ABRSM Woodwind Syllabus from 2022
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NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934
NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934 Violin Concerto in B minor Op.61 1 I Allegro 17.28 2 I Andante 11.36 3 III Allegro molto 18.42 4 Sospiri Op.70 4.10 5 Salut d’amour Op.12 3.09 6 Chanson de nuit Op.15 No.1 3.41 NICOLA BENEDETTI violin London Philharmonic Orchestra Vladimir Jurowski Petr Limonov piano (4–6) 3 ELGAR'S VIOLIN MUSIC Out of all the instruments Edward Elgar of moving between notes, the use of played, the violin was his speciality. vibrato as a constant tonal element, and Trombone and bassoon filled in useful so on – were developed by a number of gaps, while his improvisatory piano playing young players, but are chiefly identified (which he said “would madden with envy with the Austrian violinist Fritz Kreisler, all existing pianists”) served to summon the dedicatee of Elgar’s concerto. Elgar up the harmonies of his inner orchestra; met Kreisler in Leeds in 1904, and again but it was the violin that gave him the in Norwich the next year, and very soon invaluable stimulus of playing in the Three began to sketch the concerto. It had Choirs Festival (under no less a master to take a back seat while he wrote than Dvořák on one occasion); the violin The Kingdom (1906) and the mighty First that he studied with a top London teacher; Symphony (1908), but in January 1910, the violin which dominates his earliest Elgar played through the concerto’s slow opus numbers, with Op.15 bringing the movement with a friend, Lady Speyer, a running total to 18 separate pieces. -
Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
O Z A W A MUSIC Dl R ECTOR # m BOSTON tik mww80^_ ll^Sir" S Y M PHONY OP rUFCTPA U K i. 1 t > I K A 1 iWHHI^g i\ Ifc 19 9 9-2000 SEASON Bring your Steinway: With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,400,000. its absolute finest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR ai Lfisner 3iill BROOKLINE WM> 2J!»f»*^itete mms&^mkss |Iil|lf c^s^ffl CORTLAND Hammond SOTHEBY'S PROPERTIES INC. ESIDENTIAL International Realty Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson William F. Connell George Krupp Robert P. O'Block, Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. ex-officio ex-qfficio Charles K. Gifford Ed Linde Peter C. Read Gabriella Beranek Avram J. Goldberg Mrs. August R. Meyer Hannah H. Schneider Jan Brett Thelma E. Goldberg Richard P. -
ABRSM Music Performance Grades
Qualification Specification MUSIC PERFORMANCE GRADES WOODWIND Syllabus (Section 3) from 2022 This syllabus is specific to Woodwind and is part of the main Qualification Specification: Music Performance Grades. The remainder of that specification provides other relevant information for those preparing for Performance Grades exams and applies to all subjects (instruments). It can be found at www.abrsm.org/performancegrades and should be read when preparing for an exam. 8 July 2021 Qualification Specification: Performance Grades Contents 3. Woodwind Performance Grades syllabus 2 Introducing the qualification 2 Changes in the ‘from 2022’ syllabus 2 Performance Grades: requirements and information 3 • Instruments 3 • Performance as a whole 3 • Selecting repertoire 4 • Preparing for the exam 7 Descant Recorder repertoire lists 9 Treble Recorder repertoire lists 18 Flute repertoire lists 33 Oboe repertoire lists 48 Clarinet repertoire lists 60 Bassoon repertoire lists 74 Saxophone repertoire lists 88 Programme form 111 © 2021 by The Associated Board of the Royal Schools of Music All the syllabus information in this document, including repertoire lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM. 3. Woodwind Performance Grades syllabus Introducing the qualification Performance Grades are new qualifications from ABRSM, introduced in 2020 to run alongside our long-standing and respected Practical Grades. They allow learners to focus on and showcase their performance skills if that is their preference. This additional suite of qualifications has been designed to allow learners to play to their strengths and interests and still have their level of achievement formally recognised with a regulated qualification that attracts UCAS points (in the UK) at Grades 6 to 8. -
GCSE, AS and a Level Music Difficulty Levels Booklet
GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked. -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries. -
