DOCSLIB.ORG

New American Masters Volume 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New American Masters Volume 6 NEW AMERICan MASTERS VOLUME 6 WWW.ALBANYRECORDS.COM TROY1669 ALBANY RECORDS U.S. NEWLY COMMISSIONED WORKS FOR FLUTE, CLARINET & PIANO 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. ADRIEnnE ALBERT - DOG TALES, MATTHEW BAIER - SYZYGY BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 GARY WILLIAM FRIEDMAN - REFLECTIONS, LINDA MARCEL - EVOCARE II © 2017 ALBANY RECORDS MADE IN THE USA DDD TIng HO - I’M AWAY FROM MY DESK… WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. JEFF SCOTT - POEM FOR A LOST KING, GARY SCHOCKER - TRIO NO. 2 Palisades_1669_book.indd 1-2 3/15/17 12:07 PM dogsitting for neighbors who have two dogs and go away frequently on long trips. One can only The Music imagine what ensues during those long nights at my house trying to take care of three dogs. Hence, Adrienne Albert: DOG TALES the irregular time signatures and the overlapping motifs. The second movement, The Artful Dodger is Award-winning composer Adrienne Albert (ASCAP) has had her chamber, choral, vocal, orchestral a tone poem to my dear dog who “artfully” managed to “dodge” the traffic and possible horrible and wind band works performed throughout the U.S. and around the world. Having previously worked outcomes on his journey. The last movement, Mutt & Steff, is a short and, I think, humorous homage as a singer with many composers, including Igor Stravinsky, Leonard Bernstein, Philip Glass, and Gunther to a chihuahua (think small dog=piccolo) and a great dane (bass clarinet) who try to figure out how Schuller, Albert began composing her own music in the 1990s. Her music has been supported by to get along and live together. It is with pleasure that I composed this work for Palisades Virtuosi. noteworthy arts organizations including the National Endowment for the Arts, American Composers —ADRIENNE ALBERT Forum, MTC/Rockefeller Foundation, Subito Awards, Mu Phi Epsilon Fraternity, ACME, and ASCAP. Recent commissions include works for The Cornell University Chorus, Peter Sheridan, Holyoke Civic Matthew Baier: SYZYGY Symphony, Mu Phi Epsilon Foundation, Palisades Virtuosi, Zinkali Trio, Pennsylvania Academy of Composer and guitarist Matthew Baier received his Bachelor Degree in music from Nyack College, in Music, Chamber Music Palisades, Pacific Serenades as well as private individuals. A graduate of Nyack, New York where he studied composition with Paul Lilijestrand and classical guitar with Stanley UCLA, Albert studied composition with Leonard Stein, Stephen “Lucky” Mosko, and orchestration Solow of Nassau Community College on Long Island. He received his MFA degree in Studio Composition with Albert Harris. Her music is recorded on MSR, Naxos, Navona, Centaur, Little Piper, Albany, and from the S.U.N.Y. at Purchase where he studied composition with Dary John Mizelle. From 1999 to ABC Records and is published by Kenter Canyon Music (ASCAP). Adrienne’s music can also be found present he has hosted his annual fall program “A Recital of Original Compositions” in Nyack, New York through FluteWorld, Theodore Front Musical Literature, and Trevco-Varner Music. For more information, at venues including Grace Episcopal Church, The First Reformed Church of Nyack and Saint Paul’s Festival please visit: www.adriennealbert.com. of the Arts. Featuring many of the area’s finest musicians who are dedicated to the performance of contemporary chamber music, this event enjoys a growing audience each year. Each program includes Dog Tales for flute/piccolo, clarinet/bass clarinet) & piano a number of new works in addition to selections from the composer’s growing repertoire of audience When I was commissioned to compose a new work for the November, 2014 concert of Palisades Virtuosi, and performer favorites. Matthew has been a recipient of the Individual Artist Grant from the Arts Council I was told that the theme of the concert was “Music Born of Adversity.” Another holocaust piece, I of Rockland and the New York State Council for the Arts and also the Meet the Composer Fund. Affiliations thought? Or maybe something to do with Ebola? Oh no. Too depressing. How was I to know that, at include the Rockland Conservatory of Music, Long Island Composers Alliance (L.I.C.A.) and New that exact time, my rescue dog, Dodger, would run away from a friend’s home miles from where we Music USA. In addition to composing Mr. Baier has performed classical guitar recitals at the Queens live. Frightened and trying to find his way back home, he ended up even further away. Good fortune Public Library, Suffern Free Library, Nyack Library and The N.Y.U. School of Continuing Education. smiled down upon us! A kind and generous dog lover found him and held him in his car until we made our way to pick up this tired animal who was totally dehydrated