tag:blogger.com,1999:blog-9236344895996053062024-03-13T03:56:10.592-07:00music @ mainfree music programs in downtown jacksonville at the corner of main & duvalMusic @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.comBlogger130125tag:blogger.com,1999:blog-923634489599605306.post-71492693196339059482015-09-04T05:39:00.002-07:002020-12-22T02:40:03.147-08:00<script type="text/javascript">
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<P><i>Sadly, live performances are on hiatus due to the risks of COVID-19.</i></p>Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-47095982229971296892015-07-03T04:26:00.002-07:002016-05-24T03:56:10.116-07:00June 12, 2016 <a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239270" target="_blank">JPL Program Calendar</a><br />
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JiWon Hwang, violin<br />
Boyan Bonev, cello <br />
Mimi Noda, piano
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* SARASATE: Romanza Andaluza, Op. 22, No. 1<br />
* LEIN: Nocturne <br />
* PIAZZOLLA: Libertango <br />
* POPPER: Hungarian Rhapsody, Op. 68 <br />
* BRAHMS: Piano Trio No.1 in B Major Op.8<br />
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<li>Allegro con brio </li>
<li>Scherzo - Allegro molto </li>
<li>Adagio </li>
<li>Allegro</li>
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<a href="http://4.bp.blogspot.com/-Eg1356vVj0E/U6hoh5t_uJI/AAAAAAAACPU/iqwzm9xp968/s1600/jiwon2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-Eg1356vVj0E/U6hoh5t_uJI/AAAAAAAACPU/iqwzm9xp968/s320/jiwon2.jpg" width="240" /></a><br />
Korean violinist <b>Ji Won Hwang</b> earned her Bachelor of Music and Master of Music degrees from Sookmyung Women's University in Seoul, Korea, where she also taught, in addition to conducting the Soongsil Boy's Orchestra. After moving to the United States she became a teaching assistant at The Florida State University while working on her Doctor of Music degree under the guidance of violinist Eliot Chapo. She has performed as a solo artist and with a variety of ensembles in the Big Bend area, including as violinist with the Eppes String Quartet under the sponsorship of Pulitzer-Prize-winning composer Ellen Taafe Zwilich. Winner of the top prize of the Korea Germany Brahms Association Competition in 2004, Dr. Hwang has performed throughout Asia, Europe and North America, and recently gave a concert entitled "Russia in New York" at Carnegie Hall. In addition to her solo engagements, she plays for symphony orchestras in Florida, Alabama, and Georgia.
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Award-winning Bulgarian cellist <b>Boyan Bonev</b> teaches cello and double bass at the University of West Florida in Pensacola, and previously taught in Georgia at Albany State University and Darton College. Dr. Bonev is on the faculty of the Florida State University Summer Music Camps, and performs with the Tallahassee, Pensacola, Mobile, Florida Lakes, and Northwest Florida Symphony Orchestras. Active as a solo and chamber musician, Boyan Bonev has appeared in concert and educational programs for Bulgarian National Television and Radio, in performance at Carnegie Hall (Weill Recital Hall), and as soloist with orchestras in the United States and Europe. Dr. Bonev holds Doctor of Music and Master of Music degrees from the Florida State University, and a Bachelor of Music degree from the National Music Academy in Sofia, Bulgaria.
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<b>Mimi Noda </b>was a collaborative pianist with the Japanese Choral Association before relocating to the United States in 1998 to pursue graduate studies. While earning degrees at the University of Georgia (MM) and Florida State University (DM), she was awarded a number of prizes and scholarships in piano performance, and also taught Japanese in FSU’s Department of Modern Languages and Linguistics. Now an Associate Professor of Music at Georgia's Albany State University, in addition to annual faculty recitals, other recent solo engagements have included a recital in Tokyo, Japan. Apart from responsibilities in the Music Dept., Dr. Noda has established a course in Japanese at ASU, and will be teaching Japanese through the Study Abroad Program for the University System of Georgia. Her volunteer activities include performing at Albany's Phoebe Putney Memorial Hospital, and giving piano lessons to children at Westminster Presbyterian Church in Tallahassee.<br />
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<hr id="PROGRAM NOTES" />
PROGRAM NOTES
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Spanish violinist <b>Pablo de Sarasate</b> (1844-1908) was a popular virtuoso whose light touch and flawless tone inspired several of the Romantic period's enduring showpieces, including Lalo's <i>Symphonie espagnole</i>, Saint-Saens' <i>Introduction & Rondo Capriccio</i> and Bruch's <i>Scottish Fantasy</i>, not to mention concertos by these and other composers. As an eight-year old Sarasate already was giving concerts, and after winning the Paris Conservatory's top performance prize at age 17, he began an international solo career that continued unabated for four decades--his star shone so brightly that even Sherlock Holmes and Dr. Watson went to hear him play! Composed in 1879, <i><b>Romanza Andaluza</b></i> (op. 22, no. 1) is the third of Sarasate's eight "Spanish Dances" for violin and piano. Paying obvious tribute to the music of his homeland, Sarasate capitalizes on the violin's low register while introducing his folk-like original tunes, then harmonizes them with persistent double-stops that enhance the music's dancing lyricism with virtuosic flair.<br />
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<a href="http://imslp.nl/imglnks/usimg/d/d2/IMSLP24395-PMLP55130-Sarasate_-_Spanish_Dance_No3_Romanza_Andaluza_Op22_violin_piano.pdf" target="_blank">SCORE (pdf)</a>
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<a href="https://www.youtube.com/watch?v=qC0QKNav4OA" target="_blank">Hear it on YouTube</a>
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Florida native <b>Edward Lein</b> (b. 1955) holds master's degrees in Music and Library Science from Florida State University. Early in his career he appeared throughout his home state as tenor soloist in recitals, oratorios and dramatic works, and most of his early compositions feature voices. Following performances by the Jacksonville Symphony of his <i>Meditation</i> for cello, oboe and orchestra (premiered June 2006) and <i>In the Bleak Midwinter</i> (premiered December 2007), his instrumental catalog has grown largely due to requests from Symphony players for new pieces. The <b>Nocturne</b> is the second movement from his Sonatina (2007). It presents a languid tune that alternates with a hymn-like chorale, perhaps suggesting a quiet boat ride down the St. John's River at dusk.<br />
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<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1019606/vln-sonatina-score.pdf" target="_blank">SCORE (pdf)[Beginning at p.8]</a>
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<a href="http://instantencore.com/work/work.aspx?work=5064125" target="_blank">Hear it on Instant Encore</a>
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With an estimated catalog of over 3,000 compositions, <b>Ástor Piazzolla</b> (1921-1992) pretty much single-handedly reinvented the tango. Born in Argentina, Piazzolla spent most of his childhood in New York, where he developed a fondness for jazz and classical music. His father taught him to play the bandoneón, a concertina common to Argentine tango ensembles, and when he returned to Buenos Aires in 1937 he played with some of the leading bands. He also began composition studies with Alberto Ginastera and won a grant in 1953 to study in Paris with legendary composition teacher Nadia Boulanger. Returning to Argentina in 1955, Piazzolla infused the traditional national dance with characteristics of jazz and formal elements from his classical studies. Although this <i>nuevo tango</i> ("new tango") style was met with resistance in his homeland, it captivated Europeans and North Americans and his international career blossomed. <b><i>Libertango</i></b> reflects his "liberation of the tango," and has been recorded over 500 times since originally recorded and published in 1974.<br />
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<a href="https://www.youtube.com/watch?v=x-GYvifWvLc" target="_blank">Hear it on YouTube</a>
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Called "the Rostropovich of the 19th century," <b>David Popper</b> (1843-1913) was born in the Jewish ghetto of Prague and became one of Europe's most celebrated cellists. In addition to holding prestigious orchestral positions, Popper was well-known as both solo virtuoso and chamber musician, partnering with a number of high-profile pianists, including his wife Sophie Menter (whom Liszt cited as the world's greatest woman pianist), Clara Schumann and Johannes Brahms. Also a highly respected teacher, Popper joined the faculty of the Budapest royal conservatory in 1896, and his influence continues to this day through the <i>High School of Cello Playing</i>, Op. 78 (1901-05), something of a bible for advanced cello students. A gifted melodist, most of Popper's compositions showcase the expressive and technical capabilities of his instrument, amply demonstrated in the <b><i>Hungarian Rhapsody</i></b>, Op. 68 (1894), likely his best-known work.<br />
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<a href="http://petrucci.mus.auth.gr/imglnks/usimg/6/63/IMSLP25531-PMLP57251-Popper_-_Hungarian_Rhapsody_Op68_piano.pdf" target="_blank">SCORE (pdf)</a>
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<a href="https://www.youtube.com/watch?v=NKO6mqXI-mg" target="_blank">Hear it on YouTube</a>
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At a time when it was fashionable to write programmatic music that illustrated specific scenes, poems, or stories, the great German composer <b>Johannes Brahms</b> (1833-1897) was recognized by his admirers as “Beethoven’s true heir” (Grove Concise Dictionary of Music) by demonstrating that established abstract formal procedures could be used to organize musical discourse without sacrificing the passion and deeply individualistic expression that defines 19th-Century Romantic music. Thus, Brahms joined Bach and Beethoven as one of the great “Three B’s” of classical music. Originally composed in 1854, Brahms revised his <b>Piano Trio No. 1, op. 8</b> in 1889, but, remarkably, he allowed both versions to remain in print (although, not surprisingly, it's the revision that's almost always performed). Another remarkable thing about the Trio is that it's one of very few multi-movement instrumental works composed during the 400 or so years comprising the Baroque through Romantic periods that begin in a major key and end in a minor one.<br />
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<a href="http://hz.imslp.info/files/imglnks/usimg/3/34/IMSLP258502-PMLP52223-brahms_trio_op8-2dedition_dkb.pdf" target="_blank">SCORE (pdf)</a>
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<a href="https://www.youtube.com/watch?v=P949STN2PVE" target="_blank">Hear it on YouTube</a>
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SELECTED RELATED LIBRARY RESOURCES
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<ul>
<li>CD VIOLIN S525 R758 DG <br />
Romances [sound recording] / Gil Shaham, violin (featuring Sarasate : <i>Romanza andaluza</i>).
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<li>CD P584 I59se SONY <br />
Soul of the tango [sound recording] : the music of Astor Piazzolla.
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<li>780.92 P584Az, 2000 <br />
Le grand tango : the life and music of Astor Piazzolla / by María Susana Azzi.
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<li>CD STRING P831 I59se NAXOS <br />
Romantic cello showpieces [sound recording] / David Popper.
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<li>780.92 NEUNZIG <br />
Brahms / by Hans A. Neunzig.
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<li> CD B813 T834 TELDEC <br />
The piano trios [sound recording] / Brahms (Trio Fontenay).
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</ul>
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-23930754078042746482015-07-03T04:25:00.001-07:002016-04-29T13:03:58.541-07:00May 8, 2016 <a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239269" target="_blank">JPL Program Calendar</a><br />
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Joshua Ross, piano<div class="separator" style="clear: both; text-align: center;">
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<b>Lyapunov</b> - Transcendental Etude Op. 11 No. 1 "Berceuse"
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<b>Chopin</b> - Nocturne Op. 15 No. 1 in F minor
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<b>Chopin</b> - Scherzo Op.31 No. 2 in B flat minor
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<b>Brahms</b> - Rhapsody Op. 79 No. 2 in G minor
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<b>Liszt</b> - Au bord d'une source
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<b>Ravel</b> - Jeux d'eau
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<b>Schumann</b> - Kinderszenen Op.15
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<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1045982/Intermezzo-may8.program.pdf" target=_blank>CLICK HERE for the Program Guide (pdf)</a>
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<span abp="70" lang="EN">Among the winners of the 2013 American Protégé International Competition of Romantic Music, pianist <strong>Joshua Ross</strong> recently made his Carnegie Hall debut in Weill Recital Hall in February 2014. He holds a Master of Music degree in Piano Performance from the University of Georgia, where he studied with Dr. Martha Thomas, and a Bachelor of Music degree in Piano Performance from The Florida State University, where he studied with Dr. Heidi Louise Williams. He also studied with Dr. James Nalley, performed and studied at the 2008 Schlern Music Festival, in Vols am Schlern, Italy, and</span><span abp="73" lang="EN"> has played in master classes for renowned pianists Angela Cheng, Natsuki Fukasawa, David Northington, and Richard Cionco, among others. </span><br />
<span abp="73" lang="EN">Among recent engagements, Mr. Ross performed for the Steinway Piano Society of Bonita Springs in their Past Winners Recital Series, as well as the 2013 American Bandmasters Association conference in Tampa, Florida as featured pianist with the internationally-acclaimed University of Georgia Wind Ensemble. Recent competition performances include the 2012 Georgia Music Teachers Association National Competition as well as the UGA concerto competition.</span> <br />
<span abp="74" lang="EN">Pursuing his passion for teaching, Joshua was on the faculty of the UGA Community Music School, where a gave private and group piano lessons to both children and adults. He currently teaches at the Steinway Piano Gallery of Bonita Springs, Florida. </span> <span abp="75" lang="EN">Originally from Naples, Florida, Joshua is a devoted alumni of the FSU Marching Chiefs, in which he played the saxophone, enjoying many high-profile engagements including the 2010 Chick-fil-A Bowl in Atlanta, and the 2011 Inauguration of Governor Rick Scott. </span><br />
<hr>PROGRAM NOTES by Edward Lein, Music Librarian<hr>
Russian composer and concert pianist <b>Sergei Lyapunov</b> (1859-1924) was also a professor at the St. Petersburg Conservatory, among other teaching positions. His <i>Douze études d'exécution transcendente</i> ("12 Transcendental Etudes," Op. 12) contain his best-known pieces, including the <i><b>Berceuse</b></i> ("Lullaby," Op. 11, no. 1). Lyapunov intended his set as a continuation of Franz Liszt's <i>Transcendental Etudes</i>, which Liszt had planned as a cycle of 24 etudes in all the major and minor keys but did not live to complete.
<hr>The Polish-born pianist <b>Frédéric Chopin</b> was the first composer to make full use of the expressive qualities of the piano when it was a still-developing keyboard instrument, and he rightly has been called the "Poet of the Piano." Much of all piano music by subsequent composers shows his influence, and his revolutionary use of chromatic harmonies and unusual key relationships profoundly influenced composers of symphonic music and operas as well, such as Franz Liszt and Richard Wagner--thus Chopin's importance in the development of the "Romantic" style in general can not be overestimated. <br>Among his best-loved works are the 21 Nocturnes ("Night Pieces"). Published in 1834, <b>Nocturne Op. 15, no. 1</b> opens and closes with lyrical sections in F major, flanking a "fiery" middle section in F minor. <br>Among his many other achievements, Chopin was the first to "liberate" the scherzo from its previously subsidiary role as an interior movement in multi-movement works. With Chopin the scherzo becomes an independent piece that retains the lively tempo and 3/4 time of its precedents, but which often dispenses with the jocularity implied by the title ("scherzo" is the Italian word for "joke"), and which rather expansively elaborates on the traditional "ABA" formal design. First published in 1837, in his 3-part <b>Scherzo No. 2, Op. 31</b> the beginning and concluding "A" sections share characteristics of sonata-allegro design, but are interrupted by the central, episodic "B" section.
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At a time when it was fashionable to write programmatic music that illustrated specific scenes, poems, or stories, the great German composer <b>Johannes Brahms</b> (1833-1897) was recognized by his admirers as “Beethoven’s true heir” (Grove Concise Dictionary of Music) by demonstrating that established abstract formal procedures could be used to organize musical discourse without sacrificing the passion and deeply individualistic expression that defines 19th-Century Romantic music. Thus, Brahms joined Bach and Beethoven as one of the great “Three B’s” of classical music. As a youth, Brahms earned a living as a pianist, but after he became established as a composer he limited his public performances to playing only his own works. His <b>Rhapsody, Op. 79, No. 2 in G minor</b> is from a pair of like-titled works dating from 1879.
<hr>Hungarian-born <b>Franz Liszt</b> (1811-1886) is widely regarded as the greatest pianist of all time, and his performances excited an hysteria that today is reserved for only the most popular of rock stars. Despite great fame following a sometimes impoverished youth, Liszt remained unspoiled and donated great sums of his concert earnings to a wide variety of charitable causes, and in later life he even took orders in the church. An innovative composer, Liszt is credited with creating the symphonic tone poem as a form, developing the technique of thematic transformation, and anticipating some of the harmonic devices of Impressionist composers. <i><b>Au bord d'une source</b></i> ("Beside a Spring") is the 4th piece in his suite, <i>Années de Pèlerinage,Première année: Suisse</i> (Years of Pilgrimage, 1st Year: Switzerland), which he captioned “In the whispering coolness begins young nature’s play” (quoting poet Friedrich Schiller).
<hr><b>Maurice Ravel</b> (1875–1937) was a great French composer and master orchestrator who maintains a place among the most performed and recorded composers of all time. He is often identified with Debussy as a chief proponent of musical Impressionism, but Ravel melded exotic harmonies with classical formal structures to create a personal, refined style that transcends a single label. About his famous piece inspired by Liszt and with a title translated as "Water Games," Ravel provided the following commentary: "<b><i>Jeux d'eau</i></b>, appearing in 1901, is at the origin of the pianistic novelties which one would notice in my work. This piece, inspired by the noise of water and by the musical sounds which make one hear the sprays water, the cascades, and the brooks, is based on two motives in the manner of the movement of a sonata—without, however, subjecting itself to the classical tonal plan."
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The hopes of the great German Romantic composer <b>Robert Schumann</b> (1810-1856) to become a concert pianist were dashed in his early twenties when he permanently damaged his hand, so he redirected his energies to both composing and music criticism. From childhood he was torn between literature and music, but he managed to combine these two loves even in some of his purely instrumental music by using poetry and dramatic narrative to color and direct the musical discourse. Composed in 1838, the 13 pieces that comprise Schumann's <b><i>Kinderszenen</i></b> ("Childhood Scenes," Op. 15) are not really intended specifically for children, as one might suppose at first glance. Rather, they are nostalgic remembrances of youth filtered through the experience of adulthood.
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<iframe width="640" height="360" src="https://www.youtube.com/embed/uniqHKPp9eM" frameborder="0" allowfullscreen></iframe>Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-82788479822193978902015-07-03T04:24:00.001-07:002016-04-04T05:31:46.840-07:00April 10, 2016 @ 3 p.m.<a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239268" target="_blank">JPL Program Calendar</a><br />
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<big><b>Linda A. Cionitti</b></big><small>, clarinet</small><br />
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<small><a href="https://4.bp.blogspot.com/-hUe6ilZWc_M/VvQFhVdX6vI/AAAAAAAABDg/Co2bNfjkPwAlC3U9G0PdToPcNdZskVzzA/s1600/intermezzo-poster-apr10.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-hUe6ilZWc_M/VvQFhVdX6vI/AAAAAAAABDg/Co2bNfjkPwAlC3U9G0PdToPcNdZskVzzA/s400/intermezzo-poster-apr10.jpg" width="256" /></a></small></div>
<i>Georgia Southern University Faculty Artist</i><br />
<big><b>Maila Gutierrez Springfield</b></big><small>, piano</small><br />
<i>Valdosta State University Faculty Artist</i><br />
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<b><a href="http://www.elliotdelborgo.com/" target="_blank">Elliot Del Borgo</a></b> (1938-2013) <br />
Elegy <br />
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<b><a href="https://en.wikipedia.org/wiki/Vronsky_%26_Babin" target="_blank">Victor Babin</a></b> (1908-1972) <br />
Hillandale Waltzes [<a href="https://www.youtube.com/watch?v=4l_LVR88DhM" target="_blank">Hear it on Youtube</a>]<i><br />
Thème – Valse elegante – Valse passionée <br />
Valse sombre –Valse volante – Valse triste <br />
Valse de bonne humeur –Valse brillante et joyeuse <br />
Valse oubilée</i> <br />
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<b><a href="https://en.wikipedia.org/wiki/Carlos_Guastavino" target="_blank">Carlos Guastavino</a></b> (1912-2000) <br />
Tonada y Cueca [<a href="https://www.youtube.com/watch?v=dJ8x5XeuF-Q" target="_blank">Hear it on Youtube</a>]<br />
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<b><a href="https://en.wikipedia.org/wiki/Louis_Cahuzac" target="_blank">Louis Cahuzac</a></b> (1880-1960) <br />
Cantilène [<a href="https://www.youtube.com/watch?v=be-AiLIVcCk" target="_blank">Hear it on Youtube</a>]<br />
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<a href="http://mauricesaylor.net/about-us.php" target="_blank"><b>Maurice Saylor</b> </a>(b. 1957) <br />
Romanza (from <i>Comic Symphony</i>)<br />
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<b><a href="http://www.hindemith.info/en/life-work/biography/" target="_blank">Paul Hindemith</a></b> (1895-1963) <br />
Sonata for Clarinet and Piano <i><br />
II. Lebhaft </i>[<a href="https://www.youtube.com/watch?v=ciFjIe3tb_A" target="_blank">Hear it on Youtube</a>]<br />
<i>IV. Kleines Rondo, gemächlich </i>[<a href="https://www.youtube.com/watch?v=7P2WSGa4IyA" target="_blank">Hear it on Youtube</a>]<br />
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<a href="http://www.jamesmdavid.com/clarinet-sonata.html" target="_blank"><b>James M. David</b> </a>(b. 1978) <br />
Historias y Danzas [<a href="https://soundcloud.com/jdavidcomposer/sets/historias-y-danzas" target="_blank">Hear a demo on Soundcloud</a>]<i><br />
II. En forma de Habañera <br />
IV. En Forma de Tango (y Mambo)</i> <br />
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<strong>Maila Gutierrez Springfield</strong> is an instructor at Valdosta State University and a member of the Maharlika Trio, a group dedicated to commissioning and performing new works for saxophone, trombone and piano. She can be heard on saxophonist Joren Cain’s CD <i>Voices of Dissent</i> and on clarinetist Linda Cionitti’s CD <i>Jag & Jersey</i>. MusicWeb International selected <i>Jag & Jersey </i>as the recording of the month for February 2010 and noted that Maila “is superb in the taxing piano part with its striding bass lines and disjointed rhythms”. For Voices of Dissent, the American Record Guide describes Maila as “an excellent pianist, exhibiting solid technique and fine touch and pedal work." Twice-honored with the Excellence in Accompanying Award at Eastman School of Music, Maila has been staff accompanist for the Georgia Governor’s Honors Program, Georgia Southern University, the Buffet Crampon Summer Clarinet Academy and the Interlochen Arts Camp, where she had the privilege of working with cellist Yo-Yo Ma. She has collaborated with members of major symphony orchestras, including those in Philadelphia, Cleveland, Cincinnati, Los Angeles and Jacksonville. She was awarded a Bachelor of Music degree from Syracuse University, and a Master of Music degree from the Eastman School of Music.<br />
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<b>Linda A. Cionitti</b>, an active international performer, presents recitals at significant events such as the International ClarinetFest, the Music Teachers National Association Conference, the College Music Society Convention, and the University of Oklahoma Clarinet Symposium. In May 2009, she released <i>Jag & Jersey</i>, a CD featuring premiere recordings of works by Libby Larsen and James David, both of whom were considered for a Grammy Award. <i>The American Record Guide </i>states: “Cionitti is a wonderfully expressive player who pours her soul into all her performances; her phrasing is very natural, and she is never afraid to push boundaries with dynamics and tempo.” MusicWeb International selected <i>Jag & Jersey</i> as the February 2010 Record of the Month and said, “I cannot praise the playing of Linda Cionitti too highly. This is extraordinarily fine clarinet playing. Technically beyond reproach what I particularly admire is the way she varies her tone, vibrato (so very subtly applied), attack and whole musical personality to suit the period and style of each piece.” Dr. Cionitti began studying clarinet with her father, Nick Cionitti, followed by lessons with Valentine Anzalone and Michael Webster. She received her B.M. degree from the Crane School of Music at SUNY Potsdam, studying with Alan Woy. Her M.M. and D.M.A. degrees are from Michigan State University, where she studied with Elsa Ludewig-Verdehr.
