CANDACE KEACH Flutist – Instructor/Performer
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Georgia's International Representatives
AWARD-WINNING TRADE SERVICES 2015 GEORGIA’S INTERNATIONAL REPRESENTATIVES CONNECTING GEORGIA TO THE WORLD’S KEY MARKETS A MESSAGE FROM THE COMMISSIONER GLOBE AWARD As you know, Georgia is a leader in the global marketplace. A critical component hing O nc p u po to maintaining this status is our international footprint. Our international a r L t a u Georgia’s second annual GLOBE (Georgia Launching Opportunities By i representatives not only market Georgia as the No. 1 state in the nation to do n g i Exporting) Award recognizes 44 companies who entered into a new r business, but as a leader in international trade, innovation, workforce, tourism, t o i e e international market in 2014. The 2015 winners from 17 different Georgia arts, music and film. By having such a significant international presence, we can G s G .L counties collectively expanded into 214 new markets, representing 104 continue to create jobs and investment opportunities in communities across .O.B.E. different countries and territories. Among the winners, a few of the most Georgia. b y d popular new markets included Colombia, Korea and the United Kingdom. r ex a p w This past year, state representatives traveled to all of our strategic markets orting a for activities ranging from gubernatorial and trade missions to trade shows, conventions and high-level business meetings. Last summer, Governor Nathan Deal led a delegation of government, philanthropic and business leaders to Israel, and I led an education and agriculture-focused mission to China. In addition to numerous other countries, GDEcD’s International 2015 GLOBE Award Winners Trade division exhibited at tradeshows in Brazil, Canada, Chile, Colombia, Germany and Mexico while our International Investment team called on companies in Canada, China, Europe, Japan, Korea and the United Kingdom. -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
The Music of Randall Thompson a Documented
THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century. -
Alumni Recital
Dr. Bobbie Bailey & Family Performance Center Anniversary Celebration Saturday & Sunday, October 7 & 8, 2017 at 3 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Twentieth & Twenty-first Concerts of the 2017-18 Concert Season alumni recital Saturday, October 7, 2017 FELIX MENDELSSOHN (1809–1847) Rondo capriccioso in E Major, Op. 14 Huu Mai, piano CAMILLE SAINT-SAËNS (1835–1921) Fantasie for Violin and Harp, Op. 124 Ryan Gregory, violin Tyler Hartley, harp HALSEY STEVENS (1908–1989) Sonata for Trumpet and Piano Mvt. I Justin Rowan, trumpet Judy Cole, piano J. S. BACH (1685–1750) Concerto for Two Violins Mvt. I & II Grace Kawamura, violin Jonathan Urizar, violin Huu Mai, piano GIOACHINO ROSSINI (1792–1868) la calunia from il barbiere di Siviglia Eric Lindsey, bass Judy Cole, piano GIUSEPPE VERDI (1813–1901) Caro nome from Rigoletto Amy Smithwick. soprano Judy Cole, piano CÉSAR FRANCK (1822–1890) Violin Sonata in A minor Mvt. IV Grace Kawamura, violin Huu Mai, piano ANDREW LIPPA (b. 1964) What is it about her? from Wild Party Nick Morrett, tenor Judy Cole, piano MICHAEL OPTIZ (b. 1995) Two Weeks Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums Michael Opitz, tenor saxophone Luke Weathington, alto saxophone Michael DeSousa, trombone BRANDON BOONE (b. 1994) Last Minute Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums JANNA GRAHAM (b. 1992) Nayem, I Am Brian Reid, piano Janna Graham, vibraphone Brandon Radaker, bass Robert Boone, drums Michael Opitz, tenor saxophone Luke Weathington, alto saxophone Michael DeSousa, trombone FRÉDÉRIC CHOPIN (1810–1849) Ballade No. -
DECEMBER, 2007 the Brick Presbyterian Church New York City
