Browsing by Author "Jones, Samuel"

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    BRAVO, MAESTRO A FAREWELL CELEBRATION CONCERT SALUTING MAESTRO SERGIU COMISSIONA APRIL 7, 1988 8:00 P.M. JONES HALL
    (Shepherd School of Music, Rice University, 1988-04-07) Strauss, Richard, 1864-1949; Berlioz, Hector, 1803-1869; Lutoslawski, Jerzy; Jones, Samuel; Wyss, Niklous; Commissiona, Sergui; Shepherd School Symphony Orchestra; University of Houston Symphony Orchestra; Houston Symphony Orchestra
    Playlist: Suite from Der Rosenkavalier, Op. 59 / Richard Strauss -- Chain 3 / Jerzy Lutoslawski -- Symphonie fantastique, Op. 14 / Hector Berlioz (1803-1869).
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    Earthdance. (Original composition);
    (1992) Bertaux, Betty Jones; Jones, Samuel
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    Elements for orchestra
    (1985) Grossman, Deena (b. 1955); Milburn, Ellsworth; Jones, Samuel; Citron, Marcia; Burt, George
    Elements for Orchestra is a three movement composition developed from a single four-note motive. Each movement explores the dramatic interplay between two themes. The first theme of the first movement, introduced by the cello section, is a lyrical, song-like melody with duple rhythms. The contrasting second theme, introduced by solo flute, has triple rhythms and a playful, dance-like contour. This theme becomes the basis for the melodies of the second movement, a Scherzo in triple time. In order to create compositional unity, both the lyrical theme of the first movement, and the second theme of the Scherzo come together at the climax of the final movement. Thesis, antithesis, and synthesis are the primary concepts which motivate the dramatic shape of Elements for Orchestra.
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    Festival Psalm Sequence: A chamber work for four singers, three violists, and two percussionists
    (1996) Friesen-Carper, Dennis Lynn; Jones, Samuel
    This seven-movement cantata is a setting of texts from the Psalms which portray a spiritual pilgrimage. The work begins with viola playing harmonics off-stage, and all performers processing into position. Each singer has an extended solo movement or section, and sings as a member of the quartette. The recessional is accomplished during the last two movements. Texts are set in the original Hebrew, Latin, German, and English. The musical materials are drawn from the opening five pitches, B$\flat$, C, D, F$\sharp$, G, and the plainchant LU 1250, for the dedication of a church, Terribilis est locus iste, as used by Dufay in the motet Nuper rosarun flores. Although there are audible links between movements, several can stand alone.
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    GUEST ARTIST CONCERT featuring music of SAMUEL JONES Thursday, February 10, 2005 8:00 p.m. Alice Pratt Brown Hall
    (Shepherd School of Music, Rice University, 2005-02-10) Jones, Samuel, 1935-; Speziale, Marie; Jones, Samuel; Roux, Robert (piano); Farwell, Joyce (mezzo-soprano); Tauber, Charles (piano); Fischer, Norman (cello); Kierman, Jeanne (piano); Shepherd School Brass Choir; Kloeckner, Phillip (organ); Shepherd Singers
    Playlist: Piano Sonata (1961) / Samuel Jones (b.1935) -- Four Haiku (1961) / Samuel Jones (b.1935) -- Sonata for Cello and Piano (1997) / Samuel Jones (b.1935) -- A Parliament of Owls (1991) / Samuel Jones (b.1935) -- Aurum Aurorae (2001) / Samuel Jones (b.1935) -- Centennial Hymn (2003) / Samuel Jones (b.1935).
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    Sketches of elegy and praise
    (1982) Jones, Kerry Nelson; Milburn, Ellsworth; Cooper, Paul; Jones, Samuel
    Sketches of Elegy and Praise is an orchestral work, approximately twenty minutes in duration, cast in five movements of nearly equal length. Each movement is a miniature portrait of a person (or persons) now deceased, who was influential in the composer's life. The first movement, A Forgotten Graveyard, uses air sounds from the brass, sinuous melodic lines in the oboe and alto flute, and sustained harmonies in the strings and winds to evoke images of the weed-choked graveyard which is all that remains of Buchanan, Texas. Movement two, A Friend» uses block brass and woodwind choral effects to convey the solidity of a reliable friend. This movement is interrupted by an elegiac chorale for solo winds and string quartet, after which the previous material is recalled in a com¬ pressed form. The Sages, the third movement, commemorates several men who were advanced in years when the composer was quite young. The use of polyphonic and canonic technique, framed by brass and percussion fanfares at the beginning and end, contrasts the wisdom and dignity of age with the exuberance of youth. The middle section, in addition to canonic technique, employs a Renaissance formal procedure - the use of overlapped points of imitation. Movement four, A Young Athlete, uses driving motor rhythm, tutti unisons and brass choir block effects to evoke the perpetual motion and lean muscularity of a young athlete. The abrupt ending and truncated form suggest the tragedy of a life cut short. The final movement, Of Yesterday, utilizes multiple ostinati to suggest the continuity from generation to generation in commemorating several people whose death preceded the composer's "birth hut who were very influential nonetheless. The movement ends with a section recalling the opening of the piece. Harmonically and melodically, the work is generated from two series of pitches. Sketches is scored for a moderately large orchestra, using flutes, oboes and clarinets in threes (with the third player doubling on alto flute, English horn and bass clarinet, respectively), two bassoons, four horns, three trumpets (in C), three trombones, tuba, timpani, percussion (bass drum, tam-tam, xylophone, tom-toms, four suspended cymbals (small, medium, large and sizzle), crash cymbals, celeste, vibraphone, temple blocks, wind chimes) and strings.
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    Symphonic movements
    (1985) Hughes, Jerald Kirk; Jones, Samuel; Milburn, Ellsworth; Schnoebelen, Anne
    Symphonic Movements is an orchestral composition in three movements: Presto, Lento, and Allegro con brio. The harmonic and melodic material is based on several forms of the octatonic scale. Themes are basically variations on two germinal ideas, one conjunct: mvt. I, measures 4,5, and one disjunct: mvt. Ill, measures 25,26. The disjunct theme appears briefly in the first movement, assumes greater importance in the second movement, and is the main theme of the final movement, thereby giving the work a cyclic aspect. The first movement is a large A-B-A form, in which the first A consists of three short passages, the B consists of one extended passage, and the final A is three more short passages. The movement goes through a series of tonal areas, including the tritone axes of C/F# and D/G#, ending in D. The second movement is a simple A-B-A form, in which the first A section is repeated unchanged in the final A section. This movement begins in D, moves to B flat for the B section, and closes in D. The final movement is an original form which combines elements of both sonata and rondo. Its tonality is G, and the tritone axis G/D flat plays an important role throughout.