Tenor Trombone Audition Book – Spring 2021

Total Page：16

File Type：pdf, Size：1020Kb

Tenor Trombone Audition Book – Spring 2021

Tenor Trombone Audition Materials – Spring 2021 • Bartok: The Miraculous Mandarin | New York Philharmonic – Alan Gilbert • Boutry: Le Style (from 12 Etudes de Haut Perfectionnement) • Copland: Symphony No. 3, mvt. 1 | New York Philharmonic – Bernstein • Moncayo: Huapango | Los Angeles Philharmonic – Dudamel • Strauss: Till Eulenspiegel | Philadelphia Orchestra – Sawallisch • SIGHT READING Ensemble Placement auditions for tenor trombone will be on Monday, January 11th at 11:00am over Zoom. Zoom ID: 645 980 2877. Everyone will need to sign up for an audition number here: https://docs.google.com/document/d/1NgVxqLkfxZK3ftbFhUEFKG3zJRku5HDcazt1qFRH3DY/edit?u sp=sharing Please sign up for an audition number in your instrument category. Join the waiting room at the beginning of your audition block, and you’ll be admitted based on number. Before joining the waiting room, be sure to rename your zoom session according to the number to your instrument and audition number (Ex. Tenor Trombone No. 6 | Tuba No. 3). Auditions will be blind, so please disable your video for the zoom session before joining the waiting room. Failure to rename your zoom session and disable video will result in automatic placement towards the bottom of the audition pool. Suggested Preparation: • Listen to various recordings – focus on tempo and style (suggestions provided) • Work slowly – remember that practice makes permanent • Prepare the entire list – you will play a substantial portion • RECORD – LISTEN – ADJUST – REPEAT As always, the pillars of a winning performance are: • Beautiful and Consistent Tone • Excellent Pitch • Impeccable Time • Musicality and Versatility Remember, we want you to play your very best and with the confidence that only comes through solid preparation. Good luck, and I look forward to hearing you! Helpful Resources: • Orchestral Excerpt Advice & Practice Strategies: o Alessi Music Studios ($50 student subscription per year) o Tenor Trombone – Ralph Sauer (LA Philharmonic, retired) o Bass Trombone – Jim Markey (Boston Symphony Orchestra) o STS Videos – Members of ASO, NY Phil, and guests (YouTube) o Megumi Kanda: The 100 (tenor excerpts) & Doug Yeo: The 100 (bass excerpts) Bartok: Miraculous Mandarin Boutry: Le Style (from 12 Etudes de Haut Perfectionnement) Boutry: Le Style (from 12 Etudes de haut Perfectionnement) Copland: Symphony No. 3, mvt. 1 Rossini: William Tell Overture (Storm Scene) MoncMoncayo:ayo, Huapango Huapango [Dotted Half = 66] Till Eulenspiegel Strauss:Strauss: Till Eulenspiegel Till Eulenspiegels lustige Streiche.

Copy Link

Recommended publications

Bluebeard's Castle
LSO Live Bartók Bluebeard’s Caslte Valery Gergiev Elena Zhidkova Sir Willard White London Symphony Orchestra Béla Bartók (1881–1945) Page Index Bluebeard’s Castle (1911, rev 1912, 1918 and 1921) 3 English notes Valery Gergiev conductor 4 French notes Elena Zhidkova mezzo-soprano (Judith) 5 German notes Sir Willard White bass-baritone (Bluebeard) 6 Opera synopsis London Symphony Orchestra 7 Composer biography 8 Text 17 Conductor biography 1 Prologue and Introduction 15’22’’ 18 Artist biographies 2 First Door: Bluebeard’s Torture Chamber 4’19’’ 20 Orchestra personnel list 3 Second Door: The Armoury 4’16’’ 4 Third Door: The Treasury 2’14’’ 21 LSO biography 5 Fourth Door: The Garden 4’31’’ 6 Fifth Door: Bluebeard’s Vast and Beautiful Kingdom 6’05’’ 7 Sixth Door: The Lake of Tears 13’30’’ 8 Seventh Door: Bluebeard’s Wives 8’29’’ Total Time 58’53’’ Recorded live 27 and 29 January 2009 at the Barbican, London James Mallinson producer Danieli Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Neil Hutchinson and Jonathan Stokes for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd audio editors Includes multi-channel 5.1 and stereo mixes. Published by Universal Edition AG © 2009 London Symphony Orchestra, London UK P 2009 London Symphony Orchestra, London UK 2 Alberto Venzago Béla Bartók (1881–1945) already been on several collecting expeditions; For all its qualities and near perfection of last conceals the three wives whom Judith Bluebeard’s Castle (1911, rev 1912, Balázs’s deliberate intent to evoke the strength outline, Bluebeard’s Castle is an early work.