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PROGRAM NOTES [<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1045143/Intermezzo-apr10.program.pdf" target=_blank><b>CLICK HERE</b> for Program Notes (pdf)</a>]
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<br />Including music for the 1980 Olympics in Lake Placid, American composer <b>Elliot Del Borgo</b> (1938-2013) published over 600 compositions, which he described as reflecting "the aesthetics of 20th-century musical ideals through its eclectic nature and vigorous harmonic and rhythmic style." He taught instrumental music in the Philadelphia public schools and was professor of music at the Crane School of Music, and also was known internationally as a conductor.
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In 1961, Russian-born <b>Victor Babin</b> (1908-1972) became Director of the Cleveland Institute of Music, but he first gained international fame performing with wife Vitya Vronsky as the husband half of <i>Vronsky & Babin</i>, which <i>Newsweek</i> called "the most brilliant two-piano team of our generation." Presenting variations on a theme by Johann Nepomuk Hummel (1778-1837), Babin’s
<b><i>Hillandale Waltzes</i></b> were written in 1947 for Anne Archbold, an arts patron in Washington, D.C.,
whose estate was called “Hillandale.”
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With music described as "lushly romantic," Argentine composer <b>Carlos Guastavino</b> (1912-2000)
was able to earn a living solely from the royalties and performance rights for his music. Among his
600+ works, Guastavino is best-known for his songs, some of which have been performed by
international luminaries including Teresa Berganza, José Carreras and Kiri Te Kanawa; his
complete works for piano, as well as samples of his guitar and chamber works also have been
recorded. Composed in 1965, Guastavino's <b><i>Tonada y Cueca</i></b> ("Love Song and Cueca Dance") retains a favored place in the clarinetists' repertoire, amply demonstrated by the many performances available on Youtube!
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<b>Louis Cahuzac</b> (1880-1960) was one of few 20th-century clarinetists who performed primarily as a
soloist rather than as orchestral/ensemble player, and career highlights included making the firstever
recording of Carl Nielsen's Clarinet Concerto, and (at age 76) recording Paul Hindemith's
Clarinet Concerto with the composer conducting. As one might expect, Cahuzac wrote mostly for
his own instrument. According to the notes for his complete works recording, Cahuzac’s birthregion
of Southern France provided his inspiration, reflected in his <b><i>Cantilène</i></b> by its “radiant
Mediterranean light," while its "echo-type effects suggest open, mountainous spaces."
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Based in Washington, D.C., <b>Maurice Saylor</b> (b. 1957) describes his work as "tuneful and quirky scores" that "blur the boundaries of style and genre." The <b><i>Romanza</i></b> is a movement from his <i>Comic Symphony</i> for clarinet and piano, based on tunes from an abandoned 1991 musical on Moliere's <i>Le Malade Imaginaire (The Imaginary Invalid)</i>. First recast as a symphonic work, for the final duo version Saylor elaborated and expanded the tunes to take advantage of the solo talents of clarinetist Ben Redwine. Retaining "symphony" in the title for the 2012 publication, Saylor explains that "it's the nature of the music that makes it a symphony and not the scoring."
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Along with Stravinsky, Bartók and Schoenberg, German composer, violist, teacher, and music theorist <b>Paul Hindemith</b> (1895-1963) is often cited by musicologists as a central figure in music of the first half of the 20th Century. Although performances of his music have become relatively rare, his <b><i>Clarinet Sonata</i></b> (1939) provides an ever-popular exception. A staple on recitals and recordings, it easily qualifies as one of Hindemith's "greatest hits."
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<b>James M. David</b> (b. 1978) is associate professor of composition and music theory at Colorado State University. He has won multiple awards for his music, which has been performed throughout North America, Europe and Asia, and recorded for the Naxos, Albany, Summit, Luminescence and MSR Classics labels. David describes his 4-movement <i>Historias y Danzas</i> (2014) as "incorporating elements of Afro-Latin dance music, along with contemporary techniques and virtuosity." He adds that "<i><b>En forma de Habeñera</b></i> is based on the beautiful vocalise by Ravel and features a particularly melismatic clarinet part against an uncharacteristically wavering ostinato," while "<i><b>En Forma de Tango (y Mambo)</b></i> was meant to be an unfiltered homage to the great tradition of tango, but my love of mambo rhythms could not be entirely suppressed!"Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-31374874654815118262015-07-03T04:23:00.001-07:002016-03-03T21:31:40.598-08:00March 13, 2016 @ 3 p.m.<a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239264" target="_blank">JPL Program Calendar</a><br />
<h2>
Douglas Anderson School of the Arts<br />
Piano Students</h2>
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<strong>Vera Watson, Faculty Coordinator</strong><br />
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<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1044497/Intermezzo-mar13.program.pdf" target="_blank"><big>PROGRAM NOTES</big> (PDF)</a>
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Janine Albrecht<br />
<b>BEETHOVEN: Sonata in F minor, Op. 2 No. 1</b> <br />
I. Allegro<br />
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Shoshana Howard<br />
<b>KUHLAU: Sonatina in C Major, Op. 55 No. 3</b><br />
I.Allegro con spirito<br />
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Kara Straight<br />
<b>HAYDN: Sonata in C Major, Hob. XVI: 10 </b><br />
I. Moderato<br />
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Bethany Roberts<br />
<b>MOZART: Sonata in B-flat, K.333. </b><br />
I. Allegro<br />
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Andrew Urso<br />
<b>BEETHOVEN: Sonata in G, Op. 14 No. 2</b> <br />
I. Allegro<br />
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Gabrielle McGrath<br />
<b>LINN: Nocturne d’Esprit</b><br />
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<b>Douglas Anderson School of the Arts</b> is a Duval County Public School for students grades 9 through 12 with a desire for intensive study in the arts. Established as an arts school in 1985, the school attracts students from all parts of North Florida and South Georgia who have talent in dance, instrumental or vocal music, performance or technical theater, film and video production, creative writing, and visual arts. A high academic standard, coupled with broad arts curriculum, offers students an opportunity to excel in a chosen discipline while preparing them for post-secondary education.<br />
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<b>Douglas Anderson's Piano Program</b><br />
In 2000 DA’s Piano program was recognized as the best music program in Northeast Florida and was awarded the Jacksonville Symphony Association’s Harmony Grant. The Piano Department offers serious young pianists a unique opportunity to be in an intensive and varied program and to work with internationally acclaimed guest artists.<br />
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<a href="http://4.bp.blogspot.com/-nNUVELaPbj4/T-C2aVcQW1I/AAAAAAAAAmQ/zRUParth92M/s1600/watson.jpg" style="clear: right; float: left; margin-bottom: 1em; margin-right: 1em; margin-top: 1em;"><img alt="Pianist Vera Watson" border="0" height="200" src="https://4.bp.blogspot.com/-nNUVELaPbj4/T-C2aVcQW1I/AAAAAAAAAmQ/zRUParth92M/s200/watson.jpg" width="176" /></a><br />
<b>Vera Watson</b> has been Chair of the Piano Department at Douglas Anderson School of the Arts since 1999. She holds National Certification in piano from the Music Teachers National Association and a Florida Professional Educator’s Certificate. Under her leadership the DA piano program was recognized as the best music program in Northeast Florida by the Jacksonville Symphony Guild in 2001, for which Douglas Anderson received the Harmony Grant. In 2003, Ms. Watson received the Surdna Foundation Grant in New York City, in recognition of her achievements among the best arts teachers in the United States. In 2010, Friday Musicale presented Vera Watson with the Carolyn Day Pfohl Music Educator Award for Outstanding Achievements. She is especially proud of her many students who have been accepted into prestigious music conservatories, and have become successful artists.
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PROGRAM NOTES <i>Under Construction</i>
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<b>BEETHOVEN: Sonata in F minor, Op. 2 No. 1 ; Sonata in G, Op. 14 No. 2</b>
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The Transcendent German-born composer Ludwig van Beethoven (1770-1827) began his compositional career essentially imitating the styles and forms he inherited from Joseph Haydn (1732-1809) and W.A Mozart (1756-1791), but during his "middle" period (ca. 1803-1815) Beethoven expanded and personalized this inheritance, creating works that have come to represent the culmination of the Classical style in much the same way that the works of J.S. Bach (1685-1750) represent the culmination of the Baroque. During Beethoven's "late" period (ca. 1815-1827), he discovered new paths toward still more personal, even intimate, musical expression, and, despite the gradual and eventually total degeneration of his hearing, he forged the way beyond the Classical tradition into the Romantic.
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<b>KUHLAU: Sonatina in C Major, Op. 55 No. 3</b><br />
German-born Danish composer Friedrich Kuhlau (1786-1832) was known primarily as a concert pianist and composer of Danish opera, but he wrote music in virtually every genre. His compositional catalog includes almost 200 published works - impressive in itself, but who knows how many more works were lost when his house burned down?
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<b>HAYDN: Sonata in C Major, Hob. XVI: 10 </b><br />
Genial Austrian composer (Franz) Joseph Haydn (1732-1809) is the musician most credited with establishing the “Classical” style that his two younger contemporaries Mozart and Beethoven built upon, and by the time of his death "Papa" Haydn had become the most widely celebrated composer in Europe. Haydn started out as a choirboy and never developed into a keyboard virtuoso, so his 52-62 keyboard sonatas (depending on who's counting) were mostly composed in the early part of his career for the instruction and amusement of his noble patrons.
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<b>MOZART: Sonata in B-flat, K.333.</b> <br />
Austrian-born Wolfgang Amadeus Mozart (1756–1791), unquestionably one of the greatest composers in history, began his career touring Europe as a 6-year-old piano prodigy, and he absorbed and mastered all the contemporary musical trends he was exposed to along the way. Mozart wrote 22 operas, including, The Marriage of Figaro (1786), Don Giovanni (1787), Cosi fan tutte (1790), and The Magic Flute (1791), as well as 40 symphonies (“No. 37” is by Michael Haydn, but with a new introduction by Mozart), 27 concertos, chamber music, sonatas, and choral pieces, numbering over 600 works all together.
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<b>LINN: Nocturne d’Esprit</b><br />
American composer, pianist and educator Jennifer Linn is also very active in music publishing, with concurrent positions at Hal Leonard Corporation and G.W. Schirmer. Ms. Linn has taught for more than 25 years, including as visiting lecturer in piano pedagogy at the University of Illinois at Urbana-Champaign, and has presented recitals, workshops and master classes throughout the United States and Canada. Many of her compositions have been selected for the National Federation of Music Clubs festival list and the London College of Music repertoire list and are frequently recommended in reviews by Clavier and American Music Teacher magazines.
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-24901402787873900572015-07-03T04:22:00.000-07:002016-02-04T15:30:42.270-08:00February 14, 2016 <a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239267" target="_blank">JPL Program Calendar</a><br />
<h2>
Cliff Newton, trumpet & Friends</h2>
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With <b>Dr. Bill Prince, Bob Gauger, Bonita Wyke, Dennis Hunsicker, Glynda Newton</b> and <b>Pat Brown
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<ul>PROGRAM SELECTIONS
<li><b>Paul Hindemith</b>: Sonata for Trumpet & Piano. I. Mit Kraft ("With Strength)</li>
<li><b>Mikhail Bronner</b>: “And tomorrow will be better than yesterday..." <a href="https://www.youtube.com/watch?v=kEsF3v81Qyg" target="_blank"><small>[on YouTube]</small></a>
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<li><b>Howard J. Buss</b>: Evening Shadows (from <i>Contrasts in Blue</i>)</li>
<li><b>Alan Hovhaness</b>: Haroutiun ("Resurrection"), op. 71</li>
<li><b>Dmitri Shostakovich</b>: Romance (from <i>The Gadfly</i>)</li>
<li><b>Darius Milhaud</b>: Saudades do Brazil, op. 67 <ol>
<li> Overture </li>
<li> Sorocaba </li>
<li> Leme </li>
<li> Copacabana </li>
<li> Sumare </li>
<li> Corcovado
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<li><b>Louis Armstrong</b>: Someday (You’ll Be Sorry)
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<li><b>Astor Piazzolla</b>: Buenos Aires Hora Cero ("Buenos Aires at Midnight")</li>
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Although <b>Cliff Newton</b> retired from the Jacksonville Symphony Orchestra after 32 years as Principal Trumpet, in addition to teaching he maintains a busy and varied performance schedule that out-paces what most college freshmen could handle. Formerly a member of the NORAD Band in Colorado Springs, Colorado, he currently is Acting Principal Trumpet for the Valdosta Symphony Orchestra and performs as soloist with the Belle Fleur String Quartet and the Palm Court Society Orchestra. He also is co-founder and an active member and of the Ancient City Brass Band, as well as of The One Step Ahead of the Law Brass Band (Edelweiss Piraten), a polka/oompah ensemble. A native of Central Florida, Cliff began studying trumpet at age 12 and received Bachelor degrees in Music Performance and Music Education from the University of South Florida. He later earned a Master's degree in Trumpet Performance with an emphasis on college-level teaching from the University of Northern Colorado. Mr. Newton has been an instructor of trumpet at the Mount Allison University in New Brunswick, Canada, as well as at Jacksonville University and the University of North Florida, and currently teaches through the North Florida Conservatory. An aficionado of early jazz, Argentine tango and American Civil War era brass band music in addition to classical, Cliff and his wife, J-Sym violinist Glynda Newton, have provided live music for both private and public functions since 1978 through their company, Newton Musical.
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<b>Dr. Bill Prince</b>, professor emeritus from the University of North Florida, has been able to maintain two career paths, one as a performer and the other as a teacher. As a performer he has recorded on over 70 albums and has worked with a wide range of luminaries from the big bands of Buddy Rich, Harry James and Les Brown, vocalists Tony Bennett, Ella Fitzgerald and Rosemary Clooney, jazz legends Dave Brubeck and Billy Taylor to the orchestral sounds of Henry Mancini, the American Wind Symphony Orchestra and the Warsaw National Philharmonic. On the teaching side Bill has taught at five universities in three countries and has guest lectured on over 70 campuses. Music has taken Bill to all 50 states and to 81 countries.
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<b>Bob Gauger</b> started playing trombone when he was ten years old, and has since performed in numerous professional orchestras and bands. He is a founding member of the Ancient City Brass, and when not performing is the chaplain at Baptist South Hospital in Jacksonville, Florida.
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<b>Bonita Sonsini Wyke</b> has been an active part of the Jacksonville music community since 1985, and in working with many of the First Coast's leading vocalists, instrumentalists and musical ensembles has earned the reputation as a musician of unsurpassed sensitivity, technical skill and artistry. Originally from Los Angeles, California, she has performed for over four decades as a collaborative pianist and harpsichordist with singers, choral groups, instrumental soloists, and orchestral and instrumental ensembles, and especially enjoys four-hand piano literature. She has been the music director for a wide variety of stage productions, including opera, musical theater and ballet. In addition to coaching seasoned performers, Ms. Sonsini Wyke has helped student musicians hone their craft at a number of area universities and music schools. While maintaining a busy recital schedule, Bonita also currently serves as Staff Choral Accompanist at Florida State College at Jacksonville.
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<b>Dennis Hunsicker</b> began his musical career studying concert accordion at the Neupauer Conservatory of Music in Philadelphia. During this time he was a member of the PAO Orchestra in Philadelphia as well as a featured performer with the Allentown and Lancaster symphonies. After graduation he joined the US Navy CINCLANT (NATO) band where he toured the Eastern US, Spain, Italy, Greece and France. Dennis continues his eclectic musical interests and performs with a wide variety of musical groups including the River City Continentals, the renaissance band La Dolce Vita, the Palm Court Society Orchestra, One Step Ahead of the Law Brass Band and Bella Voce Cabaret. He also teaches, and has performed several seasons with the Amelia Island Music Festival, the “Georgia Artists in the Schools" program, and the Madison Georgia Chamber Music Festival.
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It seems only natural that <b>Glynda Newton</b> took up the violin, as she explains: “My mother and grandmother were violinists. Grandmother Glynda, my namesake, was a soloist with radio orchestras & social orchestras in the 20’s and 30’s from New York to Miami.” Glynda has been a member of the Jacksonville Symphony Orchestra since 1978, the same year she co-founded Newton Musical with her husband, Cliff. She also performs with the Palm Court Society Orchestra, which she and Cliff founded in 2000, as well as with the Belle Fleur String Quartet.
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Percussionist <b>Thomas P. "Pat" Brown</b> is an Instructor at Edward Waters College, and previously has taught at Mississippi Valley State University, Prairie View A&M University, Bethune-Cookman University, Paul Quinn College and Florida State College-Jacksonville. In addition to directing middle and high school bands in Florida and Illinois, Mr. Brown was a member of the Jacksonville Symphony Orchestra, the Daytona Beach Seaside Theatre, Daytona Beach Children’s Music Theatre and the Clay County Community Band, and has been a guest performer with the Jacksonville University Orchestra.
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PROGRAM NOTES (under construction)<br />
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Along with Stravinsky, Bartók and Schoenberg, German composer, violist, teacher, and music theorist <b>Paul Hindemith</b> (1895-1963) is often cited by musicologists as a central figure in music of the first half of the 20th Century. Although some of his first works approached the expressionistic atonality of early Schoenberg, Hindemith’s mature style, while still highly chromatic, is decidedly tonal, and builds on the Teutonic musical heritage that runs from the Bach family through Haydn, Beethoven, Schumann, Brahms and Reger. <i><b>Mit Kraft</b></i> ("With Strength) is the first movement of <b>Sonata in B-flat for Trumpet and Piano</b>, Hindemith's favorite among several duo sonatas he composed in 1939, which he referred to as "maybe the best thing I have succeeded in doing in recent times."
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In 2002, the Russian journal <i>Музыкальное Обозрение</i> ("Musical Review") named <b>Mikhail Bronner</b> (b. 1952) it's composer of the year, by which time Bronner had already served as Secretary of the Russian Union of Composers for two years. His impressive catalog includes over 200 works ranging from intimate songs and chamber music to large-scale choral and orchestral works, with six operas and three ballets in the mix. Bronner's preference for theatrical works colors much of his concert music, reflected in the changing moods of <i><b>And tomorrow will be better than yesterday...</b></i> . The popular trio for trumpet, alto saxophone and piano dates from 2003, and is sometimes performed with chamber orchestra accompaniment.
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A native of Pennsylvania and longtime resident of Lakeland, Florida, <b>Howard J. Buss</b> (b.1951) has over 160 published compositions. Works by the multi-award-winning composer have been performed in over four dozen countries, and include instrumental solos and chamber music, as well as symphonic, choral and band works. Composed in 2001, <i><b>Evening Shadows</b></i> is the first of two movements for trumpet, trombone and piano comprising <i>Contrasts in Blue</i>, and demonstrates an affinity with the evocative music of French Impressionism colored by the soulful longing of American blues.
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Among his over 500 works, American composer <b>Alan Hovhaness</b> (1911-2000) is best known for the early pieces that reflect his Armenian heritage, but his evolving, highly original style eventually incorporated influences from a wide variety of ethnic music from around the world, especially from India and the Far East. He was among the first composers to include aleatoric or “chance” passages in some of his works, and he has been credited with anticipating both the minimalist techniques of composers such as Philip Glass and Steve Reich, and the mysticism of John Tavener, Arvo Pärt, and Henryk Gorécki. Composed in 1948, <b><i>Haroutiun</i></b> ("Resurrection," op. 71) is an aria and fugue originally for trumpet and string orchestra.<br />
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<b>Dmitri Shostakovich</b> (1906-1975) is one of few composers of the former Soviet Union to sustain a large following in the West, and he remains among the most frequently performed and recorded of 20th-Century composers. But during his lifetime his music was periodically banned by Stalinist authorities for being intellectually elite, while also denigrated by the West’s musical <i>avant-garde</i>, ironically for not being cerebral enough. Shostakovich wrote music for more than 30 films, including <i>The Gadfly</i> (1955). The movie details the exploits of a 19th-century Russian swashbuckler living in Italy, so to reinforce the period setting Shostakovich abandoned his "modern" style in favor of mimicking Romantic composers. Originally for violin and orchestra, the ever-popular <b>Romance</b> is described as "unashamedly inspired by French composer Jules Massenet’s soulful <i>Méditation</i> from the opera <i>Thaïs</i>."<br />
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On the heels of a brief stint with the French embassy in Brazil from 1917-1919, <b>Darius Milhaud</b> (1892-1974) rose to fame as one of <i>Les Six</i> young Parisian composers grouped together ostensibly against the "excesses" of French Impressionism and late German Romanticism, even though, as Milhaud himself observed, their "temperaments and personalities weren't at all the same." Roughly translated as "Longing for Brazil," <i><b>Saudades do Brasil</b></i>, Op. 67 was composed in 1920, shortly after Milhaud's return to France. His original version includes twelve tangos and sambas for solo piano bearing the names of various neighborhoods around Rio de Janeiro. It remains one of his most popular works and provides an early example of polytonality, in which multiple keys are sounded simultaneously. Milhaud added the brief Overture when he transcribed the suite for orchestra.