and exhausted from running miles to Syzygy for flute, clarinet and piano who-knows-where. Those who know Los Angeles, the enormous distances between places and the The term syzygy is used in relation to the alignment of celestial bodies, specifically the configuration number of cars in the city know that this little creature had to cross many four-to-six lane boulevards of the sun, moon and earth lying in a straight line. While this work contains no factual scientific or and streets before his little legs could carry him no further. As Tennessee Williams said “the kindness mathematic number sequences in relation to the phenomenon, it does contain simple references: a of strangers” was, in this case, what saved my precious dog. To the homeless lady who held him, to my trio ensemble, three main sections to its form and the exchange of musical phrases in threes. friend who drove me to him, and to the man who kept him safe in his car, I forever thank them, wherever Syzygy makes use of the 12-tone method of composition as developed by Arnold Schoenberg they are. Each movement of Dog Tale has a story. The first movement, Three Dog Night refers to my (1874 – 1951) however it is framed in the standard Classical era sonata-allegro form. A brief introduction Palisades_1669_book.indd 3-4 3/15/17 12:07 PM precedes the piece where the original tone row is displayed between the piano and clarinet with the Reflections flute playing it in its retrograde form. The multi-sectional sonata-allegro form [exposition, development Reflections was commissioned and premiered in 2015. The piece is at its heart, a melodic and deeply and recapitulation] is reflected in the work’s main sections marked Allegro non troppo, Intermezzo emotional work. Its expressive lyricism shines through in spite of its highly chromatic harmonic struc- misterioso & cantabile and Fuga 1 & 2 - giocoso. As the work undergoes its periodic variations and ture. This rhythmic and harmonic lineage can be traced back to the free form Jazz experiments of the corresponding transitions it maintains a dance-like feel with Baroque performance sensibilities that 1960’s in which I participated, as a Jazz saxophonist. create buoyant and recognizable phrases. Syzygy’s last section contains two fugues with the last —GARY WILLIAM FRIEDMAN being a double fugue that gives homage to Johann Sebastian Bach (1685 – 1750). —MATTHEW BAIER Ting Ho: I’M AWAY FROM MY DESK… Ting Ho has received awards and grants from the National Endowment for the Arts, the National Gary William Friedman: REFLECTIONS Endowment for the Humanities, the American Music Center and the New Jersey State Council on Gary William Friedman is a versatile composer best known for his groundbreaking score for the the Arts, and is the recipient of the Louis Lane Prize. His original compositions have received perfor- Tony-nominated, OBIE award winning musical “The Me Nobody Knows.” Born in Brooklyn, New York, mances at Alice Tully Hall and Weill Recital Hall in New York City, the Kennedy Center in Washington, he graduated from Brooklyn College where he completed his post-graduate studies in education. He DC, and elsewhere in the United States and abroad. One of his works was featured in a Voice of studied electronic music composition at Columbia University with Vladimir Ussachevsky, and advanced America broadcast to the Orient. Dr. Ho received his MA at Kent State University and his PhD at classical composition privately with Hall Overton and Jan Meyerowitz. His Outer Circle Critic’s Award the Eastman School of Music of the University of Rochester. He is currently on the music faculty of winning off-Broadway musical “Taking My Turn” was chosen for presentation on PBS Television’s Montclair State University. Great Performance Series. His orchestral, operatic and dance works have been commissioned and performed at venues including the Kennedy Center for the Performing Arts, the Lancaster Music I’m Away From My Desk… Festival and the Columbus Symphony. He has co-produced, and composed original material for several It’s summer, when we’re often thinking about adding the message “I’m away from my desk...” as our internationally acclaimed jazz recordings by his wife, Stevie Holland. Gary served as Music Director voice or e-mail response. Although we can only dream of the getaways we’d like to take, music of for TV’s “The Electric Company,” for which he wrote many songs including the popular “Spider Man our thoughts will often reflect foreign locales. I’m Away From My Desk... is a three-movement excur- Theme Song.” Recent premieres include “Butterfly: A Musical Journey of Hope,” Friedman’s orchestral sion, beginning with the anticipation—by boat, plane or something more exotic? Then a quiet respite, settings of poems written by children incarcerated in Theresienstadt, which was performed at Trinity perhaps in a tropical locale.
