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Stephenson Winding Pro Arte Chamber Orchestra Boston 2003
Jim Stephenson's Trumpet concerto #1, as performed by Jeffrey Work. Music available at: (http•••) 2nd mvmt here: (http•••) Program Notes - Concerto for Trumpet (2003) - James Stephenson, III The Concerto for Trumpet, James Stephenson’s second major work written for the trumpet, is a product of a long-time friendship between Jeffrey Work, for whom the concerto is written, and the composer. As a (former) trumpeter himself, Stephenson had spent many years admiring the abilities of Work, first as a fellow student at Interlochen’s summer music festival (the two sat next to each other as high school students in the camp’s orchestra), and later at the New England Conservatory of Music in Boston.AfterWork’s performance of Stephenson’s Sonata for Trumpet and Piano, the idea of a piece composed especially for the soloist began to germinate, but lacked a host to commission and perform a new piece.The Pro Arte Chamber Orchestra of Boston, of which Work is a member, provided the final piece of the puzzle, and the Concerto for Trumpet was born. The two movement piece opens almost ominously, and in no definitive key, with a solo bassoon stating a two note figure, F-D. (Those looking for a composed reference to the soloist to the soloist may find it here, though it requires a stretch: F-D, if changed somewhat using solfege syllables, could be pronounced F-Re, almost sounding like “Jeffrey”.) This F-D figure is repeated and developed throughout the entire piece, though probably more evident to the score-studying student than to the first-time listener. In this opening Adagio, the soloist enters plaintively on top of an established ostinato, almost searching for a home key.The soloist ends this opening trying to rise up triumphantly in the key of E-flat, only to get dissolved into a vague state once again, as the music is then transported into the scherzo-esque main body of the first movement.Again the solo trumpet tries to establish the main key of E-flat only to land on the non-diatonic raised 4th degree, or A natural.The orchestra and soloist trade capricious phrases, finally culminating in a grand re-statement of the main theme, this time in B-flat, or what would seem to be the dominant of E-flat.The music again takes a quick turn, and the orchestra lands on a pedal F- sharp, whereupon the soloist begins winding through various forms of music already heard.This Cadenza-like material returns us back to E-flat, but only briefly, as we are quickly transported to a frenzied jazz-like section, forecasting music to be heard in the second movement.. A grandiose section follows, incorporating the F-D motif one more time, and the movement ends almost as mysteriously as it started, but decidedly in A Major.This resolution in A Major, though perhaps a surprise, explains the use of the raised 4th degree explored extensively while in E-flat major. The second movement is written to display what almost every audience member is seeking when first hearing a concerto: technical virtuosity. Knowing the technical and musical abilities of Mr.Work, as well as his love for the cornet solos of the early 20th century, the movement is composed to highlight what is available to the modern trumpet, though often not exposed. After a few minutes of pure energy, the music finally relaxes, drawing upon various motifs already heard. Again the piece builds up to a climax in the dominant key of E Major, only to settle again to a false coda. A demanding cadenza follows, highlighting some musical effects written especially for the dedicatee. Now beginning the true coda, the virtuosic music returns, and many motifs are again tossed into the mix to bring us to our denouement, again decidedly in our true home key of A Major. As a side note, it might be interesting to learn that while growing up both Work and Stephenson enjoyed stretching the outer limits of “punmanship,” as well as the fine art of trumpet playing. Many a day were spent manipulating the English language to satisfy their absurd sense of humor. The composer is happy to add another to the abused 20 year-old melting pot of puns: If one considers the key of the piece, and the name of the dedicatee, he is proud to contribute “A Major Work” to the trumpet repertoire. One could even stretch to include “A Major F-Re Work”, as discussed earlier. (OK - enough nonsense!)
Leonardo Ciampa Carson Chopin Lorenzo Perosi Beniamino Gigli Pro Arte Chamber Orchestra Boston 1971 2007
Leonardo Ciampa (b. 1971) — Fughetta, op. 193, no. 11 (2007) for organ Carson Cooman, organ Published by Evensong Music, Media, and Graphics in "Das Orgeleinbuch" ((http•••) Leonardo Ciampa (b. 1971) was born in Boston, Massachusetts and educated at the New England Conservatory of Music. He is very active as composer, pianist, and organist. As an organ recitalist, Ciampa has made numerous European tours, encompassing Italy, Austria, Germany, and Switzerland. Ciampa's compositions (which are generally considered "neo-romantic" in style) include "Suite Siciliana", op. 145 (for two violins, piano, and orchestra), commissioned by the Pro Arte Chamber Orchestra of Boston to open their 25th anniversary season; "The Annunciation," op. 203 (cantata for chorus, soloists, and strings); the "Kresge Organ Symphony" (his sixth organ symphony), commissioned by MIT and premiered in Kresge Auditorium; a piano quintet (premiered by the Lavazza Chamber Ensemble); and numerous sacred works. As a pianist, Ciampa specializes particularly in the music of Chopin, whose 200th birthday he commemorated with a series of six recitals in Boston. Ciampa is artistic director of organ concerts at Massachusetts Institute Technology and the founding director of MetroWest Choral Artists. An avid writer, Ciampa has written several books, including "The Twilight of Belcanto" and "Don Lorenzo Perosi" (the first English-language biography of that composer). More recently, he compiled and edited "Beniamino Gigli: A Commemoration."
Boston Civic Symphony Kronos Quartet Boston Modern Orchestra Project Pro Arte Chamber Orchestra Boston Boston Classical Orchestra Omaha Symphony Orchestra Saint Paul Chamber Orchestra Brazil Koussevitzky 1945 1966 1990 2007 2009 2010
Thomas Oboe Lee (b. 1945) (China/USA) Violin Concerto, op. 129 (2009) Violoniste : Irina Muresanu Dir : Max Hobart Boston Civic Symphony Orchestra 1- Largo / Moderato / Allegro ma non troppo (11.57) 2- Largo / Adagio / Prestissimo (14.10) With the authorization of the composer Thomas Oboe Lee. On collectionCB2 we can also listen to Thomas Oboe Lee's « Piano Concerto "Mozartiana" » (2007). Thomas Oboe Lee was born in China in 1945. He lived in São Paulo, Brazil, for six years before coming to the United States in 1966. After graduating from the University of Pittsburgh, he studied composition at the New England Conservatory and Harvard University. He has been a member of the music faculty at Boston College since 1990. To date Mr. Lee has composed more than 150 works : eight symphonies, twelve concerti for various solo instruments, twelve string quartets, a 100-minute two-act chamber opera "The Inman Diaries," choral works, song cycles, and scores of chamber music. His music has received many awards, among them the Rome Prize Fellowship, two Guggenheim Fellowships, two National Endowment for the Arts Composers Fellowships, two Massachusetts Artists Fellowships, and First Prize at the Kennedy Center Friedheim Awards for his « String Quartet No. 3 "child of Uranus, father of Zeus" ». Thomas Oboe Lee has received commissions from many organizations including Amnesty International USA, the Fromm Music Foundation, the Koussevitzky Music Foundation, the Kronos Quartet, the Manhattan String Quartet, the Lydian String Quartet, the Hawthorne String Quartet, the Formosa Quartet, the Artaria Quartet, Apple Hill Chamber Players, the American Jazz Philharmonic, Boston Modern Orchestra Project, the Boston Landmarks Orchestra, the Civic Symphony Orchestra of Boston, the Pro Arte Chamber Orchestra of Boston, the Boston Classical Orchestra, the New Jersey Symphony Orchestra, the Omaha Symphony Orchestra, and the Saint Paul Chamber Orchestra. In 2010 Thomas Oboe Lee launched his very own iPhone app: TOLmtv. To better know the composer Thomas Oboe Lee, visit the website : Pour mieux connaître le compositeur Thomas Oboe Lee, visitez le site : (http•••) LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2 and COLLECTIONCB3 and IDEAL "DISCOTHEQUE" OF MORE THAN 1,300 ORCHESTRAL WORKS OF FEELINGS : (http•••)
Dmitri Shostakovich Gunther Schuller Sanders Pro Arte Chamber Orchestra Boston 2009
First movement of Cello Concerto No. 1 by Dmitri Shostakovich, performed by the Pro Arte Chamber Orchestra of Boston, with Jonah Ellsworth as soloist; Gunther Schuller, conductor. This performance was part of Pro Arte's Wunderkinds of Music concert which took place on November 29, 2009 in Sanders Theatre, Harvard University and featured the two winners of the 2009 Pro Arte Chamber Orchestra Concerto Competition, Jonah Ellsworth, cello, and Daniel Kim, piano.
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