Boston University Wind Ensemble, February 24, 2005

This is the concert program of the Boston University Wind Ensemble performance on Thursday, February 24, 2005 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were "Sokol Fanfare" from "Sinfonietta" by Leos Janácek, Serenade in E flat major, Op. 7 by Richard Strauss, "Excursions for Trumpet and Band" by Bruce Broughton, "Tunbridge Fair" by Walter Piston, and Sinfonietta by Ingolf Dahl. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

The Life and Music of Brian Israel with an Emphasis on His Music for Saxophone

Brian Israel (1951-1986), American composer and pianist from New York City, left a wealth of music that has been largely ignored by the musical community. Included in his collection of nearly 200 works are six compositions that prominently feature the saxophone. Composed during the last six years of the composer’s life, Israel’s music for the saxophone represents a cross-section of his larger oeuvre, demonstrating stylistic elements present in nearly all of his music, including contrapuntal textures, the creative use of form, and humor. Furthermore, these saxophone works help illustrate Brian Israel as the epitome of the post-modern composer. The following works will be examined in this document: the Sonata for Alto Saxophone and Piano (1980), Trois Grotesques for C Soprano Saxophone and Piano (1985), the Concertino for Saxophone Ensemble (1982), Arioso and Canzona (1985) for saxophone ensemble, the Concerto for Baritone Saxophone and Concert Band (1982), and the Double Concerto for Sopranino and Bass Saxphones with Concert Band (1984)

Honorable Gerald Brown: A Life Well Lived

This Article outlines the accomplishments and contributions of the Presiding Justice of the California Court of Appeal for the Forth Appellate District Gerald Brown, who passed away in December of 2005. Judge Brown graduated from USC Phi Beta Kappa, then from Yale Law School and obtained his M.A. from Oxford on a Rhodes Scholarship. During WWII Judge Brown served briefly with the United States Army, Calvary. He was appointed by Governor Brown to the Fourth District Court of Appeal, and became the Presiding Justice two years later. During his time in the Court of Appeal he focused on efficiency and accessibility for individual litigants. He also brought an air of civility to the debate amongst the members of the court and relations between counsel. Judge Brown retired from the bench in 1985

2006-2007 Philharmonia Season Program Fall

Philharmonia No. 1 October 7, 2006 at 7:30 PM and October 8, 2006 at 4:00 PM Albert-George Schram, conductor and music director ; Paul Green, clarinet Valses Nobles et Sentimentales / Maurice Ravel -- Clarinet Concerto No. 1 in F Minor, op. 73 / Carl Maria von Weber -- Variations on an Original Theme ( Enigma ), op. 36 Philharmonia No. 2 November 4, 2006 at 7:30 PM and November 5, 2006 at 4:00 PM Jon Robertson, guest conductor ; Elmar Oliveira, violin Festive Overture, op. 96 / Dmitri Shostakovich -- Violin Concerto in D Major, op. 77 / Johannes Brahms -- Symphony No. 5 in C Minor, op. 67 / Ludwig van Beethoven Philharmonia No. 3 December 2, 2006 at 7:30 PM and December 3, 2006 at 4:00 PM Albert-George Schram, conductor and music director New Morning for the World Daybreak of Freedom / Joseph Shwantner -- CONCERTO TBA -- Symphony No. 10 in E Minor, op. 93 / Dmitri Shostakovichhttps://spiral.lynn.edu/conservatory_philharmonia/1030/thumbnail.jp

The Orbit, June 1995

A newsletter published for Deaf Catholics in Cleveland, O

Marshall University Music Department Presents the Contemporary Music Festival

https://mds.marshall.edu/music_perf/1136/thumbnail.jp

Leonard Bernstein\u27s Piano Music: A Comparative Study of Selected Works

Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. The chronological and historical significance of his piano music has been sometimes inaccurately recorded and/or generalized. In understanding the factual chronological, social, and political relationships behind the piano works and their orchestral manifestations, I argue that the piano works, both unpublished and published, are significantly influential to the development of American music and New York aesthetics in the twentieth century. This research also explores why several unpublished completed piano works held in the Library of Congress have been withheld