Boston Symphony Orchestra Concert Programs, Season 119
S E I J I O Z A W A MUSIC Dl R ECTO R * *r u u -- w la BQS TO N <_' M-Tiir—H i>— 'ts^c»»-- YMPHONY TESTRA IV 1* 3^ J >' . <i , ^ Yx 1QQQ-20U SEASON m 'JGV&V . iifUB96fsi\SBi1l Ju p-m .*;.•. • Bring your Steinway: ^iJn&f^&dB^i SH9B £99 ftU H r*i nl ^5 raj C$8 BB **CSv 1111tr/SBl Wft/i /7(w p/tfHS /row acre gated community atop I * 1 if* 2,100 to 5,000 square feet, prestigious Fisher Hill IBB 1 -4 8? bW3I |H -A> 1 «£[i you can bring your Concert Jointly marketed by Sotheby's • v* V . 1 wSi - 1 Grand to Longyear. International Realty and bbbbb^Bf 1 Hi Bfcg .••**-i *Djjy You 11 be enjoying full-service, Hammond Residential Real Estate. » < mnn^H tU EbbbbbbbI BBB BB r*2*». <* single-floor condominium living at Priced from $1,400,000. ill V BBl Pa ?f^tla( Efl^srvrf £SnA >»'i3 its absolute finest all harmoniously Call Hammond Real Estate at qkS mi nfit *lr SlSS ^« located on an extraordinary eight- 731-4644, ext 410. Kp '^.CyS (617) H 1 jUm£' TSW 1 ISIl J<*S uJme BEI jSbbbSHI BBj ttLZMt ' 1 t^ |PKJt£ rtw^ CTJspt flSj BJ '^**v£5 BBB^ttBl LONGYEAR rftrTh v*v-H>''^\1k f$Xsp •xJK ^8 bbbvAWIH * *» > H a/ Lr/sner Jiill S& BROOKLINE \ B^L^LH 1 • ,*/* ^*$£j Bh HflH fci/TE li PrEJj fSm SlawS a^ySwaNi fjySjji jjBJy >k''s *! {MR ^>»~#*5S$Z, • '.?-v. -
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 -
News from the Jerome Robbins Foundation Vol. 4, NO. 2
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 4, NO. 2 (2017) 2018 is the year the world comes together to celebrate the 100th birth- The Division created deadlines throughout the fellowship cycle to track prog- day of Jerome Robbins (1918–1998). One of the first events of the ress, and Library staff offered their expertise to foster a supportive environment. Centennial celebration will be the Jerome Robbins Symposium, taking Each Fellow had a meeting in September with Curator Linda Murray to discuss place January 26, 2018 at the New York Public Library for the Performing the progress they were making. Each Fellow brought a specific research skill set Arts at Lincoln Center. to the group; some knew how to navigate the Library’s catalog exceptionally well, which would in turn yield the most material from the collection, while others were just beginning their journey. Supervising Librarian Phil Karg met with several of the Fellows to instruct them on how use the catalog more effectively. The following are examples of three of the Fellowship projects: • Dance photographer Julie Lemberger offers a creative approach to her project. In her presentation and written piece, “What He Saw / What She Saw — West Side Story and Other Views of Dance and Dancers Behind the Scenes: Discovering Photography by Jerome Robbins and Martha Swope,” Julie is looking at “how two photographers in 1957 with different back- grounds and perspectives recorded and reacted to the making of West Side Story; what photographer Henri Cartier-Bresson called the decisive moment, when everything changed, what brought these two together and The Jerome Robbins how it shaped their careers.” • Robert Greskovic, who writes about dance for the Wall Street Journal, has previously presented his work at our public presentations in the Bruno Dance Research Fellowship Walter Auditorium, and can be spotted frequently in our special collections by Kathleen Leary reading room working on a variety of projects. -
March 2008 1876 Was a Very Special Year! by STEVEN WIMPFHEIMER, ESQ
www.qcba.org Queens County Bar Association / 90-35 One Hundred Forty Eighth Street, Jamaica, NY 11435 / (718) 291-4500 Vol. 71 / No. 6 / March 2008 1876 Was A Very Special Year! by STEVEN WIMPFHEIMER, ESQ. by STEPHEN J. SINGER “It was a cold day in January. The Marriot For those of you who have ever Hotel at Times Square was taken the trouble to scrutinize our bar association seal, you will recall that warm and inviting. Sounds our founding date was in the year like the start of a novel. But, 1876. It would seem that the fact this alas, it is merely the setting for was America’s first centennial would make it special enough when that the January Annual State Bar group of gentleman lawyers met in Association Meeting and House Garden City to form the Q.C.B.A., but of Delegates Meeting.” that was hardly the case. This was also a year in which many of the most excit- ing historical events of an adolescent Continued On Page 13 nation, just recovering from the Civil War, would occur. I thought that it would be fun to out- line just some of the truly exciting things that took place in that same time frame. With that end in mind, I have chosen to particularly highlight events which happened during that year in the “American West” because I have always been an avid fan of the Article 730 Old West, and in particular, those of a criminal nature, because I have always Mental Disease or Defect Excluding Fitness to Proceed: Part II been a criminal lawyer (as most of you know) and before that, a lawman. -
