOFFICIALORGAN OF THEBBG Thelater cal at Live, Vol.1:12,No. 145, GP. as a Wewepapnr, ‘EVERYFFRIDAY. aes Pence.e. eaiiaeiieetetlicemma ~ -——_—o SS <<— An Editor. Looks at the Mininknnd: By Si ROBERT DONALD, G.B.E., LL.D. HERE is a coming issue which cannot be this direction and the American- Press has newspaper with international athhiations. ignored—the extent to which broad- not been affected by the competition. lts readers, or subscribers, will demand more easting will interiere. with the progress of We are approaching the stage, however, news, and if the Press and news agencies the Press, or change its character. At this put an embargo on the supply, the B.B.C. stage of development, radio is an ally, Will be foreed to collect its own: news af rather than a rival. It i¢ a supplementary all important events. It has been urged service, not an alternative. At first, wireless” that it is beyond the means and the capacity telegraphy was regarded as supplementary of -a broadcasting organization to collect to cables. Now, it is looked upon as a serious foreign news and that &-must temain competitor, Radio is a ‘cheap universal dependent on existing agencies, That is not information, “news, education, and enter- the case, a5 broadcasting stations could tainment service which is delivered into.
    [Show full text]
  • About the San Francisco Symphony
    THE SAN FRANCISCO SYMPHONY The San Francisco Symphony, widely considered to be among the most artistically adventurous and innovative arts institutions in the U.S., celebrated its Centennial season in 2011-12. The Orchestra was established by a group of San Francisco citizens, music-lovers, and musicians in the wake of the 1906 earthquake, and played its first concert on December 8, 1911. Almost immediately, the Symphony revitalized the city’s cultural life. The Orchestra has grown in stature and acclaim under a succession of distinguished music directors: American composer Henry Hadley, Alfred Hertz (who had led the American premieres of Parsifal, Salome, and Der Rosenkavalier at the Metropolitan Opera), Basil Cameron, Issay Dobrowen, the legendary Pierre Monteux (who introduced the world to Le Sacre du printemps and Petrushka), Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt (now Conductor Laureate), and current Music Director Michael Tilson Thomas (MTT). Led by Tilson Thomas, who begins his nineteenth season as Music Director in 2013-14, the SFS presents more than 220 concerts annually for an audience of nearly 600,000 in its home of Davies Symphony Hall, through its multifaceted education and community programs, and on national and international tours. Since Tilson Thomas assumed his post as the SFS’s eleventh Music Director in September 1995, he and the San Francisco Symphony have formed a musical partnership hailed as one of the most inspiring and successful in the country. His tenure with the Orchestra has been praised for outstanding musicianship, innovative programming, highlighting the works of American composers, and bringing new audiences to classical music.
    [Show full text]
  • College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed.
    [Show full text]
  • Scaramouche and the Commedia Dell'arte
    Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche.
    [Show full text]
  • San Francisco Symphony Michael Tilson Thomas, Music Director
    CAL PERFORMANCES PRESENTS PROGRAM Tuesday, May 1, 2012, 8pm Zellerbach Hall San Francisco Symphony Michael Tilson Thomas, music director Jane Glover, conductor Bach Brandenburg Concerto No. 6 in B-flat major, bwv 1051 [Allegro] PROGRAM Adagio ma non tanto Allegro Jonathan Vinocour viola I Yun Jie Liu viola II George Frideric Handel (1685–1759) Water Music Suite No. 3 in G major, Barbara Bogatin viola da gamba I hwv 350 (1717) Marie Dalby Szuts viola da gamba II [Sarabande] or [Menuet] Rigaudons I and II Menuets I and II [Bourrées I and II] Handel Music for the Royal Fireworks, hwv 351 (1749) Overture Bourrée La Paix Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G major, La Réjouissance bwv 1048 Menuet I [Allegro] Menuet II Adagio Allegro Bach Brandenburg Concerto No. 2 in F major, bwv 1047 [Allegro] Andante Allegro assai Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Nadya Tichman violin Robin McKee flute Jonathan Fischer oboe John Thiessen trumpet INTERMISSION 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES George Frideric Handel (1685–1759) Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 “for three presumably means a recorder when he just says Water Music Suite No. 3 in G major, hwv 350 Brandenburg Concerto No. 3 in G major, violins, three violas and three violoncelli, with flauto; however, as in most modern-instrument (1717) bwv 1048 bass for the harpsichord” (all the instrumenta- performances in large halls, the part will here be Brandenburg Concerto No. 2 in F major, tions are transcribed from Bach’s autograph) has translated to regular flute).
