Relevant bibliographies by topics / St. Paul Chamber Orchestra

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'St. Paul Chamber Orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "St. Paul Chamber Orchestra"

1

Miller, Malcolm. "From Liszt to Adams (II): ‘The Black Gondola’." Tempo, no. 179 (December 1991): 17–20. http://dx.doi.org/10.1017/s0040298200061349.

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The Black Gondola, John Adams's transcription for chamber orchestra of Liszt's La Lugubre Gondola II, composed in 1989 for the St. Paul Chamber Orchestra, Minnesota, shows how – as in the case of Wiegenlied (discussed in an earlier article, Tempo 175) – the composer has been attracted to those aspects of Liszt's late style which inter–connect with minimalism: regular, and fluid, rhythmic textures; economy of thematic material which undergoes ‘minimal’ transformation; extensive phrase repetition in a ‘sequencing’ structure; harmonic ambiguity and elusiveness. In addition, in this case, a strong
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T
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Gocan, Andrei. "Interview With British Conductor Paul Mann." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 1 (2023): 7–22. http://dx.doi.org/10.24193/subbmusica.2023.spiss1.01.

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"British conductor Paul Mann is a regular guest with many major orchestras throughout Europe, the US, Australia, and the Far East. Orchestras with which he has worked include the London Symphony Orchestra, Royal Liverpool Philharmonic, Royal Scottish National Orchestra, Netherlands Radio Philharmonic, St Petersburg Philharmonic, RAI Torino, Orchestra dell’Arena di Verona; the BBC Orchestras, City of Birmingham Symphony, Hallé, among many others. Mr Mann has guest-conducted extcollaborations with USA and is a regular guest with the New York City Ballet. Projects with the LSO included collaborat
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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197
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Telford, James. "RECONCILING OPPOSING FORCES: THE YOUNG JAMES MACMILLAN – A PERFORMANCE HISTORY." Tempo 65, no. 257 (2011): 40–51. http://dx.doi.org/10.1017/s0040298211000258.

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James MacMillan was 50 years old on 16 July 2009 and his birthday was celebrated by musical institutions not just in Britain, but internationally. As a composer and conductor in residence for the BBC Philharmonic he led performances of his Symphony No.3: Silence and The World's Ransoming. The Royal Northern College of Music staged a three-day celebration of his work while The Sixteen toured his music under conductor Harry Christophers. His recent St John Passion was performed in Berlin and Amsterdam by the London Symphony Orchestra and in Rotterdam concerts of his music were given by the Rotte
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Упанова, А. А. "Domra and Chamber Orchestra in Concertos by Igor Rogalyov and Andrey Tikhomirov. An Alliance with a “Stranger”?" OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 37–56. http://dx.doi.org/10.26156/om.2021.13.4.002.

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Статья посвящена сочинениям известных петербургских композиторов — Концерту «Доменико Скарлатти» для четырехструнной домры (мандолины) и камерного оркестра Игоря Ефимовича Рогалёва и Концерту для домры и камерно-симфонического оркестра Андрея Генриховича Тихомирова. Эти произведения представляют примеры взаимодействия сфер народно-инструментального исполнительства и академического музыкального искусства. Ранее данная проблема не рассматривалась в отечественном музыкознании. Появление в последней четверти XX века сочинений, в которых домра выступает в качестве солиста с симфоническим оркестром,
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No
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Fischer, Christine. "Anne Smith, Ina Lohr (1903-1983). Transcending the Boundaries of Early Music." European Journal of Life Writing 10 (September 8, 2021): R5—R9. http://dx.doi.org/10.21827/ejlw.10.37923.

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This is a book that had to be written. And that is meant in a thoroughly positive way. Ina Lohr, ‘Paul Sacher's assistant’, is a well-known figure in insider circles, who contributed immensely to the creation of the Schola Cantorum Basiliensis, one of the most important international teaching institutions for Early Music and historically informed performance practice. Lohr made a significant contribution to the emergence of the Basel Chamber Orchestra, which made a name for itself not only in Early Music but also, through regular commissions from the Sacher-family, in the field of New Music as
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Malecka, Teresa. "Henryk Mikołaj Górecki’s road to the Oratorio “Sanctus Adalbertus” in the context of the composer’s fascination with the person and teaching of St. John Paul II." Pro Musica Sacra 21 (November 3, 2023): 49–66. http://dx.doi.org/10.15633/pms.2104.

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Henryk Mikołaj Górecki’s profound personal religiousnessbecame the source of his deep spiritual bond with the personality of Karol Wojtyła – Saint John Paul II. The relationship between the composer and the Pope was of a special nature. In 1977, Cardinal Karol Wojtyła commissioned a work from Henryk Mikołaj Górecki to commemorate the 900th anniversary of the death of St Stanislaus. The result was the oratorio Beatus Vir Op. 38, a psalm for baritone, mixed choir and orchestra. Since its premiere, the composer has been urged by the Pope to compose further works of religious music. This was to be
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Dissertations / Theses on the topic "St. Paul Chamber Orchestra"

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Lawrence, Nicholas A. (Nicholas Alan). "The Full Armor of God." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278177/.