Load more

Recommended publications
  • Mixed Folios
    mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs
    [Show full text]
  • Print/Download This Article (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLVI, Issue 1 Fall 2016 Now He Walks in Beauty: An American Choral Icon Malcolm J. Merriweather, Brooklyn College, CUNY 2016 was a particularly poignant year of loss for the music world. In pop music, the world bid farewell to ground-breaking artists like David Bowie, Prince, and George Michael. On 12 July 2016 the world of choral music lost a great luminary with the death of Gregg Smith. During the second half of the twentieth century, Smith set the standard for professional choirs when he established the Gregg Smith Singers and was widely admired for his contributions to the field of contemporary choral composition through interpretation, commis- sioning, and recording. Gregg Smith was born on 21 Au- gust 1931 in Chicago, Illinois to Myr- tle and Howard Smith. He earned a B.A. in music and an M.A. in com- position from the University of Cali- fornia at Los Angeles. His primary composition teachers were Lukas Foss and Leonard Stein, and his conduct- ing and ensemble mentors were Raymond Moreman and Fritz Zweig. Throughout his career, Smith served on the faculties at Ithaca College, the State University of New York at Stony Brook, Peabody Conservatory, Columbia University, and Manhattan School of Music. In 1955, he founded the Gregg Gregg Smith, 1931–2016 Smith Singers in Los Angeles. At the Contemporary Music Festival in Darmstadt, Smith and his singers were featured in Time (September, 1961, 73) after a successful performance of music by Schoenberg, Krenek, and Ives.
    [Show full text]
  • Chapter 1: Schoenberg the Conductor
    Demystifying Schoenberg's Conducting Avior Byron Video: Silent, black and white footage of Schönberg conducting the Los Angeles Philharmonic in a rehearsal of Verklärte Nacht, Op. 4 in March 1935. Audio ex. 1: Schoenberg conducting Pierrot lunaire, ‘Eine blasse Wäscherin’, Los Angeles, CA, 24 September 1940. Audio ex. 2: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. Audio ex. 3: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. In 1975 Charles Rosen wrote: 'From time to time appear malicious stories of eminent conductors who have not realized that, in a piece of … Schoenberg, the clarinettist, for example, picked up an A instead of a B-flat clarinet and played his part a semitone off'.1 This widespread anecdote is often told about Schoenberg as a conductor. There are also music critics who wrote negatively and quite decisively about Schoenberg's conducting. For example, Theo van der Bijl wrote in De Tijd on 7 January 1921 about a concert in Amsterdam: 'An entire Schoenberg evening under the direction of the composer, who unfortunately is not a conductor!' Even in the scholarly literature one finds declarations from time to time that Schoenberg was an unaccomplished conductor.2 All of this might have contributed to the fact that very few people now bother taking Schoenberg's conducting seriously.3 I will challenge this prevailing negative notion by arguing that behind some of the criticism of Schoenberg's conducting are motives, which relate to more than mere technical issues. Relevant factors include the way his music was received in general, his association with Mahler, possibly anti-Semitism, occasionally negative behaviour of performers, and his complex relationship with certain people.
    [Show full text]
  • A Midsummer Nights Dream 11 'T} S , O(;;)-2 by Wilham Shakespeare
    A Midsummer NightS Dream 11 't} s , o(;;)-2 by WilHam Shakespeare ~ BAm~ Tiieater BRooKLYN AcADEMY oF Music Compa11y ~~~~~~~~~ \.. ~ , •' II I II Q ,\.~ I II 1 \ } ( "' '" \ . • • !I II'" r )DO I \ ., : \ I ~\ } .. \ ;; .; 'I' ... .. _:..,... 1t ; rJ ,.I •\ y v \ YOUR MONEY GROWS LIKE MAGIC AT THE THE DIME SAVINGS BANK DF NEW YORK -..1-..ett•O•C MANHATTAN • DOWNTOWN BROOKLYN • BENSONHURST • FLATBUSH CONEY ISLAND • KINGS PLAZA • VALLEY STREAM • MASSAPEQUA HUNTINGTON STATION TABLE OF Old CONTENTS Hungary "An authentic ~ ounpany~~~~~~~ Hungarian restaurant right here in Brooklyn" Beef Goulash, Ch1cken Papnka, St uffed Cabbage, Palacsinta and other traditional dishes " Live Piano Music Nightly" The Actors 5-8 PRE-T HEATRE AND AFTER THEATRE DINNER 142 Montague St., Bklyn . Hghts. Notes on the Play 9-14 625· 1649 Production Team 15 § The Staff 16 'R(!tauranb The Actors 17-19 tel: 855-4830 Contributors 20-21 UL8-2000 Board of Directors 22 open daily for lunch and dinner till 9 P. M. Italian and A m erican Cuisine special orders upon request Flowers, plants and fruit baskets for all occasions (212) 768-6770 25th Street & 768-0800 5th Avenue Deluxe coach service following DIRECTORY BAM Theater Company Directory of Facilities a nd Services Box Office: Monday 10 00 to &.00 Tue.day throu~h ~tur performances day 10 00 to Y 00 Sunday Performance limes only Lost ond ~o und : Telephone &36-4 150 Restroom: Operu We pick you up and take you back llouse Women .ond Men. Mezzanme level. HandKapp<.·d Or c h c~t r a level Ployh ou,e: Women Orchestra l~vcl ,\.1cn .'Ae1 (to Manhattan) 1.anme lt•vel llandocapped Orchestra level Lepercq Spucc: The BAMBus Express will pick-up BAM Theater Company Wom en ,,nd Men Tht•c.H e r level Public T ele phon es.