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With a career spanning more than five decades, the charismatic <b>Louis "Satchmo" Armstrong</b> (1901-1971) is a central figure in the history of American music. Rising above the poverty of his early childhood in the streets of the New Orleans "Storyville" district, a 13-year-old Armstrong already was a band leader and had begun to attract attention for his artistry on the cornet. Moving between Chicago and New York during the 1920s, he inspired many of eras leading jazz musicians with his ground-breaking trumpet and vocal improvisations. His unique style helped define "The Jazz Age" and has influenced successive generations of jazz, pop and rock musicians. Armstrong ventured to Hollywood in 1930, appearing in his first movie the following year, and later became a favorite guest in American households via numerous television appearances. In 1964, his Grammy-winning recording of <i>Hello Dolly!</i> knocked The Beatles off the top of the pop chart, making Armstrong the oldest musician (at 62) to reach the "No. 1" spot. Armstrong reported that his 1947 ballad, <i><b>Someday (You’ll Be Sorry)</b></i>, came to him in a dream while he and his fourth (and final) wife Lucille were "... in North Dakota or South Dakota, or somewhere. It was cold and this thing kept runnin’ ‘cross my mind, like dreamin’ a musical comedy. And this <i>Someday</i> was the theme of this show." (He also mentioned that it was about his third wife, Alpha!)
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<b>Ástor Piazzolla</b> (1921-1992) pretty much single-handedly reinvented the tango. Born in Argentina, Piazzolla spent most of his childhood in New York, where he developed a fondness for jazz and classical music. His father taught him to play the bandoneón, a concertina common to Argentine tango ensembles, and when he returned to Buenos Aires in 1937 he played with some of the leading bands. He also began composition studies with Alberto Ginastera, and won a grant to study in Paris with legendary composition teacher Nadia Boulanger in 1953. Upon hearing music Piazzolla wrote for his cabaret band, Boulanger convinced him to concentrate on his unique style instead of writing second-hand Bartok, Stravinsky and Ravel. Returning to Argentina in 1955, Piazzolla infused the traditional national dance with characteristics of jazz and formal elements from his classical studies. Although his <i>nuevo tango</i> style was met with resistance in his homeland, it captivated Europeans and North Americans and his international career blossomed. It is estimated that he composed over 3,000 pieces, and recorded about 500 of them himself! First published in 1960, the moody <b><i>Buenos Aires hora cero</i></b> (literally "Buenos Aires Zero Hour") must have been among the composer's personal favorites. Piazzolla referenced it for the title of his 1986 album, <i>Tango: Zero Hour</i>--cited by the composer as his best recording--even though the the early piece wasn't even on it.<br />
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-81616761457749550112015-07-03T04:20:00.002-07:002021-06-01T13:48:04.902-07:00January 10, 2016<a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239266" target="_blank">JPL Program Calendar</a><br />
<br />
<h2>
The Vivace Trio<div class="separator" style="clear: both; text-align: center;">
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</h2>
<strong>Carolyn Snyder-Menke, soprano & flute</strong><br />
<strong>Gia Sastre, flute</strong><br />
<strong>Denise Wright, piano</strong><br />
<strong><br /></strong>
<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1042725/Intermezzo-Jan10-cover.pdf" target="_blank">PROGRAM GUIDE (PDF cover)</a><br />
<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1042723/Intermezzo-Jan10-insert-rev.pdf" target="_blank">PROGRAM NOTES (PDF insert)</a><br />
<ul>PROGRAM SECTIONS
<li>Ian Clarke: Maya (2 flutes & piano)
</li>
<li>Claude Debussy: Danse (piano solo)
</li>
<li>Leo Delibes: <i>Viens, Mallika, les lianes en fleurs</i> (Flower Duet) from <i>Lakme</i> (2 flutes & piano)
</li>
<li>Gabriel Faure: Berceuse from <i>The Dolly Suite</i> (2 flutes & piano)
</li>
<li>Phillipe Gaubert: <i>Divertissement Grec</i> (2 flutes & piano)
</li>
<li>Edward Lein: 2 Calendar songs (soprano & piano)
</li>
<li>Carl Nielsen: The Fog is Lifting (flute & piano)
</li>
<li>Maurice Ravel: <i>La Flute Enchantee</i> (from <i>Sheherazade</i>, soprano, flute, piano)
</li>
<li>Camille Saint-Saens: <i>Une flûte invisible</i> (soprano, flute, piano)</li>
</ul>
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<a href="http://3.bp.blogspot.com/-xHaAg9t8QZQ/U6mn0GoJ3jI/AAAAAAAACQo/VSGEpequOz0/s1600/csmenke.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-xHaAg9t8QZQ/U6mn0GoJ3jI/AAAAAAAACQo/VSGEpequOz0/s1600/csmenke.jpg" width="160" /></a>An accomplished flutist and singer, <b>Carolyn Snyder Menke</b> has an A.A. in Music from College of Marin in Kentfield, California and a B.M.E. with a concentration in flute from Indiana University; she later studied privately with Peter Lloyd, principal flute with the London Symphony Orchestra. Among her voice teachers and coaches, Ms. Snyder Menke sang in a masterclass in Oberlin’s Italy program taught by internationally-renowned soprano Elly Ameling, who called Carolyn's performance “perfection!” Among her opera roles, Carolyn has appeared with Atlanta’s Harrower Summer Opera Workshop as "Susannah" <i>(</i>Mozart's <i>The Marriage of Figaro)</i>, "The Foreign Woman" <i>(</i>Menotti's <i>The Consul</i>), and "Irma" (Charpentier’s <i>Louise</i>). She won the Thomas Scott Award in Marin County, 2nd place in the NATS competition, and was a quarter-finalist in Savannah Georgia’s American Traditions Competition for Singers. In addition to the Vivace Trio, Carolyn has performed with the Jacksonville Symphony Orchestra, the Arabesque flute trio, the Marin County Woodwind Quintet and the Arioso Flute Quartet. She has performed for Body and Soul, the Art of Healing since 2001, and also does freelance work. <br />
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Acclaimed flutist <b>Gia Sastre</b> hails from Miami, Fla. and holds an M.M from DePaul University in Chicago, a B.M. from FSU, and pursued a resident course of study in Great Britain with Paul Edmund-Davies, principal flutist of the London Symphony Orchestra. In addition to numerous solo engagements, Ms. Sastre performed with a variety of ensembles in Chicago, and received the Farwell Award from the Musicians Club of Women. In 2009, Ms. Sastre returned to Florida where local performances have included Prokofiev’s <i>Peter and the Wolf</i> for Jacksonville Public Library, and solo and chamber concerts with the Chamber Music Society of Good Shepherd, Riverside Fine Arts Series, Friday Musicale, Music @ Main, Riverside Presbyterian's Wednesday Happenings and the Advent Series of the First Presbyterian Church of Jacksonville; she also has performed with the Coastal Symphony of Georgia and the Jacksonville Symphony Orchestra. Gia works with dedicated and talented students of all ages, serves as member and adjudicator for the Florida Flute Association, and is a founding member of Jax Flutes. Beginning this fall she is teaching applied secondary flute at the University of North Florida, and previously served as flute faculty for the DePaul University Community Music Program in Chicago. Her debut recording, <i>Abellimento</i>, is a collection of flute and harp classics available on Pandora Radio and through online retailers.<br />
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Among the First Coast's most sought-after collaborative pianists, Jacksonville native <b>Denise Wright</b> received her Bachelor of Music degree in Piano Performance from Samford University (Birmingham, Alabama) and her Master of Music in Piano Performance from Indiana University (Bloomington). She performed many times as a soloist with the orchestras at both universities, as well as in numerous solo and collaborative concerts with a variety of instrumental and vocal soloists and ensembles, including a tour of Europe with Samford's Baptist Festival Singers. She was a Professor of Piano at Bethel College (Mishawaka, Indiana), and was a collaborative pianist at both Indiana University and at St. Mary’s College (Notre Dame, Indiana). Returning to Jacksonville in 1991, Ms. Wright assumed the position of pianist at First Baptist Church, and has served as collaborative pianist at Douglas Anderson School of the Arts since 2004. She joined the staff of the University of North Florida in 2007, working with several voice studios as well as with the UNF Opera Ensemble. In the summers of 2010-2012, Denise had the opportunity to perform with the Opera Ensemble as part of the European Music Academy in the Czech Republic, and in the historical Mozart Estates Theater in Prague. <br />
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<hr />
The music of British flutist and composer <b>Ian Clarke</b> (b.1964) has been performed across five continents and is a favorite of both professional and student musicians. As a soloist and teacher Clarke has appeared at major conventions and events in Canada, Italy, Brazil, France, Iceland, Slovenia, Hungary, Netherlands and numerous times for the British Flute Society and for the National Flute Association in the USA. He completed <i><b>Maya</b></i> in 2000, basing the work for two flutes and piano on an earlier piece called <i>Passage</i> (1986). The composer says the title "<i>maya</i>" is a reference to the Sanskrit word for "illusion" rather than to the Mesoamerican civilization.<br />
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<b>Claude Debussy</b> (1862-1918) was a quintessentially French composer, pianist and music critic. His own revolutionary music ushered in many of the stylistic changes of the 20th Century, starting with his most famous orchestral work, <i>Prelude to the Afternoon of a Faun</i> (1894). A decade earlier Debussy had won the Paris Conservatory's top composition award, the <i>Grand Prix de Rome.</i> He didn't enjoy much about his three-year stay in Italy, except for the folk music. Inspired by the southern Italian tarantella, Debussy's lively <i>Danse </i>was originally titled <i>Tarentelle styrienne</i> when first published in 1891, but he renamed it when he issued this slightly revised version in 1903.<br />
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French composer <b>Léo Delibes</b> (1836-1891) began his professional life at the Théâtre Lyrique before moving up to the more prestigious Paris Opéra, and he enjoyed a long string of successes at first composing light-hearted operettas. Delibes wrote over two dozen works for the stage, the best-known of which are the ballet <i>Coppelia</i> (1870) and the opera <i>Lakmé</i> (1883), from which <i><b>Viens, Mallika, les lianes en fleurs</b></i> (the Flower Duet) is universally known, thanks to British Airways using it in commercials since 1989.
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<b>Gabriel Fauré </b>(1845-1924) was a composer, organist, pianist and teacher, and he is widely regarded as the foremost French composer of his generation. Although Fauré greatly admired Wagner he remained relatively free of Wagner’s highly-colored influence, and instead led his own harmonic revolution by treating chords with added 7ths and 9ths as consonant and by introducing modal inflections into an essentially diatonic framework; in the process he successfully bridged the styles of Saint-Saëns (his teacher) and Ravel (his student). <i>Berceuse </i>("Lullaby") is the first of six pieces in Fauré's <i>Dolly Suite</i>, op. 56 (1893-96), written for his daughter. Originally for piano four-hands, the popular <i>Berceuse</i> has been arranged for orchestra and several chamber music combinations.<br />
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In 1919 at age forty, the French flutist, conductor and composer <b>Philippe Gaubert </b>(1879-1941) became one of the most prominent musicians in France by earning three important appointments almost simultaneously: Professor of Flute at the Conservatoire de Paris, and Principal Conductor of both the Paris Opéra and the Orchestre de la Société des Concerts du Conservatoire. Gaubert composed a wide variety of instrumental, orchestral and vocal music, plus two operas. As one might expect, many of his most effective compositions feature his own instrument, including <i>Divertissement grec</i> for 2 flutes and harp or piano, first published in 1908.<br />
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Early in his career Florida native <b>Edward Lein </b>appeared throughout his home state as tenor soloist, and the majority of his early compositions are vocal and choral works. Following a performance of <i>Meditation </i>(2006) by the Jacksonville Symphony, his instrumental catalog has grown largely due to requests from Symphony players, who also performed <i><b>In the Bleak Midwinter</b></i> (2007) in an orchestral version arranged from the original song setting of Christina Rossetti's poem featured today. Representing spring in the four <i>Calendar Songs, </i><b><i>I Meant to do My Work Today</i></b> (2013) provides music for Richard Le Gallienne's famous children's poem; this is its first-ever performance!<br />
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<b>Carl Nielsen</b> (1865-1931) is recognized as Denmark's greatest composer, but his international reputation wasn't secured until the 1960s when recordings of his orchestral music became widely available. Although a violinist himself, his music for wind instruments is among his most popular, including a wind quintet, a concerto for flute, and one for clarinet. <i><b>The Fog Is Lifting</b></i> is from Nielsen's incidental music for <i>Moderen</i> ("The Mother"), Op. 41; the allegorical play by Helge Rode celebrates the reunification of Southern Jutland with Denmark. Originally for flute and harp, the movement depicts a mother taking leave of her son, observed by the King through the rising mist.<br />
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The music of <b>Maurice Ravel</b> (1875–1937) is among the most-frequently performed and recorded of any composer. The Frenchman wrote his magically evocative <i>Shéhérazade</i> in 1903, setting three poems by his friend <b>Tristan Klingsor</b> (pseudonym of Léon Leclère, 1874-1966), first for high voice and piano, with an orchestral version soon following. The cycle's second song, <b><i>La flûte enchantée</i></b>, is a straightforward depiction of romantic yearning as it relates how lovers, separated by constraints of servitude, discover that they can still form an immediate connection through music.<br />
<img alt="" border="0" data-original-height="303" data-original-width="509" src="https://1.bp.blogspot.com/-ILbPytqVN6A/YLac6sV8WWI/AAAAAAAACS8/IYUGZ15PLUQX4NX8gADMMHdtUdOzb11JACLcBGAsYHQ/s0/ravel-sheherazade-2.png"/><br />
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By the age of three, the French composer and keyboard virtuoso <b>Camille Saint-Saëns</b> (1835-1921) could read and write and had penned his first piano piece; by seven he had mastered Latin; and by ten he could perform from memory all 32 of Beethoven’s piano sonatas upon request. An expert mathematician and a successful playwright, he published poetry, scholarly works in acoustics and philosophy, and popular travelogues. <b>Victor Hugo</b> (1802-1885) was perhaps Saint-Saëns' favorite poet, and the composer wrote two settings of the pastoral <i>Viens! une flûte invisible</i>, the first in 1855 as a duet for soprano and baritone with piano. The featured second version for voice, flute and piano dates from 1885, the year the poet died.<br />
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<table style="width: 100%px;"><tbody>
<tr><td><span style="font-size: x-small;"><i>Une flûte invisible</i>, text by Victor Hugo </span></td><td><span style="font-size: x-small;">English translation, by E. Lein, ©2015-16</span></td></tr>
<tr style="font-family: arial; font-size: 9pt;"><td>Viens! - une flûte invisible<br />
Soupire dans les vergers. -<br />
La chanson la plus paisible<br />
Est la chanson des bergers.<br />
<br />
Le vent ride, sous l'yeuse,<br />
Le sombre miroir des eaux. -<br />
La chanson la plus joyeuse<br />
Est la chanson des oiseaux.<br />
<br />
Que nul soin ne te tourmente.<br />
Aimons-nous! aimons toujours! -<br />
La chanson la plus charmante<br />
Est la chanson des amours.</td><td>Come! An invisible flute<br />
Sighs through the woods.<br />
The most peaceful song<br />
Is the song of shepherds.<br />
<br />
Beneath the holly-oak a breeze ripples<br />
across the water's dark mirror.<br />
The happiest song<br />
Is the song of birds.<br />
<br />
Let not a care torment you.<br />
Let us love! forever love! <br />
The most enchanting song<br />
Is the song of love.
</td></tr>
</tbody></table>
Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-18308885070851161852015-07-03T04:17:00.004-07:002016-01-10T21:49:13.669-08:00December 13, 2015 <a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239263" target="_blank">JPL Program Calendar</a><br />
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<h2>
The Florida Brass Ensemble </h2>
The Florida Brass Ensemble is a collection of like-minded brass players who enjoy brass ensemble music. We believe that no matter whether it is secular or sacred, swing or “legit,” it deserves our best effort.<br />
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Members<br />
<b>Dr. Bill Prince</b>, professor emeritus at the University of North Florida has been able to maintain two career paths, one as a performer and the other as a teacher. As a performer he has recorded on over 70 albums and has worked with a wide range of luminaries from the big bands of Buddy Rich, Harry James and Les Brown, vocalists Tony Bennett, Ella Fitzgerald and Rosemary Clooney, jazz legends Dave Brubeck and Billy Taylor to the orchestral sounds of Henry Mancini, the American Wind Symphony Orchestra and the Warsaw National Philharmonic. On the teaching side Bill has taught at five universities in three countries and has guest lectured on over 70 campuses. Music has taken Bill to all 50 states and to 81 countries. <br />
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<b>William McNeiland</b> was Principal Bass and Associate Conductor of the Jacksonville Symphony from 1970-1995, and Professor of Music at Jacksonville University, where he directed the orchestra. He was also orchestra director at Lee University in Tennessee for three years. He is currently Music Director of the St. Augustine Orchestra.<br />
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<b>Jeff Keller</b> currently serves as Tuba Instrumentalist and Low Brass Section Leader with the United States Navy Band Southeast in Jacksonville, FL. He has toured nationally as a soloist and clinician while maintaining a very active private lesson studio. He has also been associated with the Louisville Orchestra, Lexington Philharmonic, Lexington Brass Band, Saxton’s Cornet Band, Phantom Regiment Drum and Bugle Corps, and is a founding member of The Blue Ribbon Tuba Quartet. He and his wife Liz currently reside in St. Johns, FL with their two children, Maddie and Charley.<br />
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<b>Susan McGee</b> has been playing the French horn professionally for 34 years. For the past 19 years, she has been a member of the Brevard Symphony Orchestra and the Brevard Symphony Brass Quintet. Susan was a member of the Southwest Florida Symphony and the Sarasota Symphony and has performed with numerous other groups throughout Florida. She is also the handbell choir director at Memorial Presbyterian Church of St. Augustine.<br />
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<b>Bob Gauger</b> started playing trombone at the age of ten, and since then has played in numerous professional orchestras and bands. He is a founding member of the Ancient City Brass, and is the chaplain at Baptist South Hospital in Jacksonville, Florida.<br />
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<b>Cliff Newton</b> is probably the greatest professional musician to come from St. Cloud, Florida. In fact, he is probably the only professional musician to come from St. Cloud, Florida. Like many professional musicians, Cliff began his musical study in a public school band. Growing up in tiny St. Cloud, where few people could aspire toward a musical career, his early motivation was simply the enjoyment of music and the participation in a musical group. Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-13230578297036707472015-07-03T04:04:00.001-07:002015-10-28T14:13:18.020-07:00November 8, 2015<br />
<a href="http://jplcalendar.coj.net/evanced/lib/eventsignup.asp?ID=239261" target="_blank">JPL Program Calendar</a><br />
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<h2>
JU Piano Trio (faculty artists) </h2>
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Dr. Marguerite Richardson, violin<br />
Dr. Shannon Lockwood, Cello<br />
Dr. Scott Watkins, Piano<br />
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<u>PROGRAM SELECTIONS</u><br />
BEETHOVEN: Piano Trio No. 2 in G Major, Op. 1, No. 2<br />
LEIN: Sad Minuet in Olden Style<br />
MENDELSSOHN: Piano Trio No. 1 in D minor, Op. 49<br />
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<a href="https://s3.amazonaws.com/data.instantencore.com/pdf/1041425/Intermezzo-Nov8-programnotes.pdf" target="_blank">CLICK HERE to view the PROGRAM GUIDE (PDF)</a><br />
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<a href="http://3.bp.blogspot.com/-yfICkpKRlfA/U6iYeEGo_tI/AAAAAAAACP0/6HHs249btC8/s1600/mr.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-yfICkpKRlfA/U6iYeEGo_tI/AAAAAAAACP0/6HHs249btC8/s1600/mr.jpg" width="136" /></a>A member of the Jacksonville Symphony Orchestra since 1990, violinist <b>Marguerite Richardson</b> began her violin studies at the age of four. She holds a Bachelor of Music degree from the Cleveland Institute of Music, a Master of Music degree from the University of South Carolina, and the Doctor of Music degree from The Florida State University. Dr. Richardson has performed symphonic and chamber music throughout the United States, Germany, Italy, Great Britain, Costa Rica, El Salvador and China. She has appeared as soloist with the Jacksonville Symphony Orchestra in performances of Barber’s Violin Concerto, Vivaldi’s <i>Summer Concerto</i> from <i>The Four Seasons</i>, and Vivaldi’s Concerto for Two Violins. Dr. Richardson has appeared frequently as recitalist and chamber musician locally, including with the St. Augustine Music Festival, the Chamber Music Society of Good Shepherd, and Friday Musicale. In addition to her extensive performance schedule, Dr. Richardson began and developed the string program at the University of North Florida (1995-2003), has taught with the Prelude Chamber Music Camp, and has appeared as an Associate Conductor with the Jacksonville Symphony Youth Orchestra. In 2007, Dr. Richardson joined the faculty of Jacksonville University where she is Associate Professor of Strings and serves as Music Director of the Jacksonville University Orchestra. In the summers of 2012 and 2014, Dr. Richardson was a Visiting Foreign Scholar at Beifang University (Yin Chuan, Ningxia Province, China) and Visiting Professor at Ningxia Teachers University (Guyuan, Ningxia Province, China), where she presented recitals, taught master classes and gave private lessons in both violin and viola.<br />
