Radio - Orchestra and String Quartet

Maurice Warner, Frederick Broeder, and Val Coffey,

Radio - Orchestra and String Quartet

Maurice Warner, Karl Chase, Frederick Broeder, and Ray Hancock

Radio - Orchestra and String Quartet

6 of 7

Radio - Orchestra and String Quartet

7 of 7

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Formless being for flute, clarinet, bassoon, french horn, percussion, piano and string quartet

Thesis (D.M.A.)--University of Washington, 2016-06

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

Oceana String Quartet March 4, 2012

Concert Program

Corda Quartet December 2, 2016

Concert Program

Quartet no. 1 in D, op. 11

Soitinnus: Viulut (2), alttoviulu, sello.

Fantazia no. 2 for string sextet or small string orchestra [from B. M. Add. MSS. 17786-91]

Mode of access: Internet.

Eine kleine Nachtmusik (Serenade) für 2 Violinen, Viola und Violoncello

Mode of access: Internet.

Quintet in F minor, op. 34

The Hollywood String Quartet: Slatkin, Felix, viulu ; Shure, Paul, viulu ; Robyn, Paul, alttoviulu ; Aller, Eleanor, sello.

La poésie québécoise comme source d’inspiration musicale

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU)