Blue Moon. Rodgers/Hart, arr. David Blackwell. The Continental. Con Conrad, arr. Blackwell. Davenport/Cooley, arr. Deke Sharon. Night and Day. Cole Porter, arr.
Voices From the Sky (It Is Written with John Bradshaw. By This Sign (It Is Written with John Bradshaw - Weekly Program) SDA - Duration: 28:33. EL AGUILA300865 II (Start your day listening to the voice of.
Andrew Carter. There Will Never Be Another You. Warren/Gordon, arr. Jalkeus. The Very Thought of You. Ray Noble, arr. Paris Rutherford. Out of This World. Harold Arlen, arr. Steve Barnett. I Sing, You Sing.
Anders Edenroth. In The Mood. Joe Garland, arr. Peter Gritton /Jonathan Miller. The Eyes of a Child. Katarina Stenstr.
Collect, nurture, and share ideas across desktop and mobile platforms with Evernote. Your thoughts are always with you, always accessible, always in. That’s why Evernote makes sure the notes you’ve saved are easy to find. PROGRAM NOTES: 'Sky Quartet' When I began composing 'Sky Quartet', I envisioned the wonder and immensity of the Western sky. Program Notes Author: Jennifer. This evening – the twentieth Sunday after Pentecost. The program is an all-British one, from the birth of Anglican music in the mid-sixteenth century, as represented by Thomas Tallis and William Byrd. Print and download Giants In the Sky sheet music from INTO THE WOODS. This was the first time I had used Music Notes and I was impressed with how it works.
Jalkeus. It Don’t Mean a Thing. Duke Ellington and Irving Mills, arr. Deke Sharon. INTERMISSION. God Bless the Child. Herzog/Holliday, arr.
Mark Mazur. Can’t Buy Me Love. Lennon/Mc. Cartney, arr. Abbs. * * * * *.
Summertime. Gershwin, arr. Williams. Let’s Do It. Cole Porter, arr. Blackwell. * * * * *.
Over the Rainbow. Harold Arlen, arr. Guy Turner. Walkin' My Baby Back Home. Turk/Ahlert, arr. Sharon. Encore: We'll Be Together Again. Carl Fisher/Frankie Laine, arr.
Burnell. INTRODUCTION AND NOTES ON THE MUSIC. Welcome to In The Mood! This is our second all- pops concert in three seasons, for the repertoire is too much fun to just sit there in our music library. Our earlier jazz- and- pop concert was in March of 2.
We named that concert Stormy Weather and witnessed just that for a couple of the shows, so we decided to drop references to the climate this time. Along with TV sitcoms and Hollywood movies, our pop tunes travel the world, carrying American culture and English- language sentiments everywhere (for better or for worse). Part of Chicago a cappella’s mission is . One of the main differences between many of the a cappella groups out there and ours is that we’re not amplified at all.
Voices United: The Hymn and Worship Book of The United Church of Canada. Authors First Lines Tune Names. VIEW and/or SEARCH PROGRAM NOTES. If you use any of these notes bodily. PROGRAM NOTES LISTING. Print and download Voices In the Sky sheet music by The Moody Blues.
Since we’re unplugged, our acoustic setup demands that we, not our mixing board or sound guy, do the balancing among our voices. Technology has its advantages but also its foibles: I was privileged to serve as one of five judges last month for the Chicago regional competition of the Harmony Sweepstakes, a superb national competition showcasing the talents of a cappella (mostly pop and barbershop) singers and arrangers. At that competition, one of the groups had a great song that I would have really loved if the bass’s microphone hadn’t drowned out everything else in the ensemble.
Several firms have become the main sources for printed sheet music in the vocal- jazz field. Primary among them are UNC Jazz Press (at the University of Northern Colorado in Greeley), Mainely A Cappella (in Maine), and Primarily A Cappella.
We do have our trade secrets, however. Names who might be familiar to you are Steve Barnett, Mark Mazur, Paris Rutherford, and Deke Sharon.
Since jazz and pop arrangers are often given credit by name only, here is some information to give you more depth of background on these cool cats. Steve Barnett is a Grammy- Award- winning producer who has produced every album for Chanticleer since their beginning. He also served as the producer of our own CD of spirituals, Go Down, Moses, recorded in the summer of 2. Steve is a prolific composer and arranger whose work is published through Adar Music Ltd.