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Having earned a Doctorate in Musical Arts degree studying with Yehuda Hanani at the University of Cincinnati, <b>Shannon Lockwood</b> is currently a visiting assistant professor of music at Jacksonville University and a cellist with the Jacksonville Symphony Orchestra. She began playing the cello at age twelve in the Colorado public school system, and later studied with retired Colorado Symphony cellist Fred Hoeppner. Under the tutelage of Richard Slavich, she graduated Summa cum Laude with a Bachelor of Music from the University of Denver, and won the prestigious Presser Award for academic and musical achievement. She also studied in London with Alice McVeigh and Paul Watkins under a grant from the English Speaking Union and conducted research at the Britten-Pears Library. Dr. Lockwood's broad spectrum of performance and teaching experience includes playing with the Colorado Symphony Orchestra, serving as a graduate assistant to the University of Cincinnati Orchestras, appearing as soloist with the Jacksonville University Orchestra and Wired String Ensemble, playing and coaching chamber music, and maintaining a private studio.<br />
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<b>Scott Watkins</b>, Associate Professor of Piano at Jacksonville University, is well known to First Coast audiences for his appearances with the Jacksonville Symphony Orchestra, his numerous solo recitals, and his frequent collaborations with many of the area's finest singers and instrumentalists. His 1985 U.S. debut was an all-Bach recital given in Chicago and broadcast live nationwide. Among his numerous solo and concerto performances in North and South America, Europe, Asia and the Caribbean, Dr. Watkins has given several recitals at New York City’s famed Carnegie Hall, most recently in October of this year. He has been heard often in the United States and Canada on National Public Radio and Television, and in South America and Europe on The Voice of America. Dr. Watkins is the recipient of numerous awards, including the John Philip Sousa Award for Outstanding American Musicians, Rotary Club of Florida's Annual Artistic Merit Award, and France's Jeunesse Musicales. In 1985, he became the youngest winner ever of The U.S. Department of State's Artistic Ambassador Award. His degrees include Bachelor of Music from the University of Cincinnati, Master of Music from University of South Carolina, and Doctor of Musical Arts from The Florida State University.<br />
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<b>PROGRAM NOTES</b> by Edward Lein, Music Librarian<br />
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Transcendent German-born composer <b>Ludwig van Beethoven</b> (1770-1827) would come to represent the culmination of the Classical period and forge the way into the Romantic, but he began his career as a composer essentially imitating the styles and forms he inherited from both Joseph Haydn (1732-1809) and W.A. Mozart (1756-1791). Beethoven's indebtedness to the older masters is apparent in his <b>Piano Trio No. 2 in G major, Op. 1, No. 2</b>, which he likely completed in 1793, the year after he moved to Vienna and began studies with Haydn. Taking Haydn’s G Major “Gypsy” Trio as a model, Beethoven uses the distantly related key of E major for his slow movement, and like Mozart he treats all the players as equal partners rather than having the piano dominate. But Beethoven’s individuality is already in play, too. With the addition of the Scherzo, Trio No. 2 became the first piano trio with four movements rather than three. And the striking originality of Trio No. 3 was such that Haydn unsuccessfully tried convincing Beethoven to exclude it from his “Opus 1,” fearing the work would be incomprehensible to most. Though not actually Beethoven’s first works to appear in print, they were the first he deemed worthy of an “official” opus number. And despite Haydn’s warning, the 1895 first edition was so successful with the public the publisher even mentioned the trios in advertisements for Beethoven’s later works.<br />
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Florida native <b>Edward Lein </b>(b. 1955) holds master's degrees in Music and Library Science from The Florida State University. Early in his career he appeared as tenor soloist in recitals, oratorios and dramatic productions, and drawing on this performance experience the majority of his early compositions are vocal and choral works. Following performances of pieces by the Jacksonville Symphony (<i>Meditation</i> for cello, oboe and orchestra in June 2006; <i>In the Bleak Midwinter</i> in December 2007), his instrumental catalog has grown largely due to requests from Symphony players. His song translations are frequently published in music program guides in North America and Great Britain, ranging from student recitals to concerts by major orchestras, including Orchestre symphonique de Montréal and the Utah Symphony. He also contributes articles to Jacksonville Symphony Orchestra's <i>Encore</i> magazine. <b><i>Sad Minuet in Olden Style</i></b> (2014) is adapted from a 2011 orchestral work in memory of Edward Koehler (1948-2011), who volunteered catering services for receptions that followed Library concerts for several seasons. During the 1970s Mr. Koehler was principal flute with the Navy Band in Washington, D.C., and among his favorite performance pieces was Gluck’s <i>Dance of the Blessed Spirits</i>, which inspired the <i>Sad Minuet</i>.<br />
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<b>Felix Mendelssohn</b> (1809-1847) was a composer, pianist, organist and conductor whose prodigious musical talents rivaled those of Mozart, and who, like Mozart, did not live to see his 40th birthday. But young Felix came from a well-to-do German family, and he, his brother and two sisters were raised in an intellectually stimulating and stable environment, protected from the childhood exploitation Mozart had endured. Mendelssohn benefited from an impressively well-rounded education, and in addition to studying the piano, the violin and composition he developed skills as a visual artist, evidenced in over 300 surviving paintings and drawings of remarkable quality. At sixteen, Mendelssohn produced his first masterwork, the Octet for Strings, Op. 20, and the following year saw the completion of the brilliant <i>A Midsummer Night’s Dream</i> concert overture (Op. 21). Thus, in terms of achieving his musical "maturity" Mendelssohn surpassed even Mozart. Published in 1840, <b>Mendelssohn’s Piano Trio No. 1 in D minor, Op. 49</b> is among his best and most popular chamber works. The demanding piano part shows the “Romantic” influence of Robert Schumann (1810-1856), who in reviewing the trio dubbed Mendelssohn "the Mozart of the nineteenth century, the most illuminating of musicians."<br />
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-27155057781992778402015-07-03T04:03:00.001-07:002015-09-04T02:50:20.751-07:00October 11, 2015<br />
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<b>Boyan Bonev, cello <br />
Mimi Noda, piano</b></h2>
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<i>CANCELED!</i><br />
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<b>Luigi Boccherini</b><br />
Sonata for Cello and Piano in A Major G. 4 <br />
<i> Adagio - Allegro</i><br />
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<b>Franz Schubert</b><br />
Sonata "Arpeggione" for Cello and Piano, D. 821 in A Minor<br />
<i> Allegro moderato - Adagio - Allegretto</i> <br />
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<b>Pancho Vladigerov</b><br />
Song from Bulgarian Suite, Op. 21 <br />
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<b>David Popper</b><br />
Hungarian Rhapsody, Op. 68 <br />
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Award winning cellist <b>Dr. Boyan Bonev</b> is a native of Bulgaria. He holds Doctor of Music and Master of Music degrees from the Florida State University, and Bachelor of Music degree from the National Music Academy in Sofia, Bulgaria. His cello teachers include Gregory Sauer, David Bjella, Lubomir Georgiev, Anatoli Krastev, Venzeslav Nikolov, and Tatcho Tatchev. Bonev has participated in master classes with Jon Kimura Parker, Andrés DÃaz, Felix Wang, Christopher Rex, Norman Shetler, Carsten Eckert, Christoph Richter, Robert Cohen, and Michail Homitzer. He has performed in a number of prestigious music festivals and conferences in Europe and USA such as College Music Society Southern Regional Conference and Florida Music Educators' Association Conference in Tampa, FL, "Varga Celebration" in Greensboro, NC, "Seven Days of Opening Nights" and Festival of New Music in Tallahassee, FL, "Musica Nova" and "New Bulgarian Music" in Sofia, Bulgaria, "Varna Summer" in Varna, Bulgaria, and "March Music Days" in Rousse, Bulgaria.<br />
Bonev is an active performer of solo and chamber music, was featured as a soloist of the Florida Lakes Symphony Orchestra and the Stara Zagora Symphony Orchestra, and performed at Carnegie Hall, Weill Recital Hall. He is a prize winner from the Bulgarian National Competition for Singers and Instrumentalists, and the International Competition "Music and Earth."<br />
Bonev performs with the Tallahassee, Pensacola, Albany, Florida Lakes, Sinfonia Gulf Coast and Northwest Florida Symphony Orchestras. Prior to joining the faculty at the University of West Florida, he taught cello and double bass at the Albany State University and Darton College. Bonev is on the faculty of the Florida State University Summer Music Camps and taught cello and chamber music as a Graduate Teaching Assistant at the Florida State University.<br />
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<a href="http://3.bp.blogspot.com/-wiUc6b7Q7Oc/T9-QijajWLI/AAAAAAAAAkw/gu9GZKLqglQ/s1600/noda.jpg" imageanchor="1" style="clear: right; float: left; height: 210px; margin-bottom: 1em; margin-right: 1em; width: 162px;"><img border="0" height="200" src="http://3.bp.blogspot.com/-wiUc6b7Q7Oc/T9-QijajWLI/AAAAAAAAAkw/gu9GZKLqglQ/s200/noda.jpg" width="152" /></a><b>Dr. Mimi Noda </b>was a collaborative pianist with the Japanese Choral Association before relocating to the United States in 1998 to pursue graduate studies. While earning degrees at the University of Georgia (MM) and Florida State University (DM), she was awarded a number of prizes and scholarships in piano performance, and she also has taught Japanese in FSU’s Department of Modern Languages and Linguistics. In addition to her responsibilities as Assistant Professor at Albany State University, Dr. Noda is a keyboardist with the Albany Symphony Orchestra, and she regularly volunteers keyboard performances at Albany's Phoebe Putney Memorial Hospital. She also enjoys singing as a member of the Albany Chorale.<br />
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-817827949878081322015-07-03T04:00:00.005-07:002019-07-17T04:15:41.040-07:00September 13, 2015 @ 3 p.m.<h2><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-6aQ54Vhslog/VeHU19WGS3I/AAAAAAAAC4g/UztOqVQuAA8/s1600/intermezzo-postersep2015.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-6aQ54Vhslog/VeHU19WGS3I/AAAAAAAAC4g/UztOqVQuAA8/s400/intermezzo-postersep2015.jpg" width="258" /></a></div>Peter Dutilly, viola <br />
Galen Dean Peiskee, piano</h2><b>Edward Lein</b> (b.1955)<br />
Calendar Songs <br />
<i>-September</i><br />
<i>-In the Bleak Midwinter</i><br />
<i>-Summer Wind</i> (World Premiere)<br />
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<b>Peter Dutilly</b> (b. 1988)<br />
Three Character Pieces for Viola and Piano<br />
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<b>Samuel Barber</b> (1910-1981) <br />
Selected Songs<br />
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<i>Intermission</i><br />
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<b>Peter Dutilly</b><br />
Five Pieces for Unaccompanied Viola<br />
<i>1. Song</i><br />
<i>2. Angry Etude</i><br />
<i>3. Ardor and Celtic Pastorale</i><br />
<i>4. Rumination</i><br />
<i>5. Rhapsody</i><br />
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<b>He Jianjun</b> (b. 1958) <br />
2 Pieces for Viola and Piano<br />
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<b>Joshua Burel</b> (b. 1985)<br />
Sonata for Viola and Piano (World Premiere)<br />
<i>I. Flowing</i><br />
<i>II. Somber and Ominous</i><br />
<i>III. Bombastic and Lively</i><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-jAXU1TtoydI/VZZ2div0H7I/AAAAAAAAC0I/cbQ09AbeSG0/s1600/dutilly.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-jAXU1TtoydI/VZZ2div0H7I/AAAAAAAAC0I/cbQ09AbeSG0/s200/dutilly.jpg" width="112" /></a></div><b>Peter Dutilly</b> joined the nucleus viola section of the Orlando Philharmonic Orchestra in May of 2014, less than a week after graduating with a Master of Music in Viola Performance from The Florida State University, where he studied viola with Dr. Pamela Ryan and orchestral excerpts with Professor Eliot Chapo. Previously, Peter earned two Bachelor of Music Degrees from Jacksonville (FL) University, where he studied viola with Dr. Marguerite Richardson and composition with Dr. Jianjun He.<br />
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At JU, Peter was awarded departmental honors for orchestral and solo performance, was a two-time recipient of the Delius Award for Composition, was principal viola of the University Orchestra, and was violist in the full-scholarship Honors String Quartet. At FSU, Peter was in the principal rotation of the University Symphony Orchestra, violist in the full-assistantship Eppes String Quartet, and a member of Pi Kappa Lambda, the national music honor society. Additionally, Peter has been asked back by both universities to perform with faculty ensembles and give guest master-classes.<br />
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Active primarily as an orchestral violist, Peter has recently performed with the Jacksonville, Tallahassee, Augusta, Ocala, Northwest Florida, and Pensacola symphony orchestras, as well as the Taneycomo Festival Orchestra, Coastal Symphony of Georgia, and Sinfonia Gulf Coast. As a composer, Peter’s works have been performed by the JU Orchestra and Chorus, JU faculty, FSU students and faculty, the clarinet duo Pitches in Stilettos, the Warwick (RI) Symphony Orchestra, Westwood High School orchestra, chorus, and theater department in Columbia, SC, and the Jacksonville Children’s Chorus.<br />
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Also active in music education, Peter has a small studio of private students, teaches at the summer camp and conducts the Symphonette of the Golden Isles Youth Orchestra, teaches at Prelude Chamber Music Camp, and coordinates the chamber music program for the Jacksonville Symphony Youth Orchestra.<br />
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<hr /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-1Pbyz1cxdI0/VctnlfYQERI/AAAAAAAAC3Y/qdzDqpDGnjc/s1600/galendeanpiesky.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-1Pbyz1cxdI0/VctnlfYQERI/AAAAAAAAC3Y/qdzDqpDGnjc/s200/galendeanpiesky.jpg" width="135" /></a></div><b>Galen Dean Peiskee, Jr.</b> is currently a student at Florida State University, where he is in the process of acquiring a DMA in collaborative piano. Before moving to Florida he worked as a freelance pianist in the Dallas/Fort Worth metroplex accompanying numerous faculty, student, and guest artist recitals at Texas Christian University and Texas Wesleyan University, where he was a vocal coach for two years. Mr. Peiskee has a MM in Accompanying from Florida State University, and an Artist Diploma from Texas Christian University, where he earned his BM degree. His past teachers include Sandra Siler, John Owings, and Jose Feghali. He currently studies with Dr. Timothy Hoekman.<br />
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As a pianist he has performed in Poland, Italy, Austria, Greece, and he has toured various parts of the United States with the Singing Girls of Texas, a group that he accompanied for five years. He received the first ever Judith Solomon Award for Vocal Accompanying from Texas Christian University. He has performed as a soloist with the Brazos Chamber Orchestra multiple times, and is part of the Emerald Trio.<br />
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<hr />Florida native <b>Edward Lein</b> holds master's degrees in Music and Library Science from Florida State University. Early in his career he appeared throughout his home state as tenor soloist in recitals, oratorios and dramatic works, and drawing on this performance experience the majority of his early compositions are vocal and choral works. Following performances of pieces by the Jacksonville Symphony, including <i>Meditation</i> for cello, oboe and orchestra (premiered June 2006) and <i>In the Bleak Midwinter</i> (premiered December 2007), his instrumental catalog has grown largely due to requests from Symphony players for new pieces. His translations of songs and song cycles are frequently published in music program guides in North America and Great Britain, ranging from student recitals to concerts by major orchestras, including Orchestre symphonique de Montréal and the Utah Symphony; he also contributes articles to the Jacksonville Symphony Orchestra's Encore magazine. After 28 years as the Music Librarian for the City of Jacksonville, Ed retired from full-time employment in July 2014, but continued to produce Jacksonville Public Library's popular Music @ Main concert series through September 2015.<br />
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<hr /><b>Samuel Barber</b> is a two-time Pulitzer-Prize-winning composer who ranks with Bernstein, Copland and Gershwin as the Americans whose concert music is most frequently performed. Barber's art songs are among the finest written by any American composer. These include <i>Hermit Songs</i>, a cycle on texts translated by W.H. Auden (1907-1973) from anonymous verses discovered in the margins of Medieval illuminated manuscripts, and the luminous <i abp="174">Sure on this Shining Night</i> on a poem from <i abp="176">Permit Me Voyage</i> by James Agee (1909-1955), which likely has had more performances than any other American art song. <br />
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<hr /><b>Jianjun He</b>, a native of China, received his B.A. in violin performance from Northwestern National University, M.A. in music theory from The Arts Academy of China, and D.M.A. in composition from West Virginia University where he studied composition with John Beall. His compositions, numbering over sixty for a wide variety of media, are enjoying growing success in Asia and the United States. They have been featured at numerous new music related festivals and conferences, including several performances at the SCI (Society of Composers, Inc.) and CMS (College Music Society) national conferences. Recent commissions include works for Wyoming Music Teachers Association, pianist Jeffrey Jacob, and Ningxia University Choir. CD recordings are available on ERM, VMM, Mark Masters, and Da Di (China) label. In addition to his musical creation, he has published books and research papers dealing with music theory, compositional techniques, ethnomusicology, and music education. Dr. He is currently on the faculty of Jacksonville University (FL) teaching Composition, Advanced Music Theory, Counterpoint, and Analysis. He was a former faculty member at Ningxia University (Yinchuan, China), Slippery Rock University (PA), Stephen F Austin State University (TX), and Casper College (WY). Since 2002 he has been an honorary professor at Hunan Normal University (Changsha, China) where he teaches composition to HNU graduate students in summer. Teaching related awards include “Young Teacher’s Award for Excellence at Ningxia University (1991),” “Excellent Teacher of Ningxia (1993),” and “Rosenthal Outstanding Educator Award (Casper College, 2008).”<br />
<hr /><b>Joshua Burel</b> is the recipient of several awards including the Theodore Presser Music Award for his project Czech Composers and the Holocaust: Engaging History through Composition and Performance, a Downbeat Music Award for his orchestral performance of Mahler’s Symphony No. 1 “Titan,” and a Goodwill Ambassador Award from the city of Holland, MI as a member of the International Holland String Quartet. An accomplished violinist, Joshua has performed in the United States, Europe, and Mexico. He recorded Ernst von Dohnanyi’s Symphony No. 2under the Naxos Music Label with the Florida State University Symphony Orchestra and has performed at Carnegie Hall as a member of the new music ensemble What Is Noise.<br />
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As a composer Joshua’s music has been performed throughout the United States having had his work Roanokeperformed at Carnegie Hall. His work Andooni was commissioned by Anastasia Christofakis for the Armenian Music Symposium to commemorate the centennial of the Armenian Genocide. He was also recently commissioned by violist Peter Dutilly to compose his Sonata for viola and piano. Joshua’s Sonata No. 2 for violin and piano “Subharmonics” was commissioned by violinist Naomi Droge to explore an extended violin technique allowing players to produce notes below the G-string and his Concerto for Violin and Orchestra was written as part of a research grant through the Theodore Presser Foundation.<br />
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Joshua completed his Doctor of Music degree in Music Theory and Composition at Florida State University and graduated with honors from Western Michigan University where he received his Master of Music degree in Composition and his Bachelor of Music degree in Violin Performance and Music Education. Joshua has studied composition with Ladislav Kubik, Ellen Taaffe Zwilich, C. Curtis-Smith, and Richard Adams and violin with Benjamin Sung, Renata Artman Knific, Amanda Walvoord Dykhouse, and Ellen Rizner. He currently serves on faculty at Webster University in St. Louis, MO.