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The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.
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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmu
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Books on the topic "St. Paul Chamber Orchestra"

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1954-, Page Tim, and Coppock Bruce, eds. 50 years of music: The Saint Paul Chamber Orchestra. Nodin Press, 2009.

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Canada Dept. of Finance. Report of the Minister of Finance on the reciprocity treaty with the United States: Also, the memorial of the Chamber of Commerce of St. Paul, Minnesota, and report of Congress, U.S., thereon. S. Derbishire and G. Desbarats, 2001.

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Chamber of Commerce (St. Paul, Minn.), ed. Memorial of the Chamber of Commerce, St. Paul, Minn.: Remonstrating against any action of the present session of Congress suspending the treaty between the United States and Great Britain of June 5, 1854, commonly known as the Reciprocity Treaty. s.n., 1985.

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4

Miller, Leta E. Coming to Grips with History (1984–1991). University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0004.

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This chapter explores Kernis's life in the period 1984–1991—a period of wandering physically, emotionally, and artistically. He lived in Europe, various parts of the United States, and Canada. He experienced periods of intense loneliness but also the pleasure of a significant romantic attachment. And, after freeing himself musically from strict self-imposed controls, he confronted head-on the challenges of history, coming to grips with the forms and modes of expression pioneered by his predecessors while adapting these traditions to his personal language. His success in confronting these perso
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Miller, Leta E. Triumphs and Tribulations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0006.

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This chapter focuses on Kernis's music in the years 1995–2001. In 1995, the American Academy of Arts and Letters honored Kernis with a $7,500 prize to facilitate a recording. During the following five years, Kernis would continue down the “road of excess,” churning out new works at a prodigious rate. In the summer of 1995, Kernis appeared for the first time as one of the featured composers at the Cabrillo Music Festival in Santa Cruz, California—a two-week contemporary music extravaganza held annually since 1963. Commissions also added to Kernis's increasing renown—he received one in August 19
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Paul Hindemith - Kammermusik No. 6, Op. 46, No. 1: Viola d'amore and Chamber Orchestra Study Score. Eulenburg, 2012.

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7

Waterlow, David Barry. Between two worlds: Bernard Naylor, English composer in Canada. 1999.

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Book chapters on the topic "St. Paul Chamber Orchestra"

1

Fiala, Michele. "Richard Killmer." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0015.

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Professor of oboe at the Eastman School of Music, Richard Killmer was principal oboist of the St. Paul Chamber Orchestra for eleven years. In this interview, he talks about his early career and observations on the evolution of the oboe world. He discusses his teaching philosophy and shares specifics on breathing, intervallic placement, long tones, and articulation. He shares tips for technical practice and his ideas on vibrato and reeds. Killmer shares stories of his experience in helping to design the Ross gouge, and he talks about his inspirations.
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Kildea, Paul. "BBC Programming: Holst, Vaughan Williams and Poulenc (1936)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0005.

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Abstract For June-July the musical programme of the B.B.C. are not its brightest. There is the usual sprinkling of light orchestral and classical chamber music programmes, suitably interspersed with part-songs by the various teams of B.B.C. singers octets and choruses. But for the more adventurous listener there is not much excitement. The Canterbury Festival on when Dr. Boult is taking down section of the B.B.C. orchestra, contains Holst’s St. Pauls Suite as the sole representation of 20th Century music.1 [This charming work for strings alone will not be found particularly exhilarating for th
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Fiala, Michele. "Neil Black." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0001.

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Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and
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Heyman, Barbara B. "Searches." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0014.

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In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to
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McCutchan, Ann. "James Mobberley." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0019.

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Abstract James Mobberley grew up in central Pennsylvania and spent his high school and college years in North Carolina. He credits his elementary school music teacher with instilling in him a great love of music. As a Child he took up the clarinet, then taught himself the guitar at age fourteen and, as he puts it,”hooked up with some other novice rockers in high school and college and nursed a band for seven years-all original stuff, mostly wacky songs about aliens and fast food and the Ayatollah Khomeini:’ Mobberley earned a bachelor’s degree in guitar and a master’s degree in composition at
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Conference papers on the topic "St. Paul Chamber Orchestra"

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Özgen, Zafer. "A Sonic Ecology: Nature, Sound, and Environmental Aesthetics in John Luther Adams’s Become Trilogy." In Ninth International Conference on Music and Minimalism. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.015o.

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John Luther Adams’s Become trilogy – comprising Become River, Become Ocean, and Become Desert – offers a profound meditation on the relationship between humanity and nature. Commissioned by prominent American orchestras, including the Seattle Symphony, New York Philharmonic, and St Paul Chamber Orchestra, these works transcend conventional categories such as minimalism, programme music, and experimental music, inviting listeners into immersive sonic environments. With ecological crises as an underlying theme, the trilogy engages audiences on both aesthetic and philosophical levels. Although Ad
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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
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