August 2016 Vol.19, No. 5 the Elgar Society Journal the Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected]
Journal August 2016 Vol.19, No. 5 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2016 Vol. 19, No. 5 President Editorial 3 Julian Lloyd Webber FRCM Frank Schuster – Elgar’s patron 4 Richard Smith Vice-Presidents Who is the real soul of the Violin Concerto? 19 Diana McVeagh Richard Westwood-Brookes Dame Janet Baker, CH, DBE Leonard Slatkin Theology applied to music: The Dream of Gerontius revisited 26 Sir Andrew Davis, CBE Lino Bianco Donald Hunt, OBE Christopher Robinson, CVO, CBE Bach in Gerontius? A Discussion 35 Andrew Neill Hugh Morris Sir Mark Elder, CBE Martyn Brabbins ‘A confusion of ideas’ – Rootham, Elgar and ‘For the Fallen’ 39 Tasmin Little, OBE Martin Bird CD reviews 53 Martin Bird, Richard Westwood-Brookes, Andrew Neill, Michael Plant Chairman Steven Halls Letters 60 David Morris Vice-Chairman Stuart Freed 100 Years Ago 61 Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Elgar’s snapshot of Frank Schuster on board HMS Surprise, Autumn 1905 (Arthur Reynolds collection) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. -
Vol. 15, No.6 November 2008
Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alas- sio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin Sonata in E minor • String Quartet in E minor • Piano Quintet in A minor • Cello Concerto in E minor • King Arthur • The Wanderer • Empire March • The Herald • Beau Brummel • Severn Suite • Solilo- quy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pas- tourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of Life • King Olaf • NOVEMBERImperial March 2008 Vol. • The15, No. Banner 6 of St George • Te Deum and Benedictus • Caractacus • Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Ma- tin • Three Characteristic Pieces • The Dream of Gerontius • Ser- enade Lyrique • Pomp and Circumstance • The Elgar Society The Elgar Society Journal Founded 1951 362 Leymoor Road, Golcar, Huddersfield, HD7 4QF Telephone: 01484 649108 Email: [email protected] President Richard Hickox, CBE November 2008 Vol. -
The Coalescence of Cloud Atlas
THE COALESCENCE OF CLOUD ATLAS Hyunsol Claire Yun TC 660H Plan II Honors Program The University of Texas at Austin May 2017 __________________________________________ Brian Doherty Department of English Supervising Professor __________________________________________ Elliott Antokoletz Department of Music Second Reader ABSTRACT Author: Claire Yun Title: The Coalescence of Cloud Atlas Supervising Professors: Brian Doherty and Elliott Antokoletz Cloud Atlas, David Mitchell’s 2004 book, is the subject of the following study of the invented notion of coalescence. Just as the six disjunctive yet intertwined stories of Cloud Atlas “coalesce” to form a cohesive novel, so does the work of multiple artists “coalesce” to form David Mitchell’s idiomatic artistry—what might be called his creative soul. In his manipulation of style, character, and genre, David Mitchell has clearly and outspokenly coalesced influential works of literature into his own literature. Less clear is how David Mitchell has also coalesced influential works of music into both his literature and his (fictional) music, the Cloud Atlas Sextet. This thesis seeks to elucidate this intra- and inter-artform coalescence—literature to literature, music to literature, music to music, and literature to music—and thereby celebrate the essential and transcendent bond between the inspirer and the inspired, the coalescer and the coalesced, the lover and the loved. ACKNOWLEDGMENTS To all of the music teachers, composers, and performers I’ve coalesced (I’m saying goodbye)— To Drs. Brian Doherty and Elliott Antokoletz, who went above and beyond in their roles— And most of all, to my parents, who have given me everything— Thank you. 3 Table of Contents ABSTRACT ...................................................................................................................................