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-86126338294218029582015-05-08T03:28:00.005-07:002015-05-08T03:38:55.223-07:00Tuesday, May 12: Conversations with Courtney @ 5:15 p.m.<strong></strong><br />
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<strong>Courtney Lewis</strong>, the music director of the Jacksonville Symphony, is coming to the Main Library Tuesday, May 12, for the second of a two-part series, “Conversations with Courtney.” Lewis will talk with attendees about the upcoming concert he will conduct on May 14 and 15, as well as plans for the future. A Meet and Greet reception immediately following will offer the chance for personal conversations with Lewis. Jacksonville Public Library and the Jacksonville Symphony are partnering to provide this free event to the community. <br />
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WHEN: Tuesday, May 12 <br />
5:15 p.m. – Reception<br />
5:45 p.m. – Program begins<br />
6:15 p.m. – Meet and Greet <br />
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WHERE: Main Library, The Lounge at 303 North <br />
303 Laura St. N. – 32202 <br />
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In October, Lewis will begin his first full season as music director of the Jacksonville Symphony. His new initiatives will include Symphony in 60, a series of three happy hour concerts; a Symphonic Night at the Movies series featuring three films accompanied by the Symphony; six Signature Sunday Masterworks and Pops concerts; and three days of free community concerts to open the season.<br />
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Lewis also concurrently serves as the assistant conductor of the New York Philharmonic through the end of the 2015-16 season. Previous appointments have included associate conductor of the Minnesota Orchestra, Dudamel Fellow with the Los Angeles Philharmonic, and music director of Boston’s acclaimed Discovery Ensemble.<br />
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The Jacksonville Public Library is committed to making its programs accessible to all persons. If you need special accommodations, please call 630-2665 (TTY 630-1999) at least 72 hours prior to the event. <br />
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<strong>About the Jacksonville Symphony</strong> <br />
One of the nation’s top regional orchestras, the Jacksonville Symphony offers live symphonic variety in Jacoby Symphony Hall at the Times-Union Center for the Performing Arts and engages the community with performances throughout the First Coast and statewide. The Jacksonville Symphony is the largest nonprofit provider of youth music education programs in North Florida. Each season nearly 70,000 young people and citizens of all ages benefit from the Symphony’s diverse educational and community engagement opportunities. Visit jaxsymphony.org/contents/Educational-Programs.html for more information.<br />
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The Jacksonville Symphony announces an historic new era as Courtney Lewis begins his inaugural season as Music Director in 2015-16, bringing to the podium a number of exciting new initiatives. For tickets and information, log on to JaxSymphony.org or call 354-5547. Like the Jacksonville Symphony on Facebook (facebook.com/JaxSymphony), follow on Twitter (@JaxSymphony) and share on Instagram (#JaxSymphony).<br />
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<strong>About the Jacksonville Public Library</strong> <br />
The mission of the Jacksonville Public Library is to enrich lives, build community and foster success by bringing people, information and ideas together. Last year, more than <br />
3.5 million visits were made to Jacksonville Public Libraries, items were checked out more than 6.5 million times, and nearly 11,000 programs and services were offered to Duval County residents at the Main Library and 20 branch locations. For more information about the Jacksonville Public Library, call 630-BOOK (2665) or visit jaxpubliclibrary.org. <br />
<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-68801294474202288552015-02-11T07:02:00.002-08:002015-02-11T16:56:46.645-08:00Wednesday, March 4 @ 6 p.m.<a href="http://4.bp.blogspot.com/-hf-aokzJ-40/VNtuVqxMAeI/AAAAAAAACt0/v_iBmXL0Peg/s1600/promenade-march.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-hf-aokzJ-40/VNtuVqxMAeI/AAAAAAAACt0/v_iBmXL0Peg/s1600/promenade-march.jpg" height="640" width="414" /></a><br />
<span style="font-size: large;"><b>Promenade! with Jacksonville Symphony Players</b></span><br />
<b>In the Lounge at 303 North </b><br />
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Stroll in and enjoy <a href="http://www.jaxsymphony.org/concerts/DOWNTOWN-ART-WALK.html#.VNtuRChhe70" target="_blank">J-Sym instrumentalists</a> performing chamber music against the backdrop of Downtown Jacksonville's First Wednesday Art Walk. <br />
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Schedule:<br />
<b>6:00 pm - 6:45 pm: </b><br />
<b>String Quartet</b><br />
featuring Anna Genest (violin), Aurella Duca (violin), Merryn Corsat (viola) and Alexei Romanenko (cello)<br />
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<b>6:50 pm - 7:35pm: </b><br />
<b>Woodwind Quintet</b><br />
featuring Rhonda Cassano (flute), Claudia Minch (oboe), Marci Gurnow (clarinet), Anthony Anurca (bassoon) and Aaron Brask (horn)<br />
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<b>7:40 pm - 8:25 pm</b><br />
<b>String Quintet</b><br />
featuring Piotr Szewczyk (violin), Patrice Evans (violin), Susan Pardue (viola), Laurie Casseday (cello) and Kevin Casseday (bass)Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com1tag:blogger.com,1999:blog-923634489599605306.post-28448193571730518882015-02-04T08:53:00.001-08:002015-02-18T12:46:13.405-08:00Celebrate Year of the River with Al Poindexter<div class="separator" style="clear: both; text-align: center;">
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If you want to hear songs about Florida legends, the St. Johns River, colorful characters and backwater places then come hear <b>Al Poindexter</b> perform his own songs, old timey songs and blues tunes backed up on his National steel bottleneck guitar or fast picking claw hammer banjo. </div>
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Al is the winner of the 2014 St. Johns Riverkeeper Song Contest and has been a performer and avid collector of Florida folk lore and songs for over 20 years, writing fresh, new tunes about life in old Florida. This program is free and open to the public. This concert is brought to you through the generous support of Friends of the Jacksonville Public Library.<br />
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<span class="Normal__Char" style="font-size: 10pt; font-style: italic;"> Music of Florida and the St. Johns River</span><span class="Normal__Char" style="font-size: 10pt;"> presented by Al Poindexter</span> <br />
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<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Date/Time</span></div>
</td> <td class="gen1012b" width="162"><div class="Table_0020Grid" style="text-align: center;">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Location</span></div>
</td> <td class="gen10138" width="162"><div class="Table_0020Grid" style="text-align: center;">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;"><br />
</span></div>
</td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Tuesday, February 17 </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">4:30 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=eSrffPRNZlFVpUS8hExVDpEJgqOdG6n4CjT1lh0Hh5yyvMMnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBuAHMALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fns.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Brentwood Branch</span></span></a><span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;"> </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Urban Library Center</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">3725 N. Pearl St.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen101cb" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Thursday, March 5</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">10:30 a.m.</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt; font-weight: bold;">CHILDREN’S PROGRAM</span></div>
</td> <td class="gen10203" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=McdRRq8VPtBu-ndFwdzPlax0pJN9VJ0QX-6ExoZ_Qh2yvMMnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwB1AHAAawAuAGgAdABtAGwA&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fupk.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">University Park Branch Library</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">3435 University Blvd. N.</span></div>
</td> <td class="gen10226" width="162"><br /></td> </tr>
<tr> <td class="gen101cb" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Tuesday, March 17 </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">3:30 p.m.</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt; font-weight: bold;">CHILDREN’S PROGRAM</span></div>
</td> <td class="gen10203" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=9DrNC4DvDGFan1-LEGTcCzB0iU64_Ye4ZrhHF-GKHpUTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBhAHIALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2far.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Regency Square Branch</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">9900 Regency Square Blvd.</span></div>
</td> <td class="gen10226" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Monday, March 30 </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">4:30 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=ihd0VYHplO8eVNB2maE1wQqykjiRBtpRuYvPkxKr1ukTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBlAGIALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2feb.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Brown Eastside Branch</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Urban Library Center</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">1390 Harrison St.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Tuesday, March 31 </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">6:30 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=BEXhAqpRX1v2_g-MEq9rpwFV1AIQVLTtKh90aMOYy4sTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBkAHUALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fdu.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Highlands Branch</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">1826 Dunn Ave.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Saturday, April 4</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">2 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=HtSdmAdGm8PdNn2M9WoqmXPCQLAEw5qVZ-oD8xdqMJwTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBzAG8AbQAuAGgAdABtAGwA&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fsom.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">South Mandarin Branch</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">12125 San Jose Blvd.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Saturday, April 11</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">2 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=idVZKdoTAZpx3izq6_iGr-jNT3h281zC6w-JbHfsPygTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBqAGIALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fjb.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Beaches Branch</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">600 3<span class="Table_0020Grid__Char" style="font-size: smaller; vertical-align: super;">rd</span> St.</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Neptune Beach</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Wednesday, May 27</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">4:00 p.m.<br />
</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=u6EYiqY7uYE6vEzInG6dtd49946x5lqdv2z1ah5dxBUTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBzAGUALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fse.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Southeast Regional</span></span></a><span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;"> </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">10599 Deerwood Park Blvd. </span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Saturday, June 13</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">2 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=-e8kKT1q-F_2NRIm6P8y7yclZvvub4QKFiD6a0mGJ8cTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBjAHcALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fcw.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Webb Wesconnett Regional</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">6887 103<span class="Table_0020Grid__Char" style="font-size: smaller; vertical-align: super;">rd</span> St.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen10587" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Tuesday, June 16</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">6pm </span></div>
</td> <td class="gen105a3" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=N71fWSdVMbT-O2DtSE2KcfI7kIA1IwU-CtolKi001uYTHsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBrAHIALgBoAHQAbQBsAA..&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fkr.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Mandarin Branch</span></span></a><span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;"> </span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">3330 Kori Rd.</span></div>
</td> <td class="gen105cb" width="162"><br /></td> </tr>
<tr> <td class="gen1014a" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Wednesday, July 15</span></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">7 p.m.</span></div>
</td> <td class="gen10161" width="162"><div class="Table_0020Grid">
<a href="https://webmail.coj.net/owa/redir.aspx?SURL=kY-Q5G7Ad6ONu7Pix0qsQEOPDBqEFUwKRSAiiNtZln8THsYnsQ7SCGgAdAB0AHAAOgAvAC8AagBwAGwALgBjAG8AagAuAG4AZQB0AC8AbABpAGIALwBiAHIAYQBuAGMAaABlAHMALwBwAGMAcgAuAGgAdABtAGwA&URL=http%3a%2f%2fjpl.coj.net%2flib%2fbranches%2fpcr.html" target="_blank"><span class="Hyperlink__Char"><span class="Hyperlink__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">Pablo Creek Regional Library</span></span></a></div>
<div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">13295 Beach Blvd.</span></div>
</td> <td class="gen10196" width="162"><br /></td> </tr>
<tr> <td class="gen10660" width="169"><div class="Table_0020Grid">
<span class="Table_0020Grid__Char" style="font-family: 'Calibri','Arial'; font-size: 10pt;">TBD</span></div>
</td> <td class="gen1066c" width="162"><div class="Table_0020Grid">
Hemming Park</div>
</td> <td class="gen10672" width="162"><br /></td> </tr>
</tbody> </table>
</div>
<div class="Normal">
<br /></div>
<br /></div>
Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-82194479683273442592015-01-15T13:48:00.004-08:002015-02-09T02:19:13.121-08:00Out to Lunch : Wednesday, 3/11/2015 @ 12:30pm<span style="font-size: small;"><b><i>Free Lunch-time Concert with the NYC Jazz Duo</i> </b></span><br />
<span style="font-size: large;"><b><span style="font-size: x-large;"><span style="color: #b45f06;">The Daniel Bennett Group</span></span> </b></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="http://2.bp.blogspot.com/-nM4MpCc1hN4/VNH01WfO1_I/AAAAAAAACp4/emYsQ92qfig/s1600/outto%2Blunch--posterMARCH-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-nM4MpCc1hN4/VNH01WfO1_I/AAAAAAAACp4/emYsQ92qfig/s1600/outto%2Blunch--posterMARCH-1.jpg" height="640" width="414" /></a><b><span style="font-size: large;">Daniel Bennett </span>Saxophone/Flute/Oboe </b><br />
<b><span style="font-size: large;">Nat Janoff </span>Guitar</b><br />
<br />
<b>In the Lounge at 303 North</b><br />
(just inside the Laura St. entrance).<br />
<br />
<i><b>Attendees may bring a brown-bag lunch to enjoy during the performance.</b></i><br />
<br />
<a href="http://www.danielbennettgroup.com/" target="_blank"><b>The Daniel Bennett Group</b></a> has recently shared concert billings with artists like Bill Frisell, Charlie Hunter, Greg Osby, and James Carter. The band has released five critically-acclaimed albums in the last ten years. In 2013, the Daniel Bennett Group celebrated the release of "Clockhead Goes to Camp" with a sold-out concert at the Metropolitan Room in New York City. <br />
<ul>
<li><a href="http://wwno.org/post/dj-sessions-eclectic-jazz-new-hampshire" target="_blank">Daniel Bennett Group on NPR</a></li>
<li><a href="https://www.youtube.com/watch?v=Vuab5RbCU54" target="_blank">Daniel Bennett Group on June Middleton TV</a></li>
</ul>
New York saxophonist <b>Daniel Bennett</b> has been hailed as one of the most original and unpredictable musical voices of his generation. <i>Insite Magazine</i> called Bennett's music, "refreshingly capricious and trippy." <i>The Village Voice</i> raves, "saxophonist Daniel Bennett makes hay with an airy approach that's buoyant enough to conjure notions of East African guitar riffs and Steve Reich's pastoral repetition." Mr. Bennett recently composed the original musical score for the stage adaptation of <i>Frankenstein</i> at the Hudson Guild Theatre in Manhattan. The show was a top pick in<i> The New York Times</i>. Recent Off-Broadway theater performances include the North American premier of <i>Legacy Falls</i> and a revival of <i>Swingtime Canteen</i> at Cherry Lane Theatre. Daniel recently played woodwinds in <i>Blank! The Musical</i>, the first fully improvised Off-Broadway musical to launch on a national stage. <i>The New York Times</i> called the show, "Witty, Likable and Ludicrous!" <br />
<br />
Guitarist <b>Nat Janoff</b> is one of the most active jazz players in the fertile New York City music scene. Nat Janoff has performed with artists like Michael Brecker, Matt Garrison, Kenny Burrell and Dave Samuels. In addition to playing with his own groups, Mr. Janoff has performed with the Daniel Bennett Group, R&B legend David "Pic" Conley, pianist Norman Simmons and drummer Victor Jones. Nat can be heard on Atlantic Records’ recording artist Debelah Morgan’s album, <i>Dance With Me</i>. He has been a guest instructor at the annual William Paterson University summer jazz camp. Nat currently leads his band at the legendary 55 Bar in Greenwich Village every month. <br />
<br />
"Saxophonist Daniel Bennett makes hay with an airy approach that's buoyant enough to conjure notions of East African guitar riffs and Steve Reich's pastoral repetition." <br />
- VILLAGE VOICE<br />
<br />
“Daniel Bennett Group plays a mix of jazz, folk, and trance.” <br />
- BOSTON GLOBE<br />
<br />
"Saxist Daniel Bennett airs his lilting, potentially hypnotic compositions"<br />
- TIMEOUT NEW YORK<br />
<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-81370650204004141332014-09-27T12:44:00.002-07:002014-09-27T12:44:34.136-07:00Conversations with Courtney<h2>
Conversations with Courtney<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-ZoGXJ3vAFnU/VBr_I9M2L2I/AAAAAAAACXA/LqPM-VyD3eA/s1600/conversarions.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-ZoGXJ3vAFnU/VBr_I9M2L2I/AAAAAAAACXA/LqPM-VyD3eA/s1600/conversarions.jpg" height="320" width="204" /></a></div>
</h2>
<br />
<b>WHEN: Wednesday, September 24, 2014 @ 5:15-6:30 pm</b><br />
<b>WHERE: The Lounge at 303 North (inside the Main Library's Laura St. entrance) </b><br />
<br />
Join
us as we welcome Courtney Lewis, the new Music Director of the
Jacksonville Symphony Orchestra, as he talks about his first week with
the orchestra and his exciting plans for the future. In the Lounge at
303 North, Pacjic Promenade, Main Library.<br />
<br />
At the reception, enter to win two tickets to Courtney's debut concert on Saturday, Sept. 27. Must be present to win.<br />
<br />
<b>Free and open to the public.</b><br />
<b>Free parking</b> available in the garage at Duval and Main. Bring your ticket to the Ask Here desk on the ground level for validation.<br />
<br />
<div style="margin-left: 2em;">
</div>
<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-73522360536820673622014-06-20T11:58:00.001-07:002015-06-08T18:15:40.383-07:00Intermezzo : Sunday, June 14 @ 3pm<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<em>Back by Popular Demand!</em><br />
<a href="http://1.bp.blogspot.com/-VnvVmePUTSs/VWd6cnaJOeI/AAAAAAAACzI/WOKCmebKPPI/s1600/intermezzo-poster-june14.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-VnvVmePUTSs/VWd6cnaJOeI/AAAAAAAACzI/WOKCmebKPPI/s400/intermezzo-poster-june14.jpg" width="258" /></a><span style="font-size: large;"><b>The Vivace Trio </b></span><br />
<span style="font-size: large;"></span><br />
<span style="font-size: large;">Gia Sastre & </span><br />
<span style="font-size: large;">Carolyn Snyder-Menke, flutes</span><br />
<span style="font-size: large;">Denise Wright, piano</span><br />
<span style="font-size: large;"></span><br />
The Vivace Trio will present our Season Finale. <br />
<br />
<ul>
<li><span style="font-size: 16px;"><span style="font-family: inherit;">The Star Spangled Banner</span></span></li>
<li><span style="font-size: 16px;"><span style="font-family: inherit;">J.S. Bach: Concerto in F Major, BWV 1057</span></span></li>
<li><span style="font-family: inherit;"><span style="font-size: 16px;">Antonio Vivaldi: Il Cardellino </span><span style="font-size: 16px;">(The Goldfinch) </span></span></li>
<li><span style="font-size: 16px;"><span style="font-family: inherit;">Ian Clarke: Maya</span></span></li>
<li><span style="font-size: 16px;"><span style="font-family: inherit;">America, the Beautiful</span></span></li>
<li><span style="font-family: inherit;"><span style="font-size: 16px;">Joachim Andersen: </span><span style="font-size: 16px;">Allegro Militaire, Op. 48 </span></span></li>
<li><span style="font-size: 16px;"><span style="font-family: inherit;">Battle Hymn of the Republic</span></span></li>
</ul>
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An accomplished flutist and singer, <b>Carolyn Snyder Menke</b> has an A.A. in Music from College of Marin in Kentfield, California and a B.M.E. with a concentration in flute from Indiana University; she later studied privately with Peter Lloyd, principal flute with the London Symphony Orchestra. Among her voice teachers and coaches, Ms. Snyder Menke sang in a masterclass in Oberlin’s Italy program taught by internationally-renowned soprano Elly Ameling, who called Carolyn's performance “perfection!” Among her opera roles, Carolyn has appeared with Atlanta’s Harrower Summer Opera Workshop as "Susannah" <i>(</i>Mozart's <i>The Marriage of Figaro)</i>, "The Foreign Woman" <i>(</i>Menotti's <i>The Consul</i>), and "Irma" (Charpentier’s <i>Louise</i>). She won the Thomas Scott Award in Marin County, 2nd place in the NATS competition, and was a quarter-finalist in Savannah Georgia’s American Traditions Competition for Singers. In addition to the Vivace Trio, Carolyn has performed with the Jacksonville Symphony Orchestra, the Arabesque flute trio, the Marin County Woodwind Quintet and the Arioso Flute Quartet. She has performed for Body and Soul, the Art of Healing since 2001, and also does freelance work. <br />
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Acclaimed flutist <b>Gia Sastre</b> hails from Miami, Fla. and holds an M.M from DePaul University in Chicago, a B.M. from FSU, and pursued a resident course of study in Great Britain with Paul Edmund-Davies, principal flutist of the London Symphony Orchestra. In addition to numerous solo engagements, Ms. Sastre performed with a variety of ensembles in Chicago, and received the Farwell Award from the Musicians Club of Women. In 2009, Ms. Sastre returned to Florida where local performances have included Prokofiev’s <i>Peter and the Wolf</i> for Jacksonville Public Library, and solo and chamber concerts with the Chamber Music Society of Good Shepherd, Riverside Fine Arts Series, Friday Musicale, Music @ Main, Riverside Presbyterian's Wednesday Happenings and the Advent Series of the First Presbyterian Church of Jacksonville; she also has performed with the Coastal Symphony of Georgia and the Jacksonville Symphony Orchestra. Gia works with dedicated and talented students of all ages, serves as member and adjudicator for the Florida Flute Association, and is a founding member of Jax Flutes. Beginning this fall she is teaching applied secondary flute at the University of North Florida, and previously served as flute faculty for the DePaul University Community Music Program in Chicago. Her debut recording, <i>Abellimento</i>, is a collection of flute and harp classics available on Pandora Radio and through online retailers.<br />
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Among the First Coast's most sought-after collaborative pianists, Jacksonville native <b>Denise Wright</b> received her Bachelor of Music degree in Piano Performance from Samford University (Birmingham, Alabama) and her Master of Music in Piano Performance from Indiana University (Bloomington). She performed many times as a soloist with the orchestras at both universities, as well as in numerous solo and collaborative concerts with a variety of instrumental and vocal soloists and ensembles, including a tour of Europe with Samford's Baptist Festival Singers. She was a Professor of Piano at Bethel College (Mishawaka, Indiana), and was a collaborative pianist at both Indiana University and at St. Mary’s College (Notre Dame, Indiana). Returning to Jacksonville in 1991, Ms. Wright assumed the position of pianist at First Baptist Church, and has served as collaborative pianist at Douglas Anderson School of the Arts since 2004. She joined the staff of the University of North Florida in 2007, working with several voice studios as well as with the UNF Opera Ensemble. In the summers of 2010-2012, Denise had the opportunity to perform with the Opera Ensemble as part of the European Music Academy in the Czech Republic, and in the historical Mozart Estates Theater in Prague. <br />
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<hr />
<strong>PROGRAM NOTES</strong> by Edward Lein, Music Librarian<br />
<hr />
<br />
Sung to a tune by British composer <b>John Stafford Smith</b> (1750-1836), the famous lyrics of <b><em>The Star Spangled Banner</em></b> were written by <b>Francis Scott Key</b> (1779-1843) in 1814 after he witnessed the bombardment of Fort McHenry during the War of 1812. Surprisingly, it only became our "official" National Anthem with a congressional resolution passed on March 3, 1931.<br />
<hr />
The works of the great German Baroque master <b>Johann Sebastian Bach</b> (1685-1750) are universally identified by the index numbers from the <i>Bach-Werke-Verzeichnis (Bach Works Catalog)</i>, and among these the <strong>Concerto in F Major, BWV 1057</strong> (1738) is typically referenced as "Harpsichord Concerto No. 6." Even so, odds are that if you recognize the music it will be as an arrangement of the more famous <em>Brandenburg Concerto No. 4, BWV 1049</em> (1721 or earlier), only with the keyboard elaborating on music originally played by solo violin, while retaining the prominent obbligato parts for two "<em>Fiauti d'Echo.</em>"<br />
<hr />