THE DIAPASON DECEMBER, 2007 The Brick Presbyterian Church New York City Cover feature on pages 30–32 Dec 07 Cover.indd 1 11/8/07 8:39:21 AM a total cleaning and releathering. Given siderably smaller than the Trinity organ the prices that have been bandied about (about 100 ranks). St. John the Divine THE DIAPASON for the “temporary” instrument, it prob- (another historic Aeolian-Skinner from A Scranton Gillette Publication ably would have cost the same or less to the 1950s, 150 ranks) is being rebuilt for Ninety-eighth Year: No. 12, Whole No. 1177 DECEMBER, 2007 restore this legendary organ with up-to- about $5 million after the disastrous gift date retrofi tting and new consoles in the shop fi re. Established in 1909 ISSN 0012-2378 Skinner tradition. My advice would be to store the his- An International Monthly Devoted to the Organ, 5) Dr. Burdick will not be at Trin- toric Aeolian-Skinner intact for many the Harpsichord, Carillon, and Church Music ity forever. Given the prestige of Trin- years, with the intention of reinstalling it ity Wall Street, when a replacement is at a later date with upgrades. It would be hired, I am sure the new director of a shame to sell it piecemeal, as the organ music will want a real pipe organ to had its own integrity and worked as an CONTENTS Editor & Publisher JEROME BUTERA [email protected] replace the current digital organ. New integrated musical unit. 847/391-1045 pipe instruments (even with some digi- I have worked with many organ com- FEATURES tal voices because of space or budgetary panies in sales, construction and consult- In celebration of the 100th birthday, concerns) are being installed around the ing for the last 35 years. -
THE NATIONAL FLUTE ASSOCIATION RESEARCH TABLE HOLDINGS August 2010
THE NATIONAL FLUTE ASSOCIATION RESEARCH TABLE HOLDINGS August 2010 Adams, Carl. “The Flute Works of Joachim Andersen, A Pedagogical Study.” Thesis, Catholic University, 1982. Aitchison, Anne. “The Flute Family in Contemporary Practice: An Essay-Demonstration.” Master’s thesis, University of Michigan, 1965. Arnone, Francesca Marie. “A Performance Edition of Charles Koechlin’s Les Chants de Nectaire, opus 198.” DMA essay, University of Miami, 2000. Artaud, Pierre-Yves. La Flûte. J. C. Lattès, 1986. Averitt, Frances Lapp. “An Intonation Method for Flutists (Non-Exclusive of Other Instrumentalists and Singers) Based on the Use of Difference Tones as a Practical Guide to the Achievement of Perfectly Tuned Intervals.” DM thesis, Florida State University, 1973. Bailey, John Robert. “Maximilian Schwedler’s ‘Flute and Flute-Playing’: Translation and Study of Late Nineteenth-Century German Performance Practice.” DM thesis, Northwestern University, 1987. Ballatori, Cristina. “A Performer’s Guide: Suite Paysanne Hongroise for Flute and Piano by Béla Bartók/Arranged Paul Arma.” DMA major document, University of Colorado, 2006. Beard, Christine Elizabeth. “Excerpts for Flute from the Wind Band Literature: An Annotated Guide for Practice, Performance, and Audition Preparation, Presented as a Progressive Supplementary Teaching Method.” DMA treatise, The University of Texas at Austin, 2003. Becker, Janet Sue. “The Eighteenth Century Flute Concerto: A Study and Edition of Two Manuscripts from the Fuerst Thurn und Taxis HofBibliothek Regensburg with reference to Contemporary Treatises.” DM thesis, Northwestern University, 1993. Bent, Jane. “The Arranging of Flute Concerto Accompaniments for Band.” DMA thesis, University of Wisconsin-Madison, 1988. Billington, Robert David. “A Description and Application of Robert Aitken’s Concept of the Physical Flute.” DMA essay, University of Miami, Florida, 2000. -
Volumes I - XV (1975-1990)
THE NATIONAL FLUTE ASSOCIATION, INC. INDEX to The Flutist Quarterly Previously titled The Newsletter of the National Flute Association Volumes I - XV (1975-1990) Revised by Mary Jean Simpson Third Edition, 1991 ACCOMPANIMENT, tips for, XIV/2, 53-57. BARONE, CLEMENTE, X/1, 13-14. ACOUSTICS, audience reaction, X/3, 46-48; effect on BAROQUE FLUTE MASTERCLASS COMPETITION, XIV/4,78. instrument, X/4, 41-43; homogenizing, 11/4, 9; BAROQUE PERIOD, finding Baroque music, XIV/3, 12-14; questions and answers, XIV/2, 72; XIV/5 [XV/1], 63; one-keyed flute workshop, IV/2, 14; ornamentation, XV/3, 48-49; spectral analysis, VI/3, 8-9. VIII/3, 