    [Show full text]
  • The Late Choral Works of Igor Stravinsky
    THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
    [Show full text]
  • Morning Line 11.3.14.Pdf
    SUNDAY, NOVEMBER 2, 2014 DAMON WINTER / NEW YORK TIMES Page 1 of 4 DAMON WINTER / NEW YORK TIMES Bradley Cooper at the Booth Theater. Page 2 of 4 T. CHARLES ERICKSON JOAN MARCUS . KEITH BERNSTEIN . Page 3 of 4 Page 4 of 4 November 1, 2014 From Month to Month, in a Work of the Eerie and the Oddball ‘October in the Chair and Other Fragile Things’ By Alexis Soloski A sad tale’s best for winter, Shakespeare tells us. So what’s the right kind of story for this time of year? A spooky one, of course. Old Sound Room, a young company built by recent Yale School of Drama graduates, has five on offer. In “October in the Chair and Other Fragile Things,” an enjoyably eerie if overwrought piece, the ensemble adapts yarns plucked from “Fragile Things,” a collection of miscellany by the fantasy writer Neil Gaiman. On a set bedecked with cobwebs and dead trees, five performers (including the director, Michael McQuilken) play various months of the year. Wearing ragtag clothes and the sort of stage makeup that resembles a wasting disease, they take turns telling anecdotes and legends. (What of the other seven months? I guess it’s a very short year.) August offers a standard-issue chiller; February, a sad romance; May, a metafictional jumble; March, a bit of faux-Victoriana; and October, an early version of Mr. Gaiman’s much-loved “The Graveyard Book.” Much of this is in the story theater vein, with the months narrating the characters’ actions. Mr. Gaiman has a restless, playful intelligence and a fan boy’s devotion to oddball genre, and the performances are deft and spirited.
    [Show full text]
  • Arnold Schoenberg's Los Angeles
    WHEN THE MUSICAL WORLD’S LEADING MODERNIST HOLLYWOOD RESERVOIR arrived in the City of Angels in 1934, he found himself in a CAHUENGA BLVD. HOME OF thriving—and often incongruous—cultural mélange: amid HOME OF GALKA SCHEYER ERNST KRENEK 1880 Blue Heights Dr. Palm Springs, CA (Not shown on map) German-born screenwriter; hostess; art sunshine and palm trees, marquee faces and media moguls lived patron, most notably for the “Blue Four” Austrian-born composer; (Wassily Kandinsky, Paul Klee, Alexei von THE HOLLYWOOD BOWL HOME OF godfather of Schoenberg’s Yavlensky, Lionel Feininger). Home was son Ronald. 2301 N. Highland Ave. CANYON COVE ARNOLD SCHOENBERG designed by Richard Neutra, later 5860 Canyon Cove alongside a growing community of Europe’s intellectual elite modified by Gregory Ain. Music of Schoenberg conducted during his lifetime by Nicolas Slonimsky, Eugene Schoenberg family home from Goossens, and Henri Verbrugghen. fall 1934 until spring 1936. MARAVILLA DR. MARAVILLA fleeing Nazi persecution. This map highlights the many facets of CANYON RD. FRANKLIN AVE. HOTEL CONSTANCE BLUE HEI 940 E. Colorado Blvd., Pasadena GH TS DR. HOME OF (Not shown on map) Arnold Schoenberg’s life in Los Angeles: as composer, conductor, MAX REINHARDT HIGHLAND AVE. HOLLYWOOD BLVD. Temporary home of the Schoenbergs, 2201 Maravilla Dr. for two weeks in September 1934. R D German-born theater and film director; A SILVER Z A SUNSET BLVD. LAKE L produced A Midsummer Night’s Dream teacher, émigré, friend, and family man. P RESERVOIR T ASSISTANCE LEAGUE PLAYHOUSE IIII E in 1934 at the Hollywood Bowl; made S N 1367 N.