Music historians often refer to the Venetian violin virtuoso <b>Antonio Vivaldi</b> (1678-1741) as the composer most representative of the mature Italian Baroque style, and in addition to sonatas and sacred choral music he wrote nearly four dozen operas and over 500 concertos. The six concertos of Vivaldi's op. 10 (1728) were among the very first works for the transverse flute (as opposed to the recorder) ever published. The subtitle for the third concerto, <b><i>Il Cardellino</i> (The Goldfinch)</b>, is one Vivaldi supplied himself, as the flute part is meant to suggest birdsong.<br />
<hr />
The music of British flutist and composer <b>Ian Clarke</b> (b.1964) has been performed across five continents and is a favorite of both professional and student musicians. As a soloist and teacher Clarke has appeared at major conventions and events in Canada, Italy, Brazil, France, Iceland, Slovenia, Hungary, Netherlands and numerous times for the British Flute Society and for the National Flute Association in the USA. He completed <b><i>Maya</i></b> in 2000, basing the work for two flutes and piano on an earlier piece called <i>Passage</i> (1986). The composer says the title "m<i>aya</i>" is a reference to the Sanskrit word for "illusion" rather than to the Mesoamerican civilization. <br />
<hr />
When <b>Samuel Augustus Ward</b> (1847-1903) wrote the hymn tune <i>Maderna</i> in 1882, the New Jersey organist could not have dreamed that it would become one of the most recognized melodies in the world, thanks to a poet he never even met. <b>Katharine Lee Bates</b> (1859-1929), a professor of English at Wellesley College in Massachusetts, penned <b>America the Beautiful </b>in response to the magnificent panoramas she experienced during a cross-country trip in 1893. First published on July 4, 1895, Bates revised her poem in 1904, and finalized the complete eight stanzas in her 1911 collection entitled, <i>America the Beautiful and Other Poems</i>. <br />
<br />
<table><tbody>
<tr> <td>O beautiful for spacious skies, <br />
For amber waves of grain, <br />
For purple mountain majesties <br />
Above the fruited plain! <br />
America! America! <br />
God shed his grace on thee <br />
And crown thy good with brotherhood <br />
From sea to shining sea! </td> <td>O beautiful for pilgrim feet <br />
Whose stern impassioned stress<br />
A thoroughfare of freedom beat <br />
Across the wilderness! <br />
America! America! <br />
God mend thine every flaw, <br />
Confirm thy soul in self-control, <br />
Thy liberty in law! </td> </tr>
</tbody></table>
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<hr />
Danish composer (Carl) <b>Joachim Andersen</b> (1847-1909) was among the finest flutists and conductors of his generation, and also became a co-founder of the Berlin Philharmonic in 1882. But in 1893, suffering partial paralysis in his tongue, he returned to Copenhagen to concentrate both on teaching and composing. His <strong><em>Allegro Militaire</em>, Op. 48</strong> appeared the following year and originally was for two flutes and orchestra.<br />
<hr />
At the suggestion of a friend, <b>Julia Ward Howe</b> (1819-1910) wrote the words for <b><i>The Battle Hymn of the Republic</i></b> in November 1861 after hearing Union troops singing <i>John Brown's Body</i>. Her new lyrics for the folk tune were published in <em>The Atlantic Monthly</em> in February 1862, and the song has since become the most popular anthem identified with the Civil War. Today's arrangement is by <b>Mark Hayes </b>(b.1953), an American composer and arranger who specializes in sacred choral music.<br />
<br />
Mine eyes have seen the glory of the coming of the Lord;<br />
He is trampling out the vintage where the grapes of wrath are stored;<br />
He hath loosed the fateful lightning of His terrible swift sword:<br />
His truth is marching on.<br />
<strong> (Chorus)</strong><br />
<strong> Glory, glory, hallelujah! Glory, glory, hallelujah!</strong><br />
<strong> Glory, glory, hallelujah! His truth is marching on.</strong><br />
<br />
I have seen Him in the watch-fires of a hundred circling camps,<br />
They have builded Him an altar in the evening dews and damps;<br />
I can read His righteous sentence by the dim and flaring lamps:<br />
His day is marching on.<br />
<br />
I have read a fiery gospel writ in burnished rows of steel:<br />
"As ye deal with my condemners, so with you my grace shall deal";<br />
Let the Hero, born of woman, crush the serpent with his heel,<br />
Since God is marching on.<br />
<strong> (Chorus)</strong><br />
<br />
He has sounded forth the trumpet that shall never call retreat;<br />
He is sifting out the hearts of men before His judgment-seat;<br />
Oh, be swift, my soul, to answer Him! Be jubilant, my feet!<br />
Our God is marching on.<br />
<strong> (Chorus)</strong><br />
<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-53112858126228696932014-06-20T11:57:00.001-07:002015-12-26T20:20:14.027-08:00Tuesday Serenade : June 2 @ 7pm<div class="separator" style="clear: both; text-align: center;">
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<b>Min Young Cho, violin <b>& Eun Mi Lee, Piano</b></b><br />
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HINDEMITH<br />
Sonata for Unaccompanied Viola, op.25, no. 1 <br />
<ol>
<li>Breit. Viertel </li>
<li>Sehr frisch und straff. (Viertel) </li>
<li>Sehr langsam </li>
<li>Rasendes Zeitmaß. Wild. Tonschönheit ist Nebensache </li>
<li>Langsam, mit viel Ausdruck</li>
</ol>
SCHUMANN<br />
Adagio & Allegro, op. 70<br />
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HUMMEL<br />
Sonata in E-flat Major for Piano with Accompaniment of Viola, op. 5, no. 3 <br />
<span class="st"> I. Allegro moderato. </span><br />
<span class="st"> II. Adagio e cantabile. </span><br />
<span class="st"> III. Rondo. Con moto</span><br />
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Dr. <b>Min Young Cho</b> is a native of Seoul, Korea, and she has performed with many orchestras in her homeland, including the Korean-American Youth Orchestra, Gwacheon Youth Orchestra, Seoul National Symphony Orchestra, Korean Philharmonic Orchestra and Gangneung Philharmonic Orchestra. Her talent as an ensemble player remains much in demand, and she often serves as concertmaster or assistant concertmaster for many of the orchestras she plays with. She regularly performs with a number of chamber and symphony orchestras in North Florida, including Tallahassee Bach Parley, Tallahassee Symphony Orchestra, Northwest Florida Symphony Orchestra and Sinfonia Gulf Coast, as well as with the Pensacola Symphony Orchestra and Panama City Pops Orchestra. As a guest solo artist, other recital engagements have included appearances at Chipola College (Marianna, Florida) and Valdosta State University (Valdosta, Georgia), and Jacksonville Public Library's Music @ Main.<br />
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As a winner of the American Fine Arts Festival, Dr. Cho performed at Carnegie Hall (Weill Recital Hall), and also was awarded an AFAF Summer Music Courses in Europe scholarship. Other competition wins include the Korea Music Competition, the Chungbu Conservatory Competition, and the Music World Newspaper Company’s Competition. Dr. Cho received her Bachelor of Music degree from Dankook University in Korea, and both her master's and doctoral degrees from Florida State University, where she also has taught as a Graduate Assistant. Her principal teachers have included Corinne Stillwell, Karen Clarke and Daesik Kang.<br />
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In her native South Korea, <b>Eun Mi Lee</b> received a Bachelor of Music degree in Piano from Ewha Women’s University, and a Master of Music degree in Piano Accompanying on scholarship at Sungshin Women’s University. In 2007, Ms. Lee was accepted into the Master’s program at Florida State University's College of Music, working closely with Valerie M. Trujillo, the Grammy-nominated associate professor of vocal coaching and accompanying. Eun Mi Lee is continuing her post-graduate studies at FSU, where she is a doctoral candidate.<br />
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A passionate accompanist and teacher, she began working with faculty artists and student performers at Baekseok Conservatory, Muyngji University, and University of Seoul, and she has been a member of Korea Collaborative Pianists Association since 2002. Much in demand as a collaborative artist, Ms. Lee has pursued an interest in performing new music, and recorded Soo Jin Cho's 2-piano work, <i>Exodus</i>, released by the Society of Composers, Inc., in March 2010, on an album entitled <i>Mosaic</i>. <br />
<hr />
Along with Stravinsky, Bartók and Schoenberg, German composer, teacher, and music theorist <b>Paul Hindemith</b> (1895-1963) is often cited by musicologists as a central figure in music of the first half of the 20th Century, so it is perhaps surprising that performances of his works have become relatively rare. Although some of his first works approached the expressionistic atonality of early Schoenberg, Hindemith’s mature style, while still highly chromatic, is decidedly tonal. And although Hindemith frequently used formal procedures of the Baroque and Classical periods, his music is nonetheless removed from the "Neoclassical" movement centered around Stravinsky — whereas Stravinsky parodied earlier styles in an often ironic reaction against the perceived excesses of 19th-Century composers, Hindemith built on tradition as a continuation of the Teutonic musical heritage that runs from the Bach family through Haydn, Beethoven, Schumann, Brahms and Reger.<br />
Hindemith was also the virtuoso violist who premiered William Walton's gorgeous Viola Concerto in 1929. Seven years earlier he had written the <strong>Sonata for Unaccompanied Viola, op. 25, no.1</strong> primarily for his own recital performances, and he made a recording of it in 1934. Describing the work as "vigorous" might be something of an understatement--Hindemith's performance notes include the observation: <em>Raging tempo. Wild. Beauty of tone is of secondary importance</em>. So, with apologies to Bette Davis, fasten your seatbelts!<br />
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<hr />
The hopes of the great German Romantic composer <b>Robert Schumann</b> (1810-1856) to become a concert pianist were dashed in his twenties when he permanently damaged his hand, so he redirected his energies to both composing and music criticism. From childhood he was torn between literature and music, but he managed to combine these two loves even in some of his purely instrumental music by using poetry and dramatic narrative to color and direct the musical discourse. <br />
Schumann's <b>Adagio and Allegro, op. 70</b> is among the numerous and varied works he wrote in 1849. Originally composed to show off the expanding capabilities of the valve horn, Schumann's showpiece has become a frequently-performed favorite of violists and cellists as well.<br />
<hr />
Though little-known today, during his lifetime Austrian composer and virtuoso pianist <b>Johann Nepomuk Hummel</b> (1778-1837) was among Europe's most famous and respected musicians. He made his public debut at age nine sharing the concert stage with W.A. Mozart, with whom he studied (and resided) for two years. Joseph Haydn, whom Hummel would succeed as Kapellmeister to Prince<span style="color: black;"> </span><span style="color: #0066cc;"><span style="color: black;">Esterhazy,</span></span> wrote a piano sonata for him when Hummel was barely a teenager, and later accepted him among his few composition students. Hummel became lifelong friends with Haydn's most famous pupil--Beethoven--such that among Beethoven's dying wishes was a request that Hummel perform at his funeral. It was at that sad occasion that Hummel met Schubert, inspiring the younger composer to dedicate his final three piano sonatas to the famous virtuoso; however, the sonatas were not published until after both Schubert and Hummel had died, and the publisher changed the dedication to Robert Schumann. <br />
Hummel was around 20 years old when he composed his <strong>Sonata in E-flat Major for Piano with Accompaniment of Viola, op. 5, no. 3</strong>. Mozart's influence is unmistakable in the gracious charm it exudes, and Mozart might also have provided the impetus for featuring the viola. Typical of the time, the first two of Hummel's three sonatas comprising his Opus 5 are for piano with obbligato violin, but his change of obbligato in the third sonata was by no means "expected" because use of viola as a solo instrument was uncommon, to say the least. (Bach's sixth <em>Brandenburg Concerto</em> likely was never performed prior to its publication in 1850, and, although Telemann's Viola Concerto is fairly well-known today it hardly would have been a repertoire staple in 1798.) Mozart however, himself a fine violist, had began featuring the viola in his chamber music and especially in the magnificent Sinfonia Concertante (1779), and this may well have inspired Hummel to create what is perhaps the earliest sonata for the modern viola and piano.<br />
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<hr />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-23288962025632986582014-06-20T11:55:00.005-07:002015-05-12T08:46:46.893-07:00Tuesday Serenade : May 19 @ 7pm<span style="font-family: inherit; font-size: large;"><b><br /></b></span>
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<span style="font-family: inherit; font-size: large;"><b>Ji Won Hwang, violin </b></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><b><span style="font-size: large;">Boyan Bonev, cello</span> </b>(UWF Faculty Artist)</span></span><br />
<br />
<b>Fritz Kreisler </b>(1875-1962)<br />
Recitativo and Scherzo for Solo Violin, Op. 6 <br />
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<b>Sergei Prokofiev</b> (1891-1953)<br />
Sonata for Solo Violin in D Major, Op. 115 <br />
I. Moderato<br />
II. Andante dolce<br />
III. Con brio<br />
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<b>Zoltan Kodaly</b> (1882-1976)<br />
Sonata for Solo Cello, Op. 8 <br />
I. Allegro maestoso ma appassionato <br />
II. Adagio (con grand' espressione)<br />
III. Allegro molto vivace <br />
<br />
INTERMISSION <br />
<br />
<b>Edward Lein</b> (b.1955)<br />
"Dark Eyes" for Violin and Cello<br />
<br />
<b>Maurice Ravel</b> (1875–1937) <br />
Sonata for Violin and Cello<br />
I. Allegro<br />
II. Très vif<br />
III. Lent<br />
IV. Vif<br />
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<br />
Korean violinist <b>Ji Won Hwang</b> earned her Bachelor of Music and Master of Music degrees from Sookmyung Women's University in Seoul, Korea, where she also taught, in addition to conducting the Soongsil Boy's Orchestra. After moving to the United States she became a teaching assistant at The Florida State University while working on her Doctor of Music degree under the guidance of violinist Eliot Chapo. She has performed as a solo artist and with a variety of ensembles in the Big Bend area, including as violinist with the Eppes String Quartet under the sponsorship of Pulitzer-Prize-winning composer Ellen Taafe Zwilich. Winner of the top prize of the Korea Germany Brahms Association Competition in 2004, Dr. Hwang has performed throughout Asia, Europe and North America, and recently gave a concert entitled "Russia in New York" at Carnegie Hall. In addition to her solo engagements, she plays for symphony orchestras in Florida, Alabama, and Georgia.<br />
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Award-winning Bulgarian cellist <b>Boyan Bonev</b> teaches cello and double bass at the University of West Florida in Pensacola, and previously taught in Georgia at Albany State University and Darton College. Dr. Bonev is on the faculty of the Florida State University Summer Music Camps, and performs with the Tallahassee, Pensacola, Mobile, Florida Lakes, and Northwest Florida Symphony Orchestras. Active as a solo and chamber musician, Boyan Bonev has appeared in concert and educational programs for Bulgarian National Television and Radio, in performance at Carnegie Hall (Weill Recital Hall), and as soloist with orchestras in the United States and Europe. Dr. Bonev holds Doctor of Music and Master of Music degrees from the Florida State University, and a Bachelor of Music degree from the National Music Academy in Sofia, Bulgaria.<br />
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<b>Friedrich "Fritz" Kreisler</b> (1875-1962) is regarded among the greatest violinists of all time. Born in Austria, he moved permanently to the United States during World War II and gained U.S. citizenship in 1943, two years after having been in a week-long coma following a traffic accident in New York City. Although he wrote a couple of operettas and a string quartet, as a composer it is for his solos, cadenzas and encores that he wrote to perform himself that he is most remembered. His <b>Recitativo and Scherzo, Op. 6</b> is his only work for unaccompanied violin. Published in 1911, Kreisler dedicated the piece to his friend, Belgian virtuoso Eugene Ysaÿe. <br />
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<b>Sergei Prokofiev</b> (1891-1953) was a great Russian composer, pianist and conductor admired as one of the finest composers of the 20th century, whose music, including the delightful <i>Peter and the Wolf</i> and the exuberant <i>Classical Symphony</i>, is widely performed and recorded. Prokofiev wrote the <b>Sonata for Solo Violin in D Major, Op. 115</b> in 1947. Having been preceded by two violin concertos and two violin sonatas, as well as by a Sonata for two unaccompanied violins, his Opus 115 became his last work for the violin as a solo instrument. But, unusually, it was first performed as a piece for unison violins by a group of student players!<br />
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Hungarian composer and educator <b>Zoltán Kodály</b> (1882-1967) was a pioneering ethnomusicologist who worked closely with his friend Béla Bartók to collect and codify the folk music of Eastern Europe in the early part of the 20th Century. Kodály gained international fame with his 1923 oratorio <i>Psalmus hungaricus</i>, and the orchestral suite from his 1926 opera <i>Háry János</i> continues to hold its place in the world’s concert halls. The influence of Kodály’s immersion in Hungarian folksong is evident in his <b>Sonata for Cello Solo, op. 8</b> (1915), one of the most demanding pieces written for the instrument, and one which requires <i>scordatura</i> re-tunings of the two lower strings.<br />
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Florida native <b>Edward Lein</b> (b. 1955) holds master's degrees in Music and Library Science from Florida State University. Early in his career he appeared as tenor soloist in recitals, oratorios and dramatic works, and the majority of his early compositions are vocal and choral works. Following performances by the Jacksonville Symphony Orchestra of his <i>Meditation</i> for cello, oboe and orchestra (premiered June 2006) and <i>In the Bleak Midwinter</i> (premiered December 2007) his instrumental catalog has grown largely due to requests from Symphony players for new pieces. This concert marks the first performance of the violin-cello arrangement of <b><i>Dark Eyes</i></b>, originally written for piano trio in 2010. Tongue-in-cheek and occasionally bordering on campy, these "Variations in the Form of a Sonatina" are based on Florian Hermann's famous waltz tune, <i>Occhi chorni (Очи Чёрные)</i>, popularized by Russian gypsies.<br />
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<b>Maurice Ravel</b> (1875–1937) was a French composer and master orchestrator who maintains a place among the most performed and recorded composers of all time. He is often identified with Claude Debussy (1862-1918) as a chief proponent of musical Impressionism, but Ravel melded exotic harmonies with classical formal structures to create a personal, refined style that transcends a single label. The first movement of Ravel's <b>Sonata for Violin and Cello</b> appeared in December 1920 in a special commemorative supplement to the journal <i>La Revue musicale</i> honoring Debussy, and the rest of the movements were premiered two years later. Ravel uses recurring thematic elements throughout the movements as a unifying feature, and he also pays tribute to Kodály's 1914 Duo for Violin and Cello. In describing his Sonata himself, Ravel wrote, "The music is stripped to the bone. ... Harmonic charm is renounced, and there is an increasing return of emphasis on melody." <br />
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Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-34248776213446960182014-06-20T11:54:00.001-07:002015-05-08T03:23:57.716-07:00Intermezzo : Sunday, May 10 @ 3pm<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>Maharlika Trio </b></span><br />
<span style="font-size: large;">Joren Cain, saxophone</span><br />
<span style="font-size: large;">David Springfield, trombone</span><br />
<span style="font-size: large;">Maila Gutierrez Springfield, piano</span><br />
Valdosta State University Faculty Artists<br />
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<b>Astor Piazzolla</b>: La Muerte del Angel <br />
<b>Bill Schmid</b>: Insomnia (2010) <br />
<b>Tayloe Harding</b>: The Springfield Trio (2005) <br />
1. Vivace - 3. Allegro<br />
<b>Horace Silver</b>: Peace/The St. Vitus Dance <br />
<b>William Bolcom</b>: Child-Stealer (from Lilith)<br />
<b>Christopher Theofanidis</b>: Netherland (1993) <br />
2. Brutal; swirling, out of focus <br />
<b>David Springfield</b>: Two Langston Hughes Poems (2006) <br />
1. The Weary Blues -- 2. The Dream Keeper<br />
<b>Patrick Long</b>: Academic Finale (2005) <br />
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<span style="font-size: small;">The <b>Maharlika Trio</b> is dedicated to performing, commissioning and expanding the literature written for this unique combination of instruments. Formed in 2005, the members are all professors at Valdosta State University, and during the summers they teach gifted high school students in the Georgia Governor’s Honors Program. Their repertoire ranges from classical to jazz, original works and transcriptions, and occasionally performing with guest artists. Recent performances include conferences for the Georgia Music Educators Association, the College Music Society and the Southeastern Composers League. The Maharlika Trio is actively involved in arts education and dedicates a substantial amount of time to educational projects.</span><br />
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<strong>Joren Cain</strong> is a saxophone soloist well-versed in both classical and jazz idioms. A Chicago native, he received a Bachelor of Arts degree from Northern Illinois University, where he studied saxophone with Steve Duke. He continued his studies with Jim Riggs at the University of North Texas, where he was a Teaching Fellow, a member of the 2 O’Clock Lab Band, and earned his Master of Music and Doctor of Musical Arts degrees. As an educator, Cain was a Visiting Assistant Professor at Northern Illinois University. He is currently Associate Professor of saxophone and director of the New Jazz Ensemble at Valdosta State University in Valdosta, Georgia. He has contributed several articles for GIA’s “Teaching Music Through Performance in Jazz,” and he has published articles discussing the saxophone sonatas of Edison Denisov and Fernande Decruck’s Sonata in C#. Dr. Cain is committed to the study and performance of contemporary saxophone music and has commissioned over a dozen new works for the instrument. His playing has been applauded by composers Sammy Nestico, Alfred Reed, and Jindřich Feld. He has performed as a soloist across the U.S. and abroad, including Germany and the Czech Republic. Additionally, Dr. Cain served as a member of The United States Army Field Band, the Army’s premier touring concert band, for four years. He performed as a featured soloist, acted as staff arranger, and was the soprano saxophonist in the TUSAFB Saxophone Quartet. Currently, he has an active performance schedule as a soloist, a member of the Maharlika Trio, and as a freelance musician throughout the southeastern United States. Joren Cain is proud to be an RS Berkeley artist.<br />
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<strong>David Springfield</strong>, Assistant Professor and Director of Jazz Studies at Valdosta State University, teaches jazz piano, improvisation, arranging, combos and jazz history. He is also a member of the Faculty Jazz Combo and directs the VSU Jazz Ensemble. He holds a Bachelor of Music degree in Trombone Performance and a Master of Music in Jazz Studies, both from the Eastman School of Music. Since 2004, he has been the jazz instructor for the Georgia Governor’s Honors Program. As a performer, Mr. Springfield has appeared with the Rochester Philharmonic Orchestra and the Savannah, Charleston and Jacksonville Symphony Orchestras. He performs with the Savannah Jazz Orchestra and Jazz Composer’s Octet and has appeared with the Georgia Jazz Educators Big Band at the annual GMEA conferences. With the chamber group, Maharlika Trio, Mr. Springfield has performed at national conferences of the College Music Society and the North American Saxophone Alliance. <br />
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<strong>Maila Gutierrez Springfield</strong> is an instructor at Valdosta State University and a member of the Maharlika Trio, a group dedicated to commissioning and performing new works for saxophone, trombone and piano. She can be heard on saxophonist Joren Cain’s CD <i>Voices of Dissent</i> and on clarinetist Linda Cionitti’s CD <i>Jag & Jersey</i>. MusicWeb International selected <i>Jag & Jersey </i>as the recording of the month for February 2010 and noted that Maila “is superb in the taxing piano part with its striding bass lines and disjointed rhythms”. For Voices of Dissent, the American Record Guide describes Maila as “an excellent pianist, exhibiting solid technique and fine touch and pedal work." Twice-honored with the Excellence in Accompanying Award at Eastman School of Music, Maila has been staff accompanist for the Georgia Governor’s Honors Program, Georgia Southern University, the Buffet Crampon Summer Clarinet Academy and the Interlochen Arts Camp, where she had the privilege of working with cellist Yo-Yo Ma. She has collaborated with members of major symphony orchestras, including those in Philadelphia, Cleveland, Cincinnati, Los Angeles and Jacksonville. She was awarded a Bachelor of Music degree from Syracuse University, and a Master of Music degree from the Eastman School of Music.<br />
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PROGRAM NOTES <br />