7ff; XII/1, 22-26; playing Baroque music on Adams, Carl, Joachim Andersen: His Compositions for the modern flute, XIH/1, 44-53; tempo and affects of French Flute, XII/4, 71ff. dances, XN/4, 7-11; transference from Boehm to Adams, Patti, New Orleans Tours, XIV/3, 35-36; Notes on a Baroque, VI/3, 3ff, 6-7; traverso on records, II/4, 10ff. Masterclass: A Small Collection of Gilbert-isms From See also FLUTE, HISTORY AND DEVELOPMENT. the the Denver Convention, XI/2, 44-45. Barrere, Georges, Autobiography , IX/2, 3ff; Barrere on ADAMS, PATTI, XII/2, 13. Barrere, IX/2, lff; My American Musicians, IX/2, 7; ADORJAN, ANDRAS, XV/2, 68-69. Wood-Wind Instruments Attracting Women, XV/2,11. Ahmad, Patricia, Flute Professors of the Paris Conservatoire, BARRERE, GEORGES, VI/1, 6; IX/2, 1ff, 15; X/3, 25; XII/1, 41-46. from Devienne to Taffanel. -
Flute Vibrato During the 78-Rpm Era: an Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953
Graduate Theses, Dissertations, and Problem Reports 2017 Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953. Angela Reynolds Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Reynolds, Angela, "Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953." (2017). Graduate Theses, Dissertations, and Problem Reports. 8208. https://researchrepository.wvu.edu/etd/8208 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy’s Syrinx, 1928-1953 Angela Reynolds Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements -
So You Want to Play the Flute
Chapter 1 So You Want to Play the Flute In This Chapter ▶ Understanding the nature of this magical instrument ▶ Appreciating the flute’s great legacy ▶ Getting started with flute playing came to the flute in a pretty roundabout way — when I was 10 years old, Ithe obligatory question came as to which instrument I’d like to play. I had played the recorder when I was six or so, and I had really enjoyed that, so I figured that woodwinds, such as the flute or the clarinet, would be my instru- ments of choice. They looked a little like the recorder, anyway, so I suppose that I found some comfort in that similarity. Well, my parents got a hold of two used instruments to try out: a flute and a clarinet. We took the instru- ments to a woodwind repair technician, who informed us that the clarinet was in a pretty bad state of disrepair, but the flute was in perfect condition. Hence, my musical future was decided for me. I didn’t know how a flute worked — I thought you were supposed to blow into the end of it, like a recorder. I wondered whether the flute wasn’t broken, after all — until a neighbor kid who played the flute showed me that you were supposed to blow across the hole, not directly into it. Talk about an “aha” moment. From that point on, I gradually grew more and more obsessed with playing the flute. After a while, my parents couldn’t get me to stop practicing. Before I knew it, I was majoring in music in college. -
Concert: Ithaca Flute Institute - Claudia Anderson, Flute & Piccolo Claudia Anderson
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 6-29-2004 Concert: Ithaca Flute Institute - Claudia Anderson, flute & piccolo Claudia Anderson Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Anderson, Claudia, "Concert: Ithaca Flute Institute - Claudia Anderson, flute & piccolo" (2004). All Concert & Recital Programs. 3490. https://digitalcommons.ithaca.edu/music_programs/3490 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA FLUTE INSTITUTE PRESENTS Claudia Anderson, flute and piccolo Diane Birr, piano Assisted by: Leone Buyse, flute Wendy Mehne, flute Hockett Family Recital Hall Tuesday, June 29, 2004 7:00 P.M. ITHACA PROGRAM Gigue (1720s/1928) Jean-Marie Leclair/arr. Georges Barrere (1697-1764) (1876-1944) Eros (1996), Roberto Sierra (b. 1953) Be Still My Soul (2003) Rhonda Larson (b. 1965) Souvenirs for Piccolo and Piano (2002) Robert Beaser (b. 1954) Happy Face Lily Monroe Y2K Spain Cindy Redu.x Ground 0 INTERMISSION Chorale from Etudes for Solo Flute (1986) John Heiss (b. 1938) Prelude and Air (1973) Edison Denisov (1929-1996) Quartet in D Minor Georg Philip Telemann from Tafelmusik II (1733) (1681-1767) Andante Vivace Largo Allegro Leone Buyse and Wendy Mehne, flutes .. BIOS Claudia Anderson's brilliance and originality as a solo performer have graced audiences in the United States, Europe, and South America since the early 1970's. After graduating with honors from the University of Michigan, and partidpating in the world remiere of Leonard Bernstein's Mass, Ms. -