[Show full text]
The Miraculous Mandarin
Thursday 19 December 2019 7.30–9.30pm Barbican LSO SEASON CONCERT THE MIRACULOUS MANDARIN Sophya Polevaya Spellbound Tableaux (world premiere)* BARTÓK Elgar Cello Concerto Interval Bartók The Miraculous Mandarin François-Xavier Roth conductor Alisa Weilerstein cello London Symphony Chorus Simon Halsey chorus director *Commissioned through the Panufnik Composers Scheme, generously supported by Lady Hamlyn and The Helen Hamlyn Trust Welcome Latest News On Our Blog Tonight’s programme concludes with LSO PANUFNIK COMPOSERS SCHEME: LSO DISCOVERY SINGING DAY: Bartók’s pantomime ballet The Miraculous APPLICATIONS NOW OPEN CHRIST ON THE MOUNT OF OLIVES Mandarin, which was also written 100 years ago, for which we are joined on stage by the Applications for the 2020/21 LSO Panufnik ‘Writing Christ on the Mount of Olives, London Symphony Chorus. Most frequently Composers Scheme are now open. Generously Beethoven laid the groundwork for oratorios performed as a concert suite during Bartók’s supported by Lady Hamlyn and The Helen by Schumann, Mendelssohn and Berlioz, and lifetime, preserving just two-thirds of the Hamlyn Trust, each year the scheme offers Gilbert and Sullivan’s operettas!’, explains original music, we are delighted tonight to six emerging composers the opportunity to Choral Director Simon Halsey. Read about perform this work in full. The performance write for the Orchestra, guided by composers our most recent Singing Day and discover will also be recorded for LSO Live. Colin Matthews and Christian Mason. more about Beethoven’s only oratorio ahead of two performances in the New Year. warm welcome to this evening’s I wish you a very happy festive season, and • lso.co.uk/more/news LSO concert at the Barbican, hope you are able to join us again in the New ELGAR’S CELLO CONCERTO: conducted by Principal Guest Year.
[Show full text]
CHAPTER 4 the Second Violin Concerto
i ABSTRACT The Violin Concerti of Béla Bartók By So Jin Kim There are two violin concertos in Béla Bartók’s body of compositions. The first concerto written in 1907 is obscure and rarely heard, while the second, completed in 1939, is widely performed and generally regarded as a twentieth-century masterwork. Bartók had contrasting relationships with the violinists for whom the works were written: the first, for Stefi Geyer; and the second, for Zoltán Székely. My thesis will compare the two concerti, illustrating how the second refines, expands and more fully develops the compositional approach of the first. It will also examine the working relationship and influence the performers had on the ultimate outcome of the concerti. This comparison of two works with very different outcomes offers insights into Bartók’s compositional methods and development. ii ACKNOWLEDGMENTS Dr. Anthony Brandt, for your guidance, patience, expertise, and insights. Dr. Bailey, for your detailed and thoughtful advice. Cho-Liang Lin, for your encouragement and being the source of my artistic inspiration throughout my time at Rice University. And to my family, for their love and support. CONTENTS ABSTRACT i ACKNOWLEDGMENTS ii INTRODUCTION 1 CHAPTER ONE. BRIEF BIOGRAPHICAL INFORMATION ON BÉLA BARTÓK AND BACKGROUND INFORMATION ON THE FIRST AND SECOND VIOLIN CONCERTOS Béla Viktor János Bartók (1881-1945) 3 The First Violin Concerto 11 The Second Violin Concerto 14 CHAPTER TWO. THE FIRST VIOLIN CONCERTO Unconventional Concept 18 The discovery of folk music and early compositions (1904-1907) 19 Bartók’s First Violin Concerto 25 Bartók and Geyer: Their Relationship 36 CHAPTER THREE.
[Show full text]
Thesis Title Page
The Pennsylvania State University The Graduate School School of Music GERMAN AND FRENCH COMPOSITIONAL INFLUENCES IN BÉLA BARTÓK’S ORCHESTRAL WORKS 1903-1924: CASE STUDIES IN A METHODOLOGY OF APPROPRIATION A Thesis in Musicology by Paul A. Sommerfeld © 2011 Paul A. Sommerfeld Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2011 The thesis of Paul A. Sommerfeld was reviewed and approved* by the following: Charles D. Youmans Associate Professor of Musicology Thesis Adviser Marica S. Tacconi Professor of Musicology Sue E. Haug Professor of Music Director, School of Music *Signatures are on file in the Graduate School ii ABSTRACT Attending the Budapest premiere of Richard Strauss’s tone poem Also sprach Zarathustra in February 1902 profoundly influenced the subsequent trajectory of the young Béla Bartók’s musical endeavors. Afterward, the budding composer, who at the moment stood at a creative impasse, immersed himself in Strauss's orchestral works—Ein Heldenleben in particular—and thereafter resumed his compositional studies. In Strauss, Bartók discovered “the seeds of a new life,” a means with which he could create complex, serious music that he would unite with Hungarian characteristics—at least those elements that Europe as a whole associated with Hungarian identity at the time, meaning gypsy music and the verbunkos. Only with these “authentic” elements did Bartók believe he could craft a musical embodiment of the Hungarian ethos. Yet like many artists of the period, Bartók viewed Straussian modernism as a means to imbue his music with renewed vitality. Thus, he plunged into the tone poems of the world’s leading Teutonic composer.
[Show full text]
Bartok Cover 6/6/07 4:12 Pm Page 1
Bartok Cover 6/6/07 4:12 pm Page 1 CD IO D U A H T I BARTÓK W Connections A guide for performers and programmers by Malcolm Gillies www.boosey.com Bartok Cover 6/6/07 4:12 pm Page 3 BARTÓK Reading & Listening Photo: Ernest Nash / courtesy of Peter Bartók with Ditta in New York (1940) Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók with his phonograph machine in Bucharest at his Bösendorfer piano This handbook brings together key information about Bartók and Malcolm Gillies his works. Malcolm Gillies is Vice-President (Development) of the Further reading is listed in the on-line Bartók articles of The New Australian National University and Chair of the Australian Grove Dictionary of Music and Musicians (www.grovemusic.com) Youth Orchestra. As a musicologist he has written half a and Die Musik in Geschichte und Gegenwart (www.mgg- dozen studies of the life and works of Béla Bartók, online.com). including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s For more detailed studies of Bartók’s works see: extended article on Bartók. As a musician he has György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) associated with the Emerson, Belcea, New Zealand, and Elliott Antokoletz, The Music of Béla Bartók Australian quartets in presentations of Bartók’s cycle of (Berkeley: University of California Press, 1984). quartets, and co-curated a Bartók festival at Wigmore Hall, David Yeomans, Bartók for Piano London, in 2006. In 2007 he becomes the President of City (Bloomington: Indiana University Press, 1988) Photo: courtesy Bartók Archive Budapest University London.
[Show full text]
Bartók's Miraculous Mandarin
Bartók’s Miraculous Mandarin Thursday, November 18, 2010 8 pm Saturday, November 20, 2010 8 pm Sunday, November 21, 2010 2:30 pm Jones Hall Hans Graf, conductor Augustin Hadelich, violin Bartók The Miraculous Mandarin, Opus 19 Chausson Poème for Violin and Orchestra, Opus 25 Ravel Tzigane INTERMISSION Brahms Symphony No. 3 in F major, Opus 90 Program Notes THE MIRACULOUS MANDARIN, OPUS 19 Béla Bartók Born: Mar 25, 1881, Nagyszentmiklós, Hungary Died: Sep 26, 1945, New York, NY Work composed: 1918-19 Recording: Sir George Solti conducting the Chicago Symphony (London) Instrumentation: three flutes (two doubling piccolo), three oboes (one doubling English horn), three clarinets (second doubling E-flat clarinet, third doubling bass clarinet), three bassoons (two doubling contrabassoon), four horns (two doubling Wagner tubas), three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta (doubling organ) and strings If there is a watershed in Bela Bartok’s stylistic development, its mark is to be found in the violent pantomime tale of a Chinese mandarin coaxed into a brothel where he is robbed, suffocated, stabbed and hung by three thugs, but refuses to die until he has embraced the woman who lured him there. Bartok encountered the libretto by Melchior Lengyel in a literary magazine in 1917 and was fascinated by this tale of an urban love-death. In the final turbulent days of World War I, he sketched out a scenario and completed a piano sketch of the music by May 1919, during a time of political upheaval and human displacement in his native Hungary. But the work lay unperformed for the next seven years, partly because of his delay in orchestrating the piano version.