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<strong>Ástor Piazzolla</strong> (1921-1992) pretty much single-handedly reinvented the Argentine national dance, the tango, transforming it into a new style aptly called nuevo tango ("new tango"). Born in Argentina, Piazzolla spent most of his childhood in New York, and there he gained exposure to and a fondness for jazz and classical music. But through his father's influence he also gained proficiency on the bandoneón, a type of concertina that is a staple of Argentine tango ensembles, and when he returned to Argentina in 1937 he played with some of the leading bands in Buenos Aires. He also began the serious study of composition with noted composer Alberto Ginastera, and for an early symphony he won a grant in 1953 from the French government to study in Paris with legendary composition teacher Nadia Boulanger. Boulanger, whose illustrious students ranged from Aaron Copland and Elliott Carter to Quincy Jones and Burt Bacharach, found Piazzolla's music was well-crafted but too derivative of Bartók, Stravinsky and Ravel. When she finally got him to play for her some of the music he wrote for his cabaret band, she convinced him to toss out his other works and concentrate on what was uniquely his own. He returned to Argentina in 1955, his "new tango," which infused traditional elements with characteristics of jazz and incorporated contrapuntal techniques and formal elements adapted from his classical studies. The new style was met with resistance in his homeland, but Europeans and North Americans were captivated by it and his international career blossomed. It is estimated that he composed over a staggering 3,000 pieces, and he recorded about 500 of them himself! <br />
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Born in Ft. Riley, Kansas, <strong>Bill Schmid</strong> was raised in Huber Heights, Ohio and learned to play the trumpet from his father. He received a bachelor’s degree in music education from the University of Dayton; he then earned a master’s degree in music education (jazz pedagogy) and a doctorate in trumpet performance - both from the University of North Texas. During his five years in Texas, his professional playing encompassed classical, jazz and commercial performances in the Dallas/Fort Worth region. Before coming to Georgia Southern University (Statesboro, Georgia) in 1986, Dr. Schmid taught for two years at St. Francis Xavier University in Antigonish, Nova Scotia (Canada). He is currently an Associate Professor of Music at GSU and, in addition to teaching trumpet, is the Director of Jazz Studies. Schmid also performs regularly with the Savannah Jazz Orchestra and other groups in the Savannah/Hilton Head area. His big band and combo works have been performed throughout Georgia, including premieres by the Georgia Directors Big Band and at the Savannah Jazz Festival by the SJO.<br />
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<b>Tayloe Harding</b> is dean of the School of Music at the University of South Carolina, former interim dean of the South Carolina Honors College, and was president of the College Music Society (CMS) from 2005-2006. An active member of and consultant for National Association of Schools of Music (NASM), CMS, SCI and ASCAP, he is a frequent presenter on issues facing the future of university music units and their leadership. He remains active as a composer, earning commissions, performances and recordings for his works around the world. <br />
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<b>Horace Silver</b> (1928-2014) was an American jazz pianist and composer known for his distinctive playing style and pioneering compositional contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music, African music, and Latin American music, and sometimes ventured into the soul jazz genre.<br />
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Seattle-born composer and pianist <b>William Bolcom</b> (b.1938), who entered into private composition studies at the University of Washington when he was just 11 years old, has won the Pulitzer Prize, the National Medal of Arts and four Grammy awards, among many other honors. His works range from solo piano pieces to symphonies and opera, and in 2007 he was named “Composer of the Year” by Musical America magazine. <br />
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Grammy-nominated composer <b>Christopher Theofanidis</b> has been the recipient of numerous awards, including the International Masterprize, the Rome Prize, a Guggenheim Fellowship, six ASCAP Gould Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowship, and the American Academy of Arts and Letters' Charles Ives Fellowship, and currently has two opera commissions for the San Francisco and Houston Grand Opera companies. He teaches at the Yale School of Music, and is a former faculty member of the Peabody Conservatory and the Juilliard School. <br />
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<b>David Springfield</b> has had his compositions and arrangements performed by such artists as Branford Marsalis, John Abercrombie, Phil Woods, Allen Vizzuti and Joseph Alessi. He received a Downbeat magazine award for arranging and was a finalist in the 1996 International Thad Jones Competition, sponsored by the Danish Radio Jazz Orchestra. He was the principal arranger for Klüvers Big Band and his works appear on nine recordings by the band. In addition to his work as a jazz arranger, Mr. Springfield has written for concert band, symphony orchestra, brass quintet and trombone choir. His music has been performed throughout the United States and Europe and is published by Kendor Music and Sierra Music Publications. Recent arrangements have been performed by trumpeter Byron Stripling with the Milwaukee, Houston and Detroit Symphony Orchestras.<br />
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A composer, percussionist and teacher at Susquehanna University (Selinsgrove, PA), <b>Patrick Long</b> (b.1968) grew up in Annapolis, Maryland and received degrees in composition from Syracuse University (B.M.) and the Eastman School of Music (M.M., D.M.A.). He has completed over 80 premiered works for orchestra, band, chamber ensembles, soloists, young players, theatre and film. He is best known for his percussion music and for his works that combine live performers with fixed media or interactive electronics. His pieces have been performed in almost all 50 states and throughout Europe and Asia.<br />
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<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-21995169827149776172014-06-20T11:52:00.002-07:002015-05-02T11:22:32.107-07:00Community Standards : Tuesday, May 5 @ 7pm<span style="font-size: large;"><b>Don Thompson Chorale</b></span><br />
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Jay Stuckey, Director | Terry Stuckey, Piano<br />
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<b>Mark Hayes</b>:<br />
Psalm of Celebration <br />
<b>Nick Glennie-Smith</b> (arr. Jay Rouse):<br />
Mansions of the Lord<br />
<b>William H. Monk</b> (arr. Moses Hogan):<br />
Abide With Me<br />
<b>Pepper Choplin</b>:<br />
Walking ’Cross the Sea (Soloist: Gary Miller)<br />
<b>Traditional (arr. R. Staheli)</b>:<br />
<a href="https://www.youtube.com/watch?v=otMoAspPgDQ" target="_blank" title="Hear on YouTube">I Feel Like I’m On My Journey Home</a><br />
<b>Morten Lauridsen</b>:<br />
Sure on This Shining Night<br />
<b>György Orbán</b>:<br />
<a href="https://www.youtube.com/watch?v=SubQ062nFbg" target="_blank" title="Hear on YouTube">Nunc Dimittis</a><br />
--Piano Interlude--<br />
<b>André Thomas</b>:<br />
<a href="https://www.youtube.com/watch?v=ZU0zTBfhRdo" target="_blank" title="Hear on YouTube">Rockin’ Jerusalem</a><br />
<b>David Schwoebel</b>:<br />
Speak, Lord, in the Stillness<br />
<b>Z. Randall Stroope</b>:<br />
Go Lovely Rose<br />
<b>Traditional (Caldwell/Ivory)</b>:<br />
<a href="https://www.youtube.com/watch?v=NH5HljvNH84" target="_blank" title="Hear on YouTube">John the Revelator</a><br />
<b>Guy Forbes</b>:<br />
<a href="https://www.youtube.com/watch?v=UDIP5F8Mbn8" target="_blank" title="Hear on YouTube">O Nata Lux</a><br />
<b>Harry Dixon Loes (attrib.; arr. Mark Hayes)</b>:<br />
I'm Gonna Let It Shine (This Little Light of Mine)<br />
<b>Don Gillis</b>:<br />
Hymn and Prayer for Peace <br />
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The <b abp="54">Don Thompson Chorale</b>, Inc., a non-profit volunteer community chorus in Jacksonville, Florida, was formed in 1995 after a Florida Junior College Chorale reunion concert in December, 1994. That event brought Mr. Thompson's former singers together "one last time," or so they thought. After a warm reception by an appreciative and enthusiastic audience, members of the reunion choir were hooked. They promised their director they would organize a choral group and name it after him if he would agree to lead them on an ongoing basis. Thompson selected a governing Board of Directors, which met and developed a vision for the group. One of their collective dreams was "to be flooded with so many applications for membership and invitations to perform that we are unable to accept them all." With 19 years of rehearsals, performances, and recordings under its belt, the group is realizing this dream.<br />
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<table><tbody>
<tr valign="TOP"> <td><b>Soprano</b><br />
Sarah Cotchaleovitch <br />
Linda Edwards<br />
Gwen Hernandez<br />
Saundra Howard<br />
Anita Jones<br />
Lauren Majure<br />
Anne Miller<br />
Julia Pettigrew<br />
Shari Steele</td><td><b>Alto </b><br />
Lexi Cluff <br />
Royette Crowder <br />
Nancy Edwards <br />
Holly Gibson <br />
Phyllis Hoskins <br />
Amy King <br />
Lynn Lokken<br />
Ruthanne Mason <br />
Connie Mays<br />
Jeanene McCullough <br />
Pam Roach<br />
Terry Strickland<br />
Barbara Wick </td><td><b>Tenor</b><br />
Jhun DeVilla<br />
John Howard<br />
Michael Schriver <br />
Chuck Smith<br />
Peter True</td><td><b>Bass</b><br />
Arch Copeland <br />
Thomas Cotchaleovitch <br />
Tony Harmon <br />
Lester McCullough<br />
Rich McGauley <br />
Gary Miller<br />
Joe Proctor <br />
Evan Whitehouse</td> </tr>
<tr></tr>
</tbody></table>
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PROGRAM NOTES <br />
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Based in Kansas City, Missouri, <b>Mark Hayes</b> is an award-winning composer, arranger, concert pianist and conductor with over 1000 publications in print. Drawing inspiration from Psalm 98, his <b><i>Psalm of Celebration</i></b> was commissioned by the Southern Baptist Church Music Conference. It features a contrapuntal "Alleluia" that brings the piece to an exciting conclusion.<br />
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Originally written for the 2002 film <i>We Were Soldiers</i>, the text for the patriotic anthem <b><i>Mansions of the Lord</i></b> was written by screen-writer <b>Randall Wallace</b> (b.1949) and set to the music by English film composer <b>Nick Glennie-Smith</b> (b.1951). Two years later it was performed by U.S. Armed Services musicians at the funeral of President Ronald Reagan, and soon thereafter this choral version for the general public was prepared by <b>Jay Rouse</b>, who, with over 350 published compositions and arrangements, is considered among the "premier choral arrangers in Christian music."<br />
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The text of the popular Christian hymn <b><i>Abide with Me</i></b> was written in 1847 by the Scottish Anglican clergyman <b>Henry Francis Lyte</b> three weeks before he succumbed to tuberculosis. Although Lyte also provided a tune for his poem, it is best-known through the 1861 setting written by English composer <b>William Henry Monk</b> (1823-1889) to a tune called "Eventide." American composer and choral director <b>Moses Hogan</b> (1957-2003) made this arrangement for unaccompanied mixed voices in 1999. Before succumbing to cancer, Hogan was much sought after as one of the world's leading interpreters of Spirituals. He arranged and conducted selections for the 1995 PBS television documentary, <i>The American Promise</i>, and his arrangements remain a staple of school, community and professional choirs. <br />
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<b>Pepper Choplin</b> describes himself as a "full time composer, conductor and humorist," and has been music minister at Greystone Baptist Church in Raleigh, North Carolina, for more than two decades. His more than 230 anthems, 13 cantatas and solo piano music reflect his diverse musical background, incorporating folk, Gospel, classical and jazz styles. <b><i>Walking ’Cross the Sea</i></b> is a bluesy rock-Gospel song that depicts the Bible story of Peter joining Jesus in a walk across stormy waters. <br />
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<b>Dr. Ronald Staheli</b> is the Choral and Conducting Division Coordinator and the Director of Graduate Studies in Choral Music at Brigham Young University in Salt Lake City, Utah. His beautiful <b><i>I Feel Like I’m On My Journey Home</i></b> is an <i>a cappella</i> setting of the American folk hymn <i>The Saints' Delight</i> first published in an 1835 collection called <i>Southern Harmony</i>, and again in 1860 as an organ piece in <i>The Sacred Harp</i>.<br />
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<b>Morten Lauridsen</b> (b. 1943) has been a professor of composition at the University of Southern California Thornton School of Music for more than 40 years. He likely is the most-performed American composer of choral music worldwide, and his works have been included on over 200 CDs. The National Endowment for the Arts named him an "American Choral Master" in 2006, and the following year he received the National Medal of Arts "for his composition of radiant choral works combining musical beauty, power and spiritual depth." <b><i>Sure on this Shining Night</i></b>, the third of Lauridsen's four <i>Nocturnes</i> (2005), is a setting of the 1934 poem by American author <b>James Agee</b> (1909-1955), made familiar by Samuel Barber's famous song.<br />
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Romanian-born composer <b>György Orbán</b> (b. 1947) has been professor of composition at the Liszt Academy of Music in Budapest, Hungary since 1983, and in 2014 was awarded the Kossuth Prize, the most prestigious cultural award bestowed by the Hungarian government. His compositions are almost exclusively choral works described as mixing "traditional liturgical renaissance and baroque counterpoint with intrusions from jazz." That being said, Orbán's gentle setting of the liturgical <i><b>Nunc Dimittis</b></i> for unaccompanied mixed voices is unabashedly Romantic in its sensibility. <br />
<blockquote>
<table><tbody>
<tr><td><i><u>Latin (Vulgate):</u></i><br />
Nunc dimittis servum tuum, Domine, <br />
secundum verbum tuum in pace:<br />
Quia viderunt oculi mei salutare tuum <br />
Quod parasti ante faciem <br />
omnium populorum:<br />
Lumen ad revelationem gentium, <br />
et gloriam plebis tuae Israel.</td><td><i><u>English (Book of Common Prayer, 1662):</u></i><br />
Lord, now lettest thou Thy servant depart <br />
in peace according to Thy word:<br />
For mine eyes have seen Thy salvation,<br />
Which Thou hast prepared before the face <br />
of all people;<br />
To be a light to lighten the Gentiles, <br />
and to be the glory of Thy people Israel.</td></tr>
</tbody></table>
</blockquote>
<b><i>--Piano Interlude--</i></b><br />
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<b>André Thomas</b> (b. 1952) is the Owen F. Sellers Professor of Music, Director of Choral Activities and Professor of Choral Music Education at The Florida State University, and the director of the Tallahassee Community Chorus. Dr. Thomas has directed choirs throughout the United States, Europe, Asia, New Zealand and Australia, and has been the guest conductor of such distinguished orchestras and choirs as the Birmingham Symphony Orchestra in England. Distinguished as a composer and arranger as well, he is also a past president of both the Florida American Choral Directors Association, and the Southern Division of ACDA. His spirited <b><i>Rockin’ Jerusalem</i></b> may sound like a traditional Spiritual, but it's actually an original composition from 1987 on a text by the composer.<br />
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<b>David Schwoebel</b> (b. 1957) is Minister at Derbyshire Baptist Church in Richmond Virginia, and has served as the Virginia ACDA Music & Worship Chair, and as an Adjunct Instructor of Music at Randolph-Macon College, Ashland, Virginia. In addition to choral music for all ages, his 150+ publications also include instrumental and keyboard works. <i><b>Speak, Lord, in the Stillness </b></i>was composed in 1992 for mixed voices and keyboard to verses adapted from a hymn text written in 1914 (and first published 1920) by <b>E. (Emily) May Grimes Crawford</b> (1868-1927), an English-born missionary in South Africa.<br />
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<b>Z. Randall Stroope </b>(b. 1953) is a popular American conductor, lecturer and composer whose 140+ published works typically sell over 200,000 copies a year. His conducting takes him all over the world, including recent engagements at the Kennedy Center and the Vatican. Stroope's <b><i>Go Lovely Rose</i></b> is a 2014 setting of a text by English poet and politician Edmund Waller (1606-1687), and is also available in a version just for men's voices.<br />
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According to the publisher, the traditional Gospel blues song <b><i>John the Revelator</i></b> "stems from the Delta Blues tradition, and was recorded by Blind Willie Johnson and Son House during the 1920s and 1930s." This arrangement by <b>Paul Caldwell </b>and <b>Sean Ivory</b> was commissioned by the ACDA Central Division's 2002 convention. Caldwell, Artistic Director of the Youth Choral Theater of Chicago, and Ivory, who directs a high school choir and the Symphony Youth Chorus in Grand Rapids, Michigan, began arranging music together in the 1990s while working with a youth choir in Grand Rapids and at the American Boychoir School in Princeton, New Jersey.<br />
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Winner of the 2006 Vanguard Premieres Choral Competition Contest, <b><i>O Nata Lux</i></b> by <b>Guy Forbes</b> is an appropriately luminous setting of an anonymous Latin text depicting "light breaking upon a darkened world," used liturgically for the the Feast of the Transfiguration. Dr. Forbes is a professor at Millikin University in Decatur, Illinois, where he conducts and tours with the Millikin Chamber Chorale.<br />
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<tr><td>O nata lux de lumine,<br />
Jesu redemptor saeculi,<br />
Dignare clemens supplicum <br />
Laudes precesque sumere.<br />
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Qui carne quondam contegi<br />
Dignatus es pro perditis,<br />
Nos membra confer effici<br />
Tui beati corporis.</td><td>O Light born of Light,<br />
Jesus, redeemer of the world,<br />
with loving-kindness deign to receive<br />
suppliant praise and prayer.<br />
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Thou who once deigned to be clothed in flesh<br />
for the sake of the lost, <br />
grant us to be members <br />
of thy blessed body.</td></tr>
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Though it has the feel of a traditional children's hymn, the music of <b><i>I'm Gonna Let It Shine (This Little Light of Mine)</i></b> is attributed to <b>Harry Dixon Loes</b> (1895-1965). Working from an original arrangement of the tune for keyboard, in 2012 <b>Mark Hayes</b> developed it into a lively piece for mixed voices with either two or four-hand piano accompaniment, and featuring stylized vocals, with call and response interplay.<br />
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American composer, conductor and teacher <b>Don Gillis</b> (1912-1978) was the radio producer for Arturo Toscanini and the NBC Symphony Orchestra, and among other teaching posts he was professor/composer-in-residence at the University of South Carolina. Gillis was a prolific composer of opera, choral music, chamber music, and music for band and orchestra, including ten symphonies, plus "Symphony No, 5½, A Symphony for Fun," which became his best-known orchestral work. He wrote his own text for the 1958 <b><i>Hymn and Prayer for Peace</i></b>, which gained wide-spread exposure when The Mormon Tabernacle Choir included it on their 1962 album, <i>Hymns And Songs Of Brotherhood</i>.<br />
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<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-33845252139005738432014-06-20T11:51:00.001-07:002015-04-14T08:22:54.960-07:00Tuesday Serenade : April 21 @ 7pm<span style="font-size: large;"><b>Scott Watkins, piano</b></span><br />
Jacksonville University Faculty Artist<br />
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WOLFGANG AMADEUS MOZART <br />
Piano Sonata No. 17 in B-flat major, K. 570</div>
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<span style="font-size: x-small;"><span style="font-size: 10pt;"> I. Allegro - </span></span><br />
<span style="font-size: x-small;"><span style="font-size: 10pt;"> II. Adagio - </span></span><br />
<span style="font-size: x-small;"><span style="font-size: 10pt;"> III. Allegretto </span></span> </div>
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FRANZ LISZT <br />
Transcendental Etude No. 9 in A-flat major, "Ricordanza"</div>
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Sonetto 104 del Petrarca (from Swiss Years of Pilgrimage)<br />
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HOWARD HANSON <br />
Piano Sonata in A minor, Op. 11 (comp. 1918)</div>
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<span style="font-size: x-small;"><span style="font-size: 10pt;"> I. </span></span><span id="yui_3_16_0_1_1425600246133_5792" style="font-size: large;"><span id="yui_3_16_0_1_1425600246133_5430" style="font-size: 10pt; line-height: 115%;">Andante espressivo: Quietly with sincerity - </span></span><br />
<span id="yui_3_16_0_1_1425600246133_5792" style="font-size: large;"><span id="yui_3_16_0_1_1425600246133_5430" style="font-size: 10pt; line-height: 115%;"> II. </span></span><span id="yui_3_16_0_1_1425600246133_5791" style="font-size: large;"><span id="yui_3_16_0_1_1425600246133_5429" style="font-size: 10pt; line-height: 115%;">Heroic Elegy: Slowly, quietly, and with finality - </span></span><br />
<span id="yui_3_16_0_1_1425600246133_5791" style="font-size: large;"><span id="yui_3_16_0_1_1425600246133_5429" style="font-size: 10pt; line-height: 115%;"> III. </span></span><span id="yui_3_16_0_1_1425600246133_5793" style="font-size: large;"><span id="yui_3_16_0_1_1425600246133_5428" style="font-size: 10pt; line-height: 115%;">Triumphal Ode: Allegro marziale, with vigor</span></span></div>
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<span lang="EN" style="color: #4d4d4d;"><span style="color: black;"><b>Scott Watkins</b>, Assistant Professor of Piano at Jacksonville University, is well known to First Coast audiences for his appearances with the Jacksonville Symphony Orchestra, his numerous solo recitals, and his frequent collaborations with many of the areas finest singers and instrumentalists. His 1985 U.S. debut, an all-Bach recital given in Chicago, was broadcast live nationwide, and has been followed by a steady flow of solo and concerto performances in North and South America, Europe and the Caribbean. He has been heard often in the United States and Canada on National Public Radio and Television, and in South America and Europe on <i>The Voice of America</i>. Performances have included the world premieres of Elie Siegmeister’s <i>From These Shores </i>and Ned Rorem’s <i>Song and Dance</i>. <br />
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An active chamber musician, Dr. Watkins has appeared with the LaSalle Quartet and violinist Eugene Fodor, and a performance with violinist Hillary Hahn was broadcast on NPR's <i>Performance Today</i>. Much in demand as an accompanist, he has appeared with soprano Elizabeth Futral and baritone Steven White, and released a disc of late romantic lieder with White. Watkins also released two solo discs, one featuring works from his New York debut at Carnegie Hall, and another, <i>Christmas Cards</i>, featuring music for the holiday season, with works by Bach, Liszt, Tchaikovsky, Handel, Grainger, and others. </span></span><span lang="EN" style="color: #4d4d4d;"><span style="color: black;">A champion of new music, Watkins recently recorded <i>An American Sonata</i> for two pianos and percussion by noted American composer and pianist Gary Smart.</span></span><br />
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Dr. Watkins is the recipient of numerous awards, including the John Philip Sousa Award for Outstanding American Musicians, Rotary Club of Florida's Annual Artistic Merit Award, and France's <i>Jeunesse Musicales</i>. In 1985, he became the youngest winner ever of The U.S. Department of State's Artistic Ambassador Award. His degrees include a Bachelor of Music from the University of Cincinnati, Master of Music from University of South Carolina, and a Doctor of Musical Arts from Florida State University.</span> </span><br />
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<u><b>Notes on the program, by Dr. Scott Watkins</b></u><br />
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<b>Mozart's Piano Sonata, K. 570</b> dates from 1789, an otherwise barren year for composition by his prolific standards, the only other major works produced being the final Piano Sonata in D major, K. 576, the first of the "Prussian" string quartets (in D major, K. 575), and the Clarinet Quintet in A major, K. 581. It was also the year of the composer's speculative journey to Berlin, Leipzig, and Dresden, a tour that failed to alleviate Mozart's by-then desperate financial straits. Prior to setting off for Germany in the spring, he composed the B flat Sonata, entering it into his thematic catalog during February. His entry for it specifies the work as being a sonata <i>auf Klavier allein</i> (for piano alone), but curiously the sonata was long known in a version for violin and piano. This originated with the first published version, which appeared in Vienna in 1796 with a violin part so lacking in invention that it must have been composed by someone else. It seems likely that, like its immediate predecessor, the so-called "facile" Sonata in C major, K. 545, the sonata was composed for didactic purposes. The opening Allegro is quite light and fluid in character; although on an altogether more modest scale than the sonatas composed earlier in the decade, it is masterful in the way it wrings various structural and contrapuntal implications from its deceptively bare opening. E flat Adagio is a rondo with two episodes that sets out to beguile rather than convey profundity. The final Allegretto bubbles with humor and surprise effects; it is one of the many finales in which Mozart evokes the world of opera buffa. Musicologist Alfred Einstein called the work "perhaps the most completely rounded of...all [the Mozart piano sonatas], the ideal of his piano sonata." Each of the three movements contains repeated notes, an unusual feature in Mozart’s keyboard music.<br />
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<b>Liszt’s Transcendental Etudes</b> are a series of twelve compositions published in 1852 as a revision of a more technically difficult 1837 series, which in turn were the elaboration of a set of studies written in 1826. The <i>Transcendental Études</i> are revisions of his <i>Douze Grandes Études</i>. This third and final version was published in 1852 and dedicated to Carl Czerny, Liszt's piano teacher, and himself a prolific composer of études. The set included simplifications, for the most part: in addition to many other reductions, Liszt removed all stretches of greater than a tenth, making the piece more suitable for pianists with smaller hands and less technical skill. However, the fourth étude of the final set, Mazeppa, is actually more demanding than its 1837 version, since it very frequently alters and crosses the hands to create a "galloping" effect.<br />