ABSTRACT This Dissertation Explores Selections from the Flute Repertoire
ABSTRACT Title of Dissertation: THE MUSIC OF FLUTIST/COMPOSERS: PERFORMANCES OF SELECTED WORKS FOR FLUTE COMPOSED BETWEEN 1852 AND 2005 Sarah Eckman McIver, Doctor of Musical Arts, 2010 Directed by: Dr. William L. Montgomery School of Music This dissertation explores selections from the flute repertoire composed by flutists from 1852 through 2005. The selected works represent the wide variety of flute music written by composers who played the flute in some capacity; most of the flutist/composers were also major performers, some were accomplished teachers, and some were widely-known composers who play the flute well enough to understand its capabilities but would not qualify as a performer/composer. After researching a large selection of works written by flutist/composers and using my subjective judgment when appropriate, twenty-three works were chosen for the dissertation on the basis of their popularity, familiarity with the composer, importance in the development of flute literature, relevance to the history of the flute, and the composer’s overall importance to music. Over twenty years of personal experience with the flute literature and my familiarity with certain composers served as a starting point for the research. Previous areas of research in this field encompass either broad surveys of the entire flute literature, or various dissertations and biographies written about individual flutist/composers. A variety of other sources consulted include composer websites, commercial recordings, e- mail discussion groups, and recital programs. The selected works performed and discussed are the following: Robert Aitken, Icicle; Joachim Andersen, Deuxième Morceau de Concert, Op. 61; Georges Barrère, Nocturne; Theobald Boehm, Fantaisie sur des Airs Ecossais, Op. -
The New York Flute Club
“When I was growing up in New York City, the New York Flute Club was my first exposure to the wider world of the flute and to the special camaraderie that flutists share.” —Robert Dick The New York Flute Club A Centennial History Nancy Toff Presidents The New York Flute Club: A Centennial History The beginnings were decidedly modest, but also a bit of a provocation in a New York City apartment building: in December 1920, Georges Barrère, principal flutist of the New York Symphony Orchestra and flute teacher at the Institute of Musical Art, invited 16 flutists to his apartment to play the Kuhlau Grand Quartet, four to a part. We don’t know what the neighbors thought, but the flutists were sufficiently inspired that they started a club. The New York Flute Club was officially incorporated on December 31, 1920; the first regular meeting took place on Georges Barrère January 9, 1921. The inaugural board (1920–44) consisted of Barrère, president; Mrs. Eliot John Wummer Sue Ann Kahn Henderson (professional name: May Lyle (1944–47) (1989–92) Smith), first VP; William Kincaid, then a Milton Wittgenstein Nancy Toff member of the New York Chamber Music (1947–52) (1992–95, 2008–11, 2018–present) Society, second VP; Milton Wittgenstein, Mildred Hunt Wummer Rie Schmidt on staff at WQXR, recording secretary; (1952–55, 1963–64) (1995–98) and flutist-composer Lamar Stringfield, Frederick Wilkins Patricia Spencer treasurer. (1955–57) (1998–2001) The first concert took place on February 6 Harry H. Moskovitz Jan Vinci in the Rose Room of the ornate Ansonia (1957–60, 1967–70) (2001–02) Hotel, at Broadway and 73rd Street, Paige Brook Jayn Rosenfeld sometime home to Caruso, Toscanini, (1960–63, 1970–73, 1982–83) (2002–05) Mahler, and Babe Ruth.