Castiglioni Gutman (1952-1996)

The five movements of the suite cover the period of the famous Paris museum’s development during the Renaissance. Each of the themes utilized by Dello Joio are by composers and compositions of the time period. The composer invites the audience to place themselves in the ambiance of the museum’s transformation, and experience the splendor of each setting of what is known as The Louvre.

The interpretation of Tempo, Dynamics and Expression through Instrumentation in three recordings of Vittorio Monti’s ‘Czardas’

A great interest in hearing only instrumental music tell the story without text arise. The development of the concerto grosso which is a small unit of soloists against a full orchestra (Wright, 7-4) brought about one of the most popular and recognized concerto pieces, Vivaldi’s Violin Concerto in E Major (the “Spring). As one of

Britten’s use of gamelan style does not represent a non-Western “Other”; instead, it is used as a metaphor for his homosexuality. Death in Venice expresses Britten’s emotions and sufferings on homosexuality. Compared with Carmen, and exotic work, Death in Venice does not compare to the level of exoticism displayed in Carmen. Therefore, Britten’s Death in Venice should be categorized at the transcultural composition side of the

In their adaptation of Kapsberger’s Canario, Pluhar takes improvisation to a completely jazz and world music style. Dancing to a rhythmic baroque guitar, the musical form of the piece invites individual instrumental solo improvisations including an electric Hammond organ. Further, the use of konnakol and percussion for solo improvisations takes authentic baroque performance practice outside the picture. The use of percussion for improvisation would not have been used during Kapsberger’s time. Following this observation, it may be argued that Pluhar has gone too far into mixing different genres that the jazz-spirited recording can seem disjointed. L'Arpeggiata's attempt to revive Baroque ornamental fluidness through a contemporary improvisatory style seems ineffective when the audience takes this crossover album literally. The purpose of this album is not to attempt a revival of the baroque in the original style, but to create a new eyepiece where baroque music can be viewed through a contemporary

Two versions of the piece will be created.There will be two versions of this piece. The first will be the composer’s original manuscript, the control. The other version will be same piece but will be void of a title, tempo markings, articulations, or any other indicator of the composer’s intent. The object of this process is to rid conductors of any preconceived notions he or she may have based on the markings on the score. The score will be sent to ten conductors of varying school/performer ability levels: two middle school directors, three high school directors, four collegiate/professional

A comparison of two major Baroque composers: Claudio Monteverdi and Domenico Scarlatti The purpose of this paper is to analyze two psalms by Claudio Giovanni Antonio Monteverdi (1567-1643) and Giovanni Domenico Scarlatti (1685-1757) and compare and contrast the two pieces to find out how music changed throughout the Baroque period.

Although technical rigor is fundamental to the analytical process, reducing all meaningfulness of the quoted fragments to exclusive musical terms is insufficient. Doing so is to ignore all extra-musical relations that in this case are just as important as the musical material itself. From this deconstructive perspective, the references present in the work are product of a discontinuity and the juxtaposition is the most relevant element. What we get from Berio’s interview is exactly the opposite though. The highest relevance is placed not in the process of juxtaposition, but in the juxtaposed material. John Flinn proposes an alternative constructive analysis to postmodernist works. This model inspired by the works of Frederic Ferré has its roots

The album is a massive collection of more than 100 tracks, with length up to 240 hours. The tracks on the disc have been played with more than 600 musicians and 60 orchestras. This project

This Bargemusic Masterworks Series concert was held at the Bargemusic concert hall on November 10th, 2016 at 8pm at Brooklyn Bridge Blvd in Brooklyn, NY . The primary musician for this event was Andreas Foivos Apostolou in the role of piano player of these pieces of these select composers and musical pieces: (1)Rameau: Suite in G Major “Nouvelles suites de pièces de clavecin”, (2)Mendelssohn: Fantasy in F-sharp minor, Op. 28, “Scottish Sonata”, (3)Carl Vine: Piano Sonata (1990) and (4) Andreas Foivos: Apostolou Étude; Prélude (*Premieres); Fantasy.

From the concrete structure of the Baroque period to the free-form structure of the Modern period each composer brings forth a new understanding and value to their time period. Within these pieces that they creatively compose it brings new light and displays the culture of the time period. The composers each have story to tell and has each creatively constructed their own works within the diameters of their era.

In Sardinian Chronicles, Bernard Lortat-Jacob seeks to explain Sardinian music through the people involved in the creation of it. The tradition of music in Sardinia runs deep, and Lortat-Jacob shows the importance it has to the residents of the island. Many lives are defined completely by music, and these people are the ones in which Lortat-Jacob focuses in on to study. Deeper than this though, the author shows how a rich and dynamic scene is affected by the powerful marching of time. Particularly in the monograph, a vignette regarding the residence and life of a Sardinian craftsman named Attilio, this affliction is shown. The article shows how the Sardinian musical culture has succumb to the aging process. The fragility of a tradition is emphasized through a rich character portrayal and inferred admiration.

Bolero is a one-mvt. Work that starts solftly and ends as loudly as possible. The structure was based on the repetition of only two melodies. Approached as a self-imposed orchestration challenge, it contains a persistent underlying triplet rhythm that is similar to what is found in the Spanish dance music of the same name. The goal was to use a basic rhythmic underpinning of Spanish dance music to convey character, rather than to rigidly follow any particular dance form. Its theme and rhythm are repeated to the point of obsession w/o any picturesque intention in a moderato assai

While living with my grandmother as a child, I would wake up to renaissance madrigals such as Gesualdo’s work. This piece, Sesto libro di madrigali: VI. "Io parto" e non più dissi” is oddly nostalgic, reminding me of the tape deck my dad would sometimes play Sunday mornings. I’ve always been fond of a cappella; the human voice is very flexible. For example, the deeper their breathing the stronger and more stable the vocalist’s singing will be. This song being sung in Italian adds another layer of interest to this piece. The lyrics tell a story of the vocalist leaving one they were once close to, the woman lamenting over them abandoning her. Rhythm is used as a way to enhance the text, specific words sung as a descending figure, in an attempt

Prague State Opera’s March 12th performance of Verdi’s Rigoletto was one of great power and emotion. Though the opera was sung in Italian and subtitles were only available in Czech, the language barrier did not hinder enjoyment of the performance in any way. Throughout the entire opera, the emotions were portrayed brilliantly and could be felt by the audience. The opera begins with a short prelude that continues as a main theme throughout the entire opera.