[Show full text]
Ballet the Sound of Ballet
The Sound of Ballet The Sound of Ballet This Naxos segment catalogue contains a wealth of music from the world of ballet, from the genre’s inception right through to its contemporary forms. This rich resource has its roots in the Italian Renaissance and 17th century French theatre, but ballet in the form we generally know it today emerged during the Romantic era developments of the 19th century. With Swan Lake, The Sleeping Beauty and The Nutcracker, Pyotr Ilyich Tchaikovsky showed how the master of symphonic writing 8.550755-56 was able to apply some of his finest expressions to the stage, helping to establish the robust tradition of Russian ballet that continues today. The Parisian scene at the time similarly flourished with celebrated works such as Adolphe Adam’sGiselle and Léo Delibes’ Coppélia. Paris was never to be the same, however, following the arrival of Serge Diaghilev’s Ballets Russes. It was Diaghilev who commissioned Maurice Ravel’s Daphnis et Chloé, for example, and collaborated with Igor Stravinsky, the composer who revolutionised 20th-century music with his score for The Rite of Spring. 8.572924 Soon afterwards, Darius Milhaud’s La création du monde brought jazz influences to Paris from the United States, and the harsh realities of 1920s moral corruption in Eastern Europe resulted in Béla Bartók’s banned pantomime ballet The Miraculous Mandarin. The frontier narratives of America found voice in works such as Aaron Copland’s Appalachian Spring, Rodeo and Billy the Kid, while the life of the country’s bustling cities became projected in Leonard Bernstein’s Fancy Free.
[Show full text]
Hungarian Studies Review
Bartok and Kodaly: A Parting of the Ways Stephen Satory Bela Bartok (1881-1945) and Zoltan Kodaly (1882-1967) have long been regarded as the two greatest Hungarian musicians of the twentieth century. They were close friends and collaborators for thirty-five years, from 1905 until Bartok's emigration from Hungary in 1940. "Bartok and Kodaly": from 1910 on their names were paired together consistently, and with- out doubt this pairing has contributed to the popular misconception that their careers and music were largely similar. In fact, despite a number of common factors in their personal and professional development, their compositional styles and ideological dispositions diverged considerably. In this paper I attempt to bring the reader's attention to similarities between Bartok and Kodaly but also to salient distinctions within the similarities. However, instead of presenting a straightforward listing of affinities and divergences, I strive to pursue a discussion of Bartok and Kodaly more freely, proceeding in chronological order on the whole. Both musicians spent their childhood and adolescence in small provin- cial towns of prewar Hungary, Bartok in Nagyszentmiklos, Nagyszollos, Nagyvarad and Pozsony and Kodaly in Kecskemet, Galanta and Nagy- szombat. They both settled in Budapest before the age of twenty. Their years of study at the Liszt Academy overlapped:1 Bartok was a student from 1899 to 1903 and Kodaly, from 1900 to 1905. Many years later (1950), Kodaly wrote of these years, pointing to another similarity with Bartok, their avoidance of socializing: We [Bartok and I] went to the same school, the Liszt Academy for several years after 1900.
[Show full text]
Transfigurations of the Miraculous Mandarin: the Significance of Genre in the Genesis of Bartók’S Pantomime1
Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime1 László VIKÁRIUS Bartók Archives, Institute for Musicology Research Centre for the Humanities Táncsics Mihály u. 7., H-1014 Budapest, Hungary Email: [email protected] Received: September 2019; accepted: December 2019 Abstract: Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the en- tire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a signif- icant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók’s new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreog- rapher Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score.