    [Show full text]
  • Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL
    [Show full text]
  • New on Naxos
    TheNEW World’s LeadingON Classical NAXOS Music Label APRIL 2011 1 When you view this PDF on your computer you can click on the hyperlinks to visit the Album Pages, Biographies & Discographies and other web pages. The April 2011 new releases will be live on naxos.com closer to the release month. NAXOS BLU-RAY AUDIO NAXOS BLU-RAY AUDIO ORCHESTRAL NBD0009 | 730099000963 MAHLER Symphony No. 8 Soloists • Polish Radio Choir in Krakow • Cardinal Stefan Wyszynski University Choir • Warsaw Boys Choir Warsaw National Philharmonic Choir and Orchestra • Antoni Wit, conductor On this stunning Naxos Blu-ray Audio album Antoni Wit leads the immense forces required for Mahler’s Eighth Symphony in a performance, originally released on Naxos CD 8.550533-34, ‘at once deeply religious and extremely sensual. The playing is tremendous, the choral singing thrillingly beautiful ‘(The Guardian) which ‘combines the best of just about all of the competing versions and offers the most accurate sense of what the piece really does (or should) sound like live’ (10/10 Classics Today). The CD version’s ‘full-bodied sound production’ (Fanfare) is here further enhanced by state-of-the-art high-resolution and extra-wide dynamics, giving ‘one of the top Mahler Eighths’ (Classical CD Review) a new sonic dimension. CRITICALLY ACCLAIMED NAXOS RECORDING NOW ON BLU-RAY AUDIO FOR THE FIRST TIME! Warsaw Philharmonic Choir & Orchestra Antoni Wit The Warsaw Philharmonic Choir and Orchestra are renowned the world over, and perform on an extraordinary number of acclaimed Naxos recordings. Antoni Wit is one of today’s most highly regarded Polish conductors.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • CUL Keller Archive Catalogue
    HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Woodwind Grades Syllabus
    Woodwind Syllabus Flute, Clarinet, Oboe, Bassoon, Saxophone & Recorder Graded exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Initial exams are now offered for flute and clarinet. New series of graded flute and clarinet books are available, containing selected repertoire for Initial to Grade 8. Technical work for oboe, bassoon and recorder has been revised, with changes to scales and arpeggios and new exercises for Grades 1–5. New technical work books are available. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with
    [Show full text]
  • Catalogue @ 01.01.2017
    1 CRQ EDITIONS – CATALOGUE @ 01.01.2017 Verdi: Ernani (abridged) Iva Pacetti / Antonio Melandri / Gino Vanelli / Corrado Zambelli / Ida Mannarini / Aristide Baracchi / Giuseppe NessiChorus and Orchestra of La Scala, Milan / Lorenzo Molajoli Recorded in Milan in 1930 by the Columbia Graphophone Company. A superb example of operatic performance in Milan during the inter-war years - never before released on CD. Classic Record Quarterly Editions CRQ CD001 (1 CD) Tchaikovsky: Symphony No. 6 in B minor, ‘Pathétique’, Op. 74 London Philharmonic Orchestra / Sir Adrian Boult The 1959 Miller International recording, with correct stereo channels applied. Boult in masterly form in repertoire not recorded by him elsewhere. Classic Record Quarterly Editions CRQ CD002 (1 CD) Homage to Mogens Wöldike Danish State Radio Chamber Orchestra / Mogens Wöldike J. C. Bach: Sinfonia in B flat major Op. 18 No. 2; F. J. Haydn: Divertimento in G major; F. J. Haydn: Six German Dances; W. A. Mozart: Symphony No. 14 in A major, K. 114; K. D. von Dittersdorf: Symphony in C major Originally recorded by Decca and HMV. A representative programme demonstrating the genius of one of the early pioneers of period performance practice. Classic Record Quarterly Editions CRQ CD003 (1 CD) Verdi: Macbeth Margherita Grandi, Walter Midgley, Francesco Valentino, Italo Tajo Glyndebourne Festival Chorus, Scottish Orchestra / Berthold Goldschmidt, conductor Recording of the performance of 27th August 1947 given by Glyndebourne Festival Opera at the first Edinburgh Festival, First issued on ‘The Golden Age of Opera’ LPs by Ed Smith The ethos of the Weimar Republic’s Verdi revival, Glyndebourne’s exacting musical standards, and the occasion of the first Edinburgh Festival combine to create a memorable evening.
    [Show full text]