    [Show full text]
  • John Cage and Recorded Sound: a Discographical Essay
    SOUND RECORDING REVIEWS Edited by Rick Anderson JOHN CAGE AND RECORDED SOUND: A DISCOGRAPHICAL ESSAY By Rob Haskins Record collections, - that is not music. ... A lady in Texas said: I live in Texas. We have no music in Texas. The reason they've no music in Texas is because they have recordings. Remove the records from Texas and someone will learn to sing.1 John Cage's ambivalent attitude toward recorded sound is well known. Ever skeptical of an aesthetics that privileges objects, he felt that audi- ences should pay more attention to art, like existence itself, as a continual process of becoming. In conventional music, according to Cage, com- posers imprisoned sounds within relatively straightforward structural de- signs that were intended either to impress listeners with intellectual inge- nuity or to drown them in sentiment, preventing the sounds from tending toward their natural complexity and ambiguity. As a result, musical recordings brought about the mistaken impression that performance - a naturally evanescent experience - could be reified and that the resul- tant objects, now possessed by its consumers, held the same ontological status as the music itself. Cage's emphasis on becoming also included an ethical dimension. He famously spoke of his music and ideas as useful for society - that princi- ples embodied in his music could be used to solve social problems - and also noted that he had no use for recordings. While this statement sug- gests that Cage doubted the social usefulness of recordings, the implica- tions of the remark are unclear. He possibly meant that the false objecti- fication of music through recorded sound discouraged difference: the ideal state of societies comprising many individuals.
    [Show full text]
  • Adrienne Albert
    Piccolodeon for Piccolo and Piano Adrienne Albert PICCOLODEON is a duet for piccolo and piano that expresses the mood and sonority of the “Nickelodeon,” an early 20th-century arcade instrument used for silent movies, carousels, and vaudeville theatre. The Piccolodeon piece begins as a playful ragtime with the instruments in sync. Gradually, the ensemble unravels to the point for Piccolo and Piano where it’s a toss-up as to which player is off. This musical gem is full of surprise and delight! ADRIENNE ALBERT began her musical career as a singer and collaborator with composers including Igor Stravinsky, Leonard Bernstein, and Philip Glass. She began composing her own music in the 1990s. Adrienne’s chamber, orchestral, choral, vocal, and band works are extensively performed throughout the world. She has received awards including grants and prizes from the National Endowment for the Arts, American Composers Forum, MTC/Rockefeller Foundation, and numerous other organizations. Ms. Albert’s commissions have come from music schools, soloists, universities, and chamber ensembles. She has been Composer-In-Residence at California State University at Fresno, and California State University at Sacramento. Her music is recorded on the Albany, Naxos, Centaur, MRS, Navona, Little Piper, and ABC Classics labels. Also available by Adrienne Albert: ACROSS THE C’S for Mixed Flute Quintet ACROSS THE C’S is an original work by the celebrated American composer Adrienne Albert. This 6-minute work was commissioned by the Norwegian quintet “5 på Tvers/5 Across” who traveled across the seas to premiere the work at the 2015 NFA convention. In addition to the beautiful flowing feel of an ocean crossing, the music begins and ends with a special sonority of winds blowing on the open sea.