Steve’s sense of harmony is rich and sophisticated; his chart of Harold Arlen’s Out of this World has a cool, James Bond- style feel with rising half- steps in the lower voices, giving it an air of mystery and intrigue. This chart was originally written for Chanticleer and is the title cut of their wide- ranging CD on Teldec. Mark Mazur,a graduate of the University of Northern Colorado, spent two years as a recording engineer and freelance studio musician and arranger in Wichita, KS. He currently works as a senior analyst at Boeing Computer Services, filling his spare time with album production projects and writing assignments. His brass quintet music has been recorded by the Canadian New West Brass Quintet. His chart of God Bless the Child takes its primary stamp from the famous setting by Blood, Sweat, and Tears, with our voices taking the parts of that group’s legendary horn sections.
Paris Rutherford is a Professor in the Jazz Studies Division of the College of Music at the University of North Texas. Rutherford also directs the North Texas Vocal Jazz Summer Workshop, and is an active clinician in vocal jazz. By age nine, he was touring the U.
S. By the age of 2. B. A. To date, he continues to serve as Chairman and President of CASA, to run the Ultimate A Cappella Arranging Service, and to co- produce the A Cappella Summit and the National Championship of College A Cappella. He also arranges and publishes a variety of songbooks, co- writes instructional booklets for a cappella groups, and produces a number of a cappella albums. He also music directs and performs with his own professional ensemble, The House Jacks.
His charts of Steppin’ Out, Fever, It Don’t Mean a Thing, and Walkin’ My Baby Back Home all capture the flavor of the familiar interpretations while giving them his own stamp, the mark of a truly gifted arranger. On tonight’s program, you’ll hear work by some of the best Englishmen working in the field: David Blackwell, Andrew Carter, Roderick Williams, and Peter Gritton.
Their charts on tonight’s concert come from a collection titled In The Mood, published in 1. Oxford University Press, with Blackwell and Carter as editors. Because the title chart was initially arranged by Gritton with piano, we have taken a few liberties with it to adapt it to our performing forces. Such is the case with Can’t Buy Me Love. The arranger was a friend of Paul Mc. Cartney and did this chart for the King’s Singers, which explains why it sounds like something else entirely.
It seems ironic that a Swedish quintet would revolutionize American- style vocal jazz, but they’ve done it. A product of the Royal Conservatory in Stockholm, Sweden, The Real Group have taken the vocal- jazz form to some of its highest a cappella expressions.
We’re happy to sing four of those for you tonight. They were in their early 2. If you imagine Mozart as a teenager—brilliant, a little brash, playful, and with complete control over the music—then you know how I feel about The Real Group. In more recent years, their subject matter has turned more to social commentary and even satire, as evident in songs like Substitute for Life, a hilarious take- off on American soap operas. The other singers in the group are now contributing their own charts from time to time as well, such as the haunting ballad The Eyes of a Child, written by alto Katarina Stentsr. Jazz has 9th and 1. Because of the complexity needed for jazz language, one rarely finds vocal jazz sung by a quartet; the harmonies would mostly be too difficult to arrange for four voices only.
With the nine of us, both jazz and pop are a pleasure to sing.
Mahler) - Wikipedia, the free encyclopedia. Munich, September 1. Final rehearsal for the world premiere of Mahler's Eighth Symphony in the Neue Musik- Festhalle. The Symphony No. 8 in E- flat major by Gustav Mahler is one of the largest- scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the .
The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted its first performance in Munich on 1. September 1. 91. 0. The fusion of song and symphony had been a characteristic of Mahler's early works. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts.
Part I is based on the Latin text of a 9th- century Christian hymn for Pentecost, Veni creator spiritus (. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare.
However, from the mid- 2. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared.
Since 1. 89. 9 this haven had been at Maiernigg, near the resort town of Maria W. From about 1. 90. Mahler's music underwent a change in character as he moved into the middle period of his compositional life. The first note is as follows: Hymn: Veni Creator. Scherzo. Adagio: Caritas (.
The four- movement plan is retained in a slightly different form, still without specific indication of the extent of the choral element: Veni creator. Caritas. Weihnachtsspiele mit dem Kindlein (. He soon replaced the last three movements with a single section, essentially a dramatic cantata, based on the closing scenes of Goethe's Faust, the depiction of an ideal of redemption through eternal womanhood (das Ewige- Weibliche).
He told Specht that having chanced on the Veni creator hymn, he had a sudden vision of the complete work: . When it did, according to Alma Mahler, . Intuitively he had composed the music for the full strophes . There are no longer human voices, but planets and suns revolving. The woodwind section for the Eighth includes two piccolos (one doubling 5th flute), four flutes, four oboes, a cor anglais, three B- flat clarinets, at least two E- flat clarinets, a B- flat bass clarinet, four bassoons and a contrabassoon. The brass section requires eight horns, four trumpets, four trombones, tuba and a .