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When revising the 1837 set of études, Liszt added programmatic titles in French and German to all but the Études Nos. 2 and 10. Editor Ferruccio Busoni later gave the names Fusées ("Rockets") to the Étude No. 2, and Appassionata to the Étude No. 10; however, Busoni's titles are not commonly used or well known. Busoni described <b>Étude No. 9, <i>Ricordanza</i>,</b> as "a bundle of faded love letters." Ricordanza is essentially a love poem with outbursts of passion alternating with delicate and complicated passagework. Liszt's original idea was to write 24 études, one in each of the 24 major and minor keys. He completed only half of this project, using the neutral and flat key signatures. <br />
Franz Liszt’s <i>Italian Years of Travel</i> is a suite for solo piano, much of it derived from his earlier work, <i>Album d'un voyageur</i>, which was his first major published piano cycle. The original suite was composed between 1835 and 1838 and published in 1842. <i>Italian Years of Travel</i> is widely considered a masterwork and summation of Liszt's musical style. The title <i>Years of Travel</i> refers to Goethe's famous novel of self-realization, <i>Wilhelm Meister's Apprenticeship</i>, and especially its sequel <i>Wilhelm Meister's Journeyman Years</i> (whose original title <i>Wilhelm Meisters Wanderjahre</i> meant "Years of Wandering" or "Years of Pilgrimage," the latter being used for its first French translation). Liszt clearly places the work in line with the Romantic literature of his time, prefacing most pieces with a literary passage from writers such as Schiller, Byron or Senancour, and, in an introduction to the entire work, writing:<br />
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Having recently travelled to many new countries, through different settings and places consecrated by history and poetry; having felt that the phenomena of nature and their attendant sights did not pass before my eyes as pointless images but stirred deep emotions in my soul, and that between us a vague but immediate relationship had established itself, an undefined but real rapport, an inexplicable but undeniable communication, I have tried to portray in music a few of my strongest sensations and most lively impressions.</blockquote>
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According to a note on the first page of the manuscript, <b>Hanson</b> himself performed his <b>Piano Sonata</b> on April 7, 1919. Neither the circumstances under which the performance was given nor the location is known. In 2000, pianist Thomas Labé, in an excellent performance, produced a recording of what was then thought to be the only (and incomplete) version of the work, supplying his own effective completion of the score. The recording on the present disc is a world premiere performance of the work whose manuscript was discovered in 2005 by The Eastman School of Music and subsequently published in 2011. <br />
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The Sonata appears to have been with Hanson while he was studying and composing in Italy after winning the Prix di Roma and while living at the Academia Americana. The Sonata’s first movement is an expansive, dramatic work with essentially one thematic idea: a rising step, followed by a rising leap, a falling step and falling leap. The harmonies are lush and orchestrally conceived, while the piano writing is idiomatic, despite at times feeling in the hands like an orchestral transcription. The second subject is treated like a gentler variation of the first with softer harmonies and harp-like arpeggiated chords. A dramatic coda recalls the opening theme in its original form. <br />
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The second movement might have been inspired by World War One and has the programmatic title <b><i>Heroic Elegy</i></b>. The repeating bass figure is reminiscent of funeral drums for a fallen soldier and the whole movement carries the weight of sadness and loss. In the final bars, Hanson has repeated bass octaves (A) including the lowest key on the instrument – almost as a “gun salute” to the fallen.<br />
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As final movement’s title suggests, <b><i>Triumphal Ode</i></b> is a somewhat “heart-on-your-sleeve” musical tribute to victory (perhaps another inspiration from WWI’s conclusion in 1918, the same year the Sonata was composed). Within its pages are soaring melodies and heart-wrending, surprising harmonies which would become hallmarks of Hanson’s compositional style. The work ends “triumphantly” in the key of C major. <br />
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<i>Triumphal Ode</i> is thought to be a transcription of a work by the same name for concert or military band, although Hanson chose to leave out a short 12-bar passage at the end of the development sections for French horns and timpani.<br />
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<span lang="EN" style="color: #4d4d4d;"> Austrian-born <b>Wolfgang Amadeus Mozart</b> (1756–1791), unquestionably one of the greatest composers in history, began his career touring Europe as a 6-year-old piano prodigy, and he absorbed and mastered all the contemporary musical trends he was exposed to along the way. Mozart wrote 22 operas, including, <i>The Marriage of Figaro</i> (1786), <i>Don Giovanni</i> (1787), <i>Cosi fan tutte</i> (1790), and <i>The Magic Flute</i> (1791), as well as 40 symphonies (“No. 37” is by Michael Haydn, but with a new introduction by Mozart), 27 concertos, chamber music, sonatas, and choral pieces, numbering over 600 works all together.</span><br />
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<span lang="EN" style="color: #4d4d4d;"> Hungarian-born <b>Franz Liszt</b> (1811-1886) is widely regarded as the greatest pianist of all time, and his performances excited an hysteria that today is reserved for only the most popular of rock stars. Despite great fame following a sometimes impoverished youth, Liszt remained unspoiled and donated great sums of his concert earnings to a wide variety of charitable causes, and in later life he even took orders in the church. His generosity extended to helping increase the fortunes of struggling musicians, among them Hector Berlioz and Liszt’s future son-in-law, Richard Wagner. An innovative composer, Liszt is credited with creating the symphonic tone poem as a form, developing the technique of thematic transformation, and he even anticipated some of the harmonic devices of Impressionist composers. </span><br />
Naturally, piano music is central to his output, and he was equally gifted in writing introspective poetical works and extroverted virtuoso pieces, and his <b><i><a href="http://www.youtube.com/watch?v=UIcZpCOLztc" target="_blank"><span style="color: #7096c6;">Sonnet 104 of Petrarch</span></a></i></b> combines both aspects of his musical personality. He actually prepared four different versions: the first for tenor and piano, two for piano solo, and one for mezzo-soprano or baritone and piano. The original tenor version and the first piano transcription most likely were composed between 1843-45, and it was the piano version that was published first, in 1846. Dr. Watkins is performing the second piano version, which became number five in Liszt's suite, <i>Années de pèlerinage, Deuxième année: Italie (Years of Pilgrimage, Second Year: Italy)</i>, completed in 1849 and published in 1858. It ably reflects the unsettled and conflicted feelings expressed in the verse of <b>Francesco Petrarch</b> (1304-1374), which teeters between ecstatic joy and hopeless despair, with a touch of reverential awe thrown in for good measure. Liszt's then cutting-edge chromatic harmonies highlight the poet's searching uncertainty, and helped lay the foundation for the tenuous tonality of Wagner's <i>Tristan und Isolde</i> (1857-59).<br />
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--><br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-51974796371151769162014-06-20T11:49:00.003-07:002019-07-17T09:15:19.918-07:00Intermezzo : Sunday, April 12 @ 3pm<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: large;">Trio Solis</span></b><br />
<span style="font-size: small;">FSU Faculty Artists</span><b><span style="font-size: large;"> </span></b><br />
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<li>Corinne Stillwell, violin,</li>
<li>Gregory Sauer, cello</li>
<li>Read Gainsford, piano</li>
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PIOTR SZEWCZYK: Piano Trio No. 1<br />
@YouTube: <a href="https://www.youtube.com/watch?v=exT2EQI8LtQ" target="_blank">I. Aggressive</a>--<a href="https://www.youtube.com/watch?v=ClsCqxBvtRg" target="_blank">II. Dark</a>--<a href="https://www.youtube.com/watch?v=oraKACxhcgk" target="_blank">III. Energetic</a> <br />
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EDWARD LEIN: Dark Eyes Variations in the form of a Sonatina<br />
<a href="http://instantencore.com/work/work.aspx?work=5079409" target="_blank">InstantEncore Recording</a><br />
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FRANZ SCHUBERT: Piano Trio No. 1, op. 99, D. 898<br />
1. Allegro moderato—2. Andante un poco mosso<br />
3. Scherzo. Allegro—4. Rondo. Allegro vivace <br />
<a href="https://www.youtube.com/watch?v=dQouSqtVvi4" target="_blank">YouTube Recording</a><br />
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With a dynamic combination of energy, creativity, and insight, <b>Trio Solis</b> (“Trio of the Sun”) was founded in 2008 by violinist Corinne Stillwell, cellist Gregory Sauer, and pianist Read Gainsford. Already distinguished as solo performers, these musicians have embarked on a journey together to explore the piano trio repertoire with a unique synergy of brilliant technique, probing musicianship and a wealth of experience. Highlights of recent seasons include the Trio’s debut on the Seven Days of Opening Nights series in Messiaen’s exalted <i>Quartet for the End of Time</i> with internationally acclaimed clarinetist Richard Stoltzman. They were invited to be the featured soloists for the opening of the 2010-11 orchestral season in Tallahassee, performing Beethoven’s <i>Triple Concerto</i> in celebration of the extensive renovation of the historic Ruby Diamond Auditorium. Committed to sharing music by living composers with audiences, the group included the <i>Piano Trio</i> of Ellen Taaffe Zwilich in their Carnegie Hall debut program, and enjoys playing the Pulitzer Prize-winning <i>Tempest Fantasy</i> by Paul Moravec. They are also regularly featured artists in the biennial Festival of New Music in Tallahassee, Florida. Beyond their performing activities, the members of Trio Solis are devoted teachers and maintain full studios at Florida State University. Their students have achieved successes in competitions, won positions as teachers and performers, and been accepted at some of the world’s top graduate schools. In addition to master classes and school residencies, the Trio’s newest initiative, Building Bridges, benefits community organizations through collaborative performances with outstanding young musicians at the beginning of their careers.<br />
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PROGRAM NOTES, by Edward Lein, Music Librarian<br />
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Polish-born violinist and composer <b>Piotr Szewczyk</b> recently completed his doctorate at The Florida State University in Violin Performance, and holds the B.M. and double M.M. in violin and composition from University of Cincinnati College-Conservatory of Music. He has been a member of the Jacksonville Symphony Orchestra since 2007, and was Composer-In-Residence at the Florida Chamber Music Project in Ponte Vedra for the 2013-2014 season. In addition to multiple awards as violinist, Dr. Szewczyk has won numerous local, national and international awards and competitions for for his compositions, including the Theme Song contest for WJCT's First Coast Connect show with Melissa Ross, and the Jacksonville Symphony's 2008 Fresh Ink competition. His music has been featured on NPR Performance Today and the CBS Early Show, and has been performed by numerous ensembles including the Jacksonville Symphony Orchestra, Alias Ensemble, Dover Quartet, Sybarite 5, Juventas Ensemble, Atlanta Chamber Players, New Music Raleigh and many others. His Apparitions for Violin, Flute, Clarinet, Cello and Percussion, released on Navona records NOVA CD, was called “magical” by Gramophone Magazine. Dr. Szewczyk's <b>Piano Trio No. 1</b>, composed in 2010, won the The American Prize in Composition--Chamber Music (Professional Division) in 2014. The three-movement work exhibits something of a cinematic quality, with the first "Aggressive" movement bustling with nervous excitement interrupted by moments of jazzy, lyric reflection; the second "Dark" movement perhaps suggesting a "<i>film noir</i>" atmosphere; and the final "Energetic" movement seemingly battling through the darkness into an expansive, triumphant dawn.<br />
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Florida native <b>Edward Lein<b></b></b> (b. 1955) holds master's degrees in Music and Library Science from Florida State University. Early in his career he appeared throughout his home state as tenor soloist in recitals, oratorios and dramatic works, and drawing on this performance experience the majority of his early compositions are vocal and choral works. Following performances by the Jacksonville Symphony of <i>Meditation</i> for cello, oboe and orchestra (premiered June 2006) and <i>In the Bleak Midwinter</i> (premiered December 2007), his instrumental catalog has grown largely due to requests from Symphony players for new pieces. His translations of songs and song cycles are frequently published in music program guides in North America and Great Britain, ranging from student recitals to concerts by major orchestras, including Orchestre symphonique de Montréal and the Utah Symphony; he also contributes articles to the Jacksonville Symphony Orchestra's <i>Encore</i> magazine. Composed and first performed in 2010, the tongue-in-cheek <b><i>Dark Eyes</i> (Variations in the Form of a Sonatina)</b> is based on Florian Hermann's famous waltz tune popularized by Russian gypsies. Following a fiery introduction, the dancing rhythms of the Polish polonaise and the Cuban havanaise characterize the sonatina’s primary and secondary thematic groups respectively; the coda begins with the <i>Dark Eyes</i> tune transformed into a fughetta subject, and the movement ends with a restatement of its opening fanfare.<br />
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“One glance at Schubert’s Trio and the troubles of our human existence disappear and all the world is fresh and bright again.” This is how composer Robert Schumann (1810-1856) extolled the ebullient <b>Piano Trio No. 1 in B-flat Major, op. 99 (D. 898)</b> by <b>Franz Schubert</b> (1797-1828), the Austrian composer whose tragically short life nonetheless saw the creation of over 600 songs in addition to his numerous symphonies, chamber works, masses, and solo piano music. Likely completed during Schubert's final year, the <b>Piano Trio No. 1</b> (composed along with his Piano Trio No. 2 and the song cycle <i>Winterreise</i>) became the first piano trio of significance written since Beethoven finished the "Archduke" Trio in 1811. Like Beethoven's famous model, Schubert's trio has four movements. The sparkling first movement includes a paraphrase of the song, <i>Des Sängers Habe (The Singer's Possessions)</i>, with a text that reflects Schubert's own circumstances: “Shatter my good fortune to pieces, Take all my possessions from me, But allow me yet my zither And I shall remain happy and rich!” Whereas Beethoven's "Archduke" has the Scherzo second and then a slow movement, Schubert switches the order, placing his lyrical Andante after the opening, followed by a thoroughly Austrian Scherzo that pairs a folksy <i>Ländler</i> with a waltz. Schubert's sunny "Rondo" finale incorporates developmental techniques of a sonata-form, and paraphrases another of his songs, <i>Skolie</i> (Drinking Song, 1815), D. 306: "Let us in the morning light of May Enjoy the flowers of life Before its fragrance fades!"<br />
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<br />Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-38235538491797294532014-06-20T11:47:00.001-07:002015-03-07T13:35:05.577-08:00CANCELED - Emergence : Tuesday, April 7 <b>CANCELED - Instead please enjoy the One Spark events in Hemming Park </b><br />
Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com0tag:blogger.com,1999:blog-923634489599605306.post-60196955603909672602014-06-20T11:44:00.003-07:002015-12-26T20:16:15.258-08:00Tuesday Serenade : March 17 @ 7pm<br />
<a href="http://3.bp.blogspot.com/-0iYh7_5KjuI/VNzCuIn7DuI/AAAAAAAACuQ/9CJphH7TPLc/s1600/TuesSer-Mar17.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-0iYh7_5KjuI/VNzCuIn7DuI/AAAAAAAACuQ/9CJphH7TPLc/s1600/TuesSer-Mar17.jpg" width="257" /></a><br />
<span style="font-size: large;"><b>Jorge Peña, viola & Bonita Sonsini Wyke, piano</b></span><br />
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<b>George Enescu: <a href="https://www.youtube.com/watch?v=1fCu2EMGKWA" target="_blank">Concertstück</a> </b>(1906)<br />
"Concert Piece" <br />
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<b>Robert Schumann: <a href="https://www.youtube.com/watch?v=JkNpXN86ttI" target="_blank">Märchenbilder,</a> op. 113</b><br />
"Fairy Tale Pictures" <br />
1. Nicht schnell (Not Fast)<br />
2. Lebhaft (Lively)<br />
3. Rasch (Quick)<br />
4. Langsam, mit melancholischem Ausdruck (Slowly, with Melancholic Expression)<br />
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<b>Felix Mendelssohn: <a href="https://www.youtube.com/watch?v=tuMhYjNHDWo" target="_blank">Viola Sonata in C Minor</a>, MWV Q 14</b><br />
1. Adagio - Allegro<br />
2. Menuetto: Allegro molto<br />
3. Andante con variazioni<br />
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<a href="http://4.bp.blogspot.com/-n_y5Q5RhTUA/VN0Tso3PG6I/AAAAAAAACuk/OEAFCjlfNKU/s1600/Black%20Suit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-n_y5Q5RhTUA/VN0Tso3PG6I/AAAAAAAACuk/OEAFCjlfNKU/s1600/Black%2520Suit.jpg" width="211" /></a><span style="color: black;">Honduran-born violist <b>Jorge Peña</b> is a member of the Jacksonville Symphony Orchestra, and a former member of the Kennedy Center Opera House Orchestra. He has performed for Midwest Clinic, Grand Teton Music Festival, St. Augustine Music Festival and Island Concert Association, as well as at the National Gallery of Art, Tanglewood Music Center, University of North Florida and Jacksonville University. As a solo artist he has appeared throughout the Americas and Europe. With chamber music holding a special place in his career, Jorge and his wife, cellist Jin Kim-Peña, formed and perform with the Movado Quartet, and he often collaborates with a variety of ensembles, such as the Ritz Chamber Players, the Dover Quartet, the Diaz Trio, the Virginia Chamber Orchestra and the Atlanta Virtuosi. Mr. Peña is Founder and Artistic Director of the annual St. Augustine Music Festival, the largest free music festival in the United States. </span>Mr. Peña was graduated from Columbus State University and the Peabody Conservatory of Music with degrees in performance and chamber music. He studied with Curtis Institute President Roberto Diaz, Baltimore Symphony Orchestra principal viola Richard Field, and Julliard quartet member Earl Carlys.<br />
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<span style="font-weight: bold;">Bonita Sonsini Wyke</span> has been an active part of the Jacksonville music community since 1985, and in working with many of the First Coast's leading vocalists, instrumentalists and musical ensembles has earned the reputation as a musician of unsurpassed sensitivity, technical skill and artistry. Originally from Los Angeles, California, she has performed for over four decades as a collaborative pianist and harpsichordist with singers, choral groups, instrumental soloists, and orchestral and instrumental ensembles, and especially enjoys four-hand piano literature. She has been the music director for a wide variety of stage productions, including opera, musical theater and ballet. In addition to coaching seasoned performers, Ms. Sonsini Wyke has helped student musicians hone their craft at a number of area universities and music schools. While maintaining a busy recital schedule, Bonita also currently serves as Staff Choral Accompanist at Florida State College at Jacksonville. <br />
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<u>PROGRAM NOTES. by Edward Lein, Music Librarian </u><br />
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If you ask musicians to name a Romanian composer, unless they draw a complete blank they almost certainly will answer "<b>George Enescu</b>" (1881-1955), or, as the French say, "Georges Enesco." As fate would have it, Enescu was born the same year as the Kingdom of Roumania (the "u" was dropped later), and he became a national hero in his fledgling homeland. Enescu's compatriots have named an international airport after him, and changed the name of the village where he was born to "George Enescu." Among the greatest masters and teachers of the violin, Enescu also was so highly regarded as a conductor that he was considered as Toscanini's replacement for the New York Philharmonic, and he just as easily could have become a leading piano virtuoso.<br />
Young George's extraordinary musical gifts were recognized early. He earned the silver medal for his prodigious virtuosity when he graduated from the Vienna Conservatory at age 12, and entered the Paris Conservatoire at 14. He completed his studies in Paris in 1899, winning first-prize in violin among the graduates. From 1904-1910, Enesco returned to the Conservatoire as one of the examining jurors. It was in this capacity that Gabriel Fauré, the head of the Conservatoire, invited his former composition student to contribute competition pieces by which the students would be judged, among which the 1906 <b><i>Concertstück</i> for Viola and Piano </b>has remained a favorite. As one would expect, Enesco's "Concert Piece" demands virtuosic skill, including subtly-varied repetitions of florid passages and rigorous <i>tout l'archet</i> (whole-length bow-strokes) contrasted with legato double-stopping. But besides technical skill the work demands the utmost musicality, such that ultimately it is its evocative and impassioned beauty that preserves the <i>Concertstück</i>'s<i> </i> place in the violist's repertoire--but the fireworks help, too!<br />
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The hopes of the great German Romantic composer <b>Robert Schumann</b> (1810-1856) to become a concert pianist were dashed in his early twenties when he permanently damaged his hand, so he redirected his energies to both composing and music criticism. From childhood Schumann was torn between literature and music, and his keen literary sensibilities made him one of history’s greatest songwriters, such that his finest Lieder rival those of Schubert. Schumann also managed to combine these two loves in his instrumental music by using poetry and dramatic narrative to color and direct the musical discourse, and even pieces not inspired by the written word were "usually given a quasi-literary title or brought into relationship with some literary idea" (<i>Encyclopaedia Britannica</i>). <br />
Schumann's greatest loves, however, were his wife, virtuoso pianist and composer Clara Schumann, and five children. Unlike the typical, aloofly dictatorial <i>pater familias</i> of his generation, Schumann doted on his children and kept diaries of their shared exploits. Not surprisingly, some of his music reflects his fondness for his children and the innocence of childhood, such as <i>Kinderszenen</i> ("Scenes from Childhood," 1838), op. 15 and <i>Album for the Young,</i> op. 68 (1848), 43 pieces composed for the instruction of his three daughters. <i>Grimm's Fairy Tales</i> (1812) apparently provided source readings Schumann shared with his children, as well as the inspiration for both <b><i>Märchenbilder</i></b> ("Fairy Tale Pictures," 1851) for viola and piano, op. 113, and <i>Märchenerzählungen</i> ("Fairy Tales," 1853), for clarinet, viola and piano, op. 132. The published score of <i>Märchenbilder</i><b><i> </i></b>does not include which tales the composer meant to relay, but it's reported that Schumann's journals mention that the first and second movements depict scenes from <i>Rapunzel</i>, the third <i>Rumpelstiltskin</i>, and the fourth <i>Sleeping Beauty</i>.<br />
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The prodigious musical talents of <b>Felix Mendelssohn</b> (1809-1847) rivaled those of Mozart, and like Mozart, Mendelssohn did not live to see his 40th birthday. But his affluent German family provided young Felix with an intellectually stimulating and stable environment, and protected him from the childhood exploitation that Mozart endured. Mendelssohn benefited from an impressively well-rounded education, and in addition to studying piano, violin, viola and composition, he developed skills as a visual artist, evidenced in over 300 surviving paintings and drawings of remarkable quality. Referred to by Schumann as "a god among men," Mendelssohn grew into a superstar composer, pianist, organist and conductor, and also founded Germany's first conservatory in Leipzig. But, in contrast to many of his flamboyant contemporaries, Mendelssohn neither
overcame abject poverty, had a string of adulterous affairs nor
suffered syphilitic insanity—consequently, after his death his reputation as a
"Romantic" suffered among music critics until well into the 20th Century. But his music has never fallen out of favor with concertgoers, and his flawless Violin Concerto in E Minor, op. 64 remains among the most-frequently performed and recorded concertos ever written, and his <i>Elijah</i> (1846) likely has received more performances than any other large-scale oratorio with the exception of Handel’s <i>Messiah</i>.<br />
In terms of achieving his musical maturity, Mendelssohn surpassed even Mozart. Mendelssohn produced his first acknowledged masterwork at age 16, the Octet for
Strings, op. 20, and the following year saw the completion of the
brilliant <i>A</i> <i>Midsummer Night’s Dream</i> concert overture. Predating these (but post-dating the often-performed
and recorded 12 Symphonies for String Orchestra from 1821-1823), Mendelssohn's <b>Viola Sonata </b>was composed when he was barely 15 years old. Although it remained unpublished until 1966, the Sonata's 14 February 1824 completion date places it among the earliest solo works composed specifically for the modern viola (Berlioz's symphonic <i>Harold in Italy</i> would not appear for another decade). <br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/ZStW77ZZ6BA" width="640"></iframe>Music @ Mainhttp://www.blogger.com/profile/16062637094074893241noreply@blogger.com1