    [Show full text]
  • Th E Wild Par T
    based on the poem by book, music, and lyrics by PARTY WILD THE DANCE, AND PERFORMANCE STUDIES PRESENTS SCHOOL OF THEATRE, UMD JOSEPH MONCURE MARCH ANDREW LIPPA UNIVERSITY of MARYLAND November 4 - 11, 2016 KOGOD THEATRE at The Clarice SCHOOL of THEATRE DANCE and PERFORMANCE1 STUDIES THE CALL by Tanya Barfield Eleanor Holdridge, director KAY THEATRE SEPTEMBER 30- OCTOBER 8, 2016 MFA DANCE THESIS CONCERT WAKING DARKNESS. WAITING LIGHT. by Colette Krogol and Matt Reeves KOGOD THEATRE OCTOBER 7-9, 2016 THE WILD PARTY Book, Music, and Lyrics by Andrew Lippa Based on the Poem by Joseph Moncure March Alvin Mayes and Scot Reese, directors KOGOD THEATRE NOVEMBER 4-11, 2016 MFA DANCE THESIS CONCERT RENDER EDIT by Sarah Beth Oppenheim FULL CIRCLE: BRIDGING THE GAP by Chris Law DANCE THEATRE DECEMBER 9-11, 2016 THE IMPORTANCE OF BEING EARNEST by Oscar Wilde Amber Paige McGinnis, director KOGOD THEATRE FEBRUARY 10-18, 2017 THE AMISH PROJECT by Jessica Dickey Mitchell Hébert, director KAY THEATRE FEBRUARY 24-MARCH 3, 2017 THE SCHOOLING OF BENTO BONCHEV by Maksym Kurochkin translated by John Freedman Yury Urnov, director KOGOD THEATRE APRIL 28-MAY 6, 2017 UMOVES: UNDERGRADUATE DANCE CONCERT Christopher K. Morgan, director DANCE THEATRE MAY 5-7, 2017 16-17 SCHOOL OF THEATRE, DANCE, AND PERFORMANCE STUDIES SEASON DANCE, 16-17 SCHOOL OF THEATRE, UMD School of Theatre, Dance, and Performance Studies Leigh Wilson Smiley, Producing Director THE WILD PARTY book, music, and lyrics by Andrew Lippa based on the poem by Joseph Moncure March Friday, November 4, 2016 . 7:30PM Saturday, November 5, 2016 .
    [Show full text]
  • 2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM
    National Flute Association 44th Annual Convention SanSan Diego,Diego, CACA August 11–14, 2016 SDF_5.5x8.5_NFA_Book.pdf 1 6/24/16 7:56 AM C M Y CM MY CY CMY K YOUR VOICE ARTISTRY TOOLS SERVICES unparalleled sales, repair, & artistic services for all levels BOOTH 514 www.flutistry.com 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 3 nfaonline.org 4 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 5 nfaonline.org INSURANCE PROVIDER FOR: ALL YOU NEED TO KNOW ABOUT FLUTE INSURANCE www.fluteinsurance.com Located in Florida, USA or a Computer Near You! FL License # L054951 • IL License # 100690222 • CA License# 0I36013 6 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators ............................................................... 14 From the Convention Program Chair ................................................. 21 2016 Awards ..................................................................................... 23 Previous Lifetime Achievement and Distinguished Service Award Recipients ....................................................................................... 26 Instrument Security Room Information and Rules and Policies .......... 28 General Hours and Information ........................................................
    [Show full text]
  • No Ear for Music the Scary Purity of John Cage
    34 No Ear for Music The Scary Purity of John Cage David Revill, The Roaring Silence (New York: Arcade, 1992; 375 pp.) Richard Kostelanetz, ed., Conversing with Cage (New York: Limelight, 1988; 300 pp.) Pierre Boulez and John Cage, Correspondance et documents, edited by Jean-Jacques Nattiez (Winterthur: Amadeus, 1990; 234 pp.); trans. Robert Samuels, The Boulez- Cage Correspondence (Cambridge: Cambridge University Press, 1993; 168 pp.) John Cage, The Complete Quartets; Arditti Quartet (Mode 17 & 27, 2 CDs) John Cage, The Perilous Night; Four Walls; Margaret Leng Tan (New Albion 37) John Cage, Lecture on Nothing; Works for Cello; Frances-Marie Uitti (Etcetera 2016) Lenny Bruce had a routine in which he sent audiences into paroxysms by classifying any artifact of contemporary culture to which they referred him as Jewish or goyish. The high point, on the recording that I heard, came when someone shouted, I think, “instant scrambled eggs,” and Bruce went, “ooh . scary goyish.” There is no better way of understanding what John Cage has meant to us, why he was so notorious and then so famous, and why his name will long remain an emblem. For half a century he stalked the world of music as its scariest goy. This had nothing to do with religion, or with the ethnic complexion of modern America. It wasn’t even a question of Us and Them. What made the classification funny was that all the mundane items classified belonged to Us. The classification showed up the contradictions in the shared culture, and in its values. What was “Jewish” confirmed our cherished notions of ourselves; what was “goyish” disconfirmed them.
    [Show full text]