[Show full text]
Guide to the Benjamin Suchoff Collection of Bartokiana, 1945- 2001 Descriptive Summary
Guide to the Benjamin Suchoff collection of Bartokiana, 1945- 2001 Descriptive Summary Title : Benjamin Suchoff collection of Bartokiana Creator: Suchoff, Benjamin Antokoletz, Elliot Dates : N/A ID Number : B12 Size: 57 boxes Abstract: A collection of research and other documents concerning composer Béla Bartók (1881-1945). Language(s): English Hungarian German French Romanian 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: Suchoff, Benjamin Antokoletz, Elliot Acquisition Donation. Information: Access Conditions: The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information. Processing processed History: Preferred Citation: Benjamin Suchoff Collection of Bartokiana, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Related Material: Antokoletz, Elliott, and Paolo Susanni. Béla Bartó k: A Research and Information Guide. New York: Routledge, 2011. Internet resource. Information about related materials is available at http://www.usf.eblib.com/patron/FullRecord.aspx? p=668794 Biographical Note Dr. Benjamin Suchoff (1918-2011) attended Cornell University, Julliard School of Music, and received a doctorate from New York University. During World War II, he served in the United States Army, enlisting in 1941 as a private. He was an accomplished pianist in both classical and jazz. He went on to become Professor of Ethnomusicology at UCLA and a recognized world authority on composer Béla Bartók, for whose estate he served as a curator and trustee. He has written numerous books and articles on Béla Bartók, as well as on topics in Ethnomusicology.
[Show full text]
Download Booklet
557433 bk Bartok US 29/04/2005 03:24pm Page 4 Bournemouth Symphony Orchestra Founded in 1893 by Sir Dan Godfrey, the Bournemouth Symphony Orchestra has had among its Principal BARTÓK Conductors some of the finest musicians in the world, including Rudolf Schwarz, Constantin Silvestri, Sir Charles Groves and Paavo Berglund. More recently Andrew Litton raised the orchestra’s standards to new levels, crowning The Miraculous Mandarin its centenary season with a triumphant début tour of the United States in April 1994, followed by Yakov Kreizberg and débuts at the Musikverein, Vienna, the Concertgebouw, Amsterdam, and Carnegie Hall, New York. In October 2002, Marin Alsop became Principal Conductor, the first woman to hold this title for any British symphony (Complete Ballet) orchestra. The name of the orchestra is internationally known through over three hundred recordings, including the award-winning release of Anthony Payne’s sketches for Elgar’s Symphony No. 3 with Paul Daniel (8.554719), the Dance Suite • Hungarian Pictures symphonies of Vaughan Williams with the former Chief Guest Conductor Kees Bakels and Paul Daniel, and a recording of works by John Adams under Marin Alsop for Naxos (8.559031), this last chosen as Editor’s Choice in the November 2004 issue of The Gramophone magazine. The orchestra is also now well known through increasing Bournemouth Symphony Orchestra international exposure in overseas tours. In addition to its recording and international touring commitments, the Bournemouth Symphony Orchestra is dedicated to providing orchestral music across the South and West of Britain, with a varied programme of educational and outreach commitments, and makes regular appearances in major Marin Alsop festivals and concert-halls throughout the country.
[Show full text]
Esa-Pekka Salonen Conductor Clyne <<Rewind<< Bartók Suite from the Miraculous Mandarin, Op. 19 Sibelius Four Legen
PROGRAM ONE HUNDRED TWENTy-THIRD SEASON Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 3, 2014, at 8:00 Saturday, April 5, 2014, at 8:00 Tuesday, April 8, 2014, at 7:30 Esa-Pekka Salonen Conductor Clyne <<rewind<< First Chicago Symphony Orchestra performances Bartók Suite from The Miraculous Mandarin, Op. 19 INTERMISSION Sibelius Four Legends from the Kalevala, Op. 22 Lemminkäinen and the Maidens of Saari Lemminkäinen in Tuonela The Swan of Tuonela Scott Hostetler, english horn Lemminkäinen’s Return CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Anna Clyne Born March 9, 1980, London, England. <<rewind<< Th e work by Anna Clyne With most of her compositions, including that our orchestra is <<rewind<<, Clyne begins by working at a piano, playing this week, because she likes the tactile sensation of trying <<rewind<<, comes from things out on the instrument. Clyne’s music early in her still-young itself is very physical—when she was writing career, before she had <<rewind<<, music that was designed to be moved to Chicago as one danced, she would jump around the room to test of our Mead how physical gestures matched the sounds and Composers-in-Residence. rhythmic patterns in her score. Clyne’s music At the time, she was is also deeply personal—never more so than in living in Brooklyn and composing in a gloomy, Within Her Arms, the piece she wrote in memory windowless room in a warehouse because she of her mother who died suddenly in 2009.
[Show full text]