The percussion forces consist of timpani, cymbals, bass drum, tamtam, triangle and low- pitched bells. Mahler also added a glockenspiel during the final rehearsals. Other instruments include an organ, a harmonium, a piano (also added during the rehearsals), two harps (although at least four are preferred), a celesta, and at least one mandolin (but preferably several). Mahler recommended that in very large halls, the first player in each of the woodwind sections should be doubled and that numbers in the strings should also be augmented. In Part II the soloists are assigned to dramatic roles represented in Goethe's text, as illustrated in the following table. He characterises the alto solos as brief and unremarkable; however, the tenor solo role in Part II is both extensive and demanding, requiring on several occasions to be heard over the choruses.
The wide melodic leaps in the Pater Profundus role present particular challenges to the bass soloist. The building was not used for the 1. October 2. 01. 0, due to the logistical problems of moving the museum's transport exhibits.
Mahler made arrangements with the impresario Emil Gutmann for the symphony to be premiered in Munich in the autumn of 1. He soon regretted this involvement, writing of his fears that Gutmann would turn the performance into . The Munich Zentral- Singschule provided 3. Meanwhile, Bruno Walter, Mahler's assistant at the Vienna Hofoper, was responsible for the recruitment and preparation of the eight soloists. Through the spring and summer these forces prepared in their home towns, before assembling in Munich early in September for three full days of final rehearsals under Mahler. At one point during rehearsals he turned to us and said, 'If, after my death, something doesn't sound right, then change it.
You have not only a right but a duty to do so.'. This vast hall had a capacity of 3,2. Gutmann devised the nickname . Eight months after his Munich triumph, he died at the age of 5. The occasion was a great success; the symphony was played several more times in Philadelphia before the orchestra and choruses travelled to New York, for a series of equally well- received performances at the Metropolitan Opera House. The work was played again eight years later by the same forces; among those present in the audience was the youthful composer Benjamin Britten.
Impressed by the music, he nevertheless found the performance itself . Adorno found the piece weak, . To Cooke, Mahler's is . A succession of premieres in the Far East culminated in October 2. Beijing, when Long Yu led the China Philharmonic Orchestra in the first performance of the work in the People's Republic of China.
Despite the evident disparities within this juxtaposition, the work as a whole expresses a single idea, that of redemption through the power of love. In particular, the first notes of the Veni creator theme . The section is interrupted by a short orchestral interlude in which the low bells are sounded, adding a sombre touch to the music.
This is a passage of great complexity, in the form of a double fugue involving development of many of the preceding themes, with constant changes to the key signature. A quieter passage of recapitulation leads to an orchestral coda before the children's chorus announces the doxology . Landmann's proposed sonata structure for the movement is based on a division, after an orchestral prelude, into five sections which he identifies musically as an exposition, three development episodes, and a finale. The exposition begins in near- silence; the scene depicted is that of a rocky, wooded mountainside, the dwelling place of anchorites whose utterances are heard in an atmospheric chorus complete with whispers and echoes. This is followed by a demanding and dramatic aria for bass, the voice of Pater Profundus, who ends his tortured meditation by asking for God's mercy on his thoughts and for enlightenment.
The repeated chords in this section are reminiscent of Richard Wagner's Parsifal. The blessed boys receive the soul gladly; their voices are joined by Doctor Marianus (tenor), who accompanies their chorus before breaking into a rapturous E major paean to the Mater Gloriosa, .
As the aria ends, the male voices in the chorus echo the soloist's words to an orchestral background of viola tremolos, in a passage described by La Grange as . These two motifs predominate in the trio which follows, a request to the Mater on behalf of a fourth penitent, Faust's lover once known as Gretchen, who has come to make her plea for the soul of Faust. As the climax approaches, many themes are reprised: the love theme, Gretchen's song, the Accende from Part I.
Finally, as the chorus concludes with . Once the property of Alma Mahler, it is held by the Bayerische Staatsbibliothek in Munich. As of 2. 01. 6 its critical edition of the Eighth remains a project for the future. Nearly two years before, in July 1. Hungarian- born conductor Eugene Ormandy had recorded the . Since Stokowski's version, at least 7. Given the scale of the movement and its complexity, the suggestion that it was composed in its entirety in advance of the words is, in Mitchell's view, impossible to accept.
La Grange enumerates a chorus of 8. However, Jonathan Carr suggests that there is evidence that not all the Viennese choristers reached the hall and the number of performers may therefore not have reached 1,0. Franklin, Peter (2. Retrieved 2. 1 February 2. La Grange (2. 00.
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