Browsing by Author "Milburn, Ellsworth"

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    30th Anniversary Celebration Concert 1: a program of works by guest composers George Burt and Ellsworth Milburn, and by Paul Cooper and Eugene Kurtz, Friday, October 27, 2006 8:00 p.m. Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 2006-10-27) Milburn, Ellsworth; Kurtz, Eugene, 1923-2006; Cooper, Paul, 1926-1996; Burt, George, 1929-2015; Blench, Karl; Patterson, Ronald (violin); Patterson, Roxanna (viola); Foreman, Clint (flute); Rarick, Janet (oboe, English horn); Webster, Michael (clarinet); Yamada, Melanie (bass clarinet); Nussbaum, Stephanie (violin); Lin, Pei-Ling (viola); Costa, Semiramis (cello); Halloin, Evan (contrabass); Dunn, Susan Lorette (mezzo-soprano); Ellison, Paul (contrabass); Duo Patterson
    Program: Entre nous / Ellsworth Milburn (b.1938) -- Octet: "The Mystery Hour" / George Burt (b. 1929) -- Verses / Paul Cooper (1926-1996) -- The Last Contrabass in Las Vegas / Eugene Kurtz (1923-2006).
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    Afterimages
    (1979) Lavenda, Richard; Cooper, Paul; Milburn, Ellsworth; Brown, Richard
    Afterimages, for soprano and chamber ensemble, is based on three poems by Carl Nagin. Rather than being a set of three detached pieces, it is a unified work, played from beginning to end without break. The motivation for this kind of organization comes from the poems themselves; they are related in style and imagery, and can be considered as a set. The music seeks to develop and explore the various kinds of connections within the poems. In this sense, Afterimages may be said to be inspired by the structure as well as the content of the poems. The music is based on four related motives. These are the generative devices which both unify and propel the piece. All four are short, and, depending on the context in which they are used, can sound forceful, reflective, introspective or out-reaching. The small number and brevity of the themes help make the piece unified. The instrumentation, however, is used to provide variety. Each of the three poems, plus the introduction and interlude, have different groups of instruments. This avoids sameness and the density that can occur if twelve instruments are constantly playing. The various combinations were chosen not only for their orchestrational potential, but for their relation to the poems and their possibility for illuminating various aspects of them. Afterimages is approximately twenty-one minutes in duration.
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    An analysis of Debussy's "Sonata for Flute, Viola, and Harp"
    (1988) Walker, Deanne Elaine; Milburn, Ellsworth
    The Sonata for Flute, Viola, and Harp, written in 1915, is an excellent example of Claude Debussy's later style. The purpose of this thesis is to discuss the elements of this later style and represent them graphically. In particular, the intermovemental motives, both harmonic and melodic, and the manipulation and development of the phrases are closely examined. Also discussed is the impact of the interaction, and orchestration, and equal use of the three instruments on the effectiveness of the piece. Upon study of the analysis and the accompanying discussion, one will have a greater understanding of the individual parts which together make up a unique and fascinating whole; one of Debussy's finest compositions.
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    CAMBIATA SOLOISTS Monday, November 6, 1989 8:00 p.m. in Hamman Hall
    (Shepherd School of Music, Rice University, 1989-11-06) Milburn, Ellsworth; Tucker, Aubrey; Piltzecker, Ted; Welcher, Dan; Sepos, Charles; Levin, Andrew; Weber, Rodica (violin); Bingham, Pamela (clarinet); Carroll, Christina (vibraphone); Siegel, Sanford (percussion); Eidman, Joan (harp); Ganz, Isabelle (mezzo-soprano); Bebb, Gretchen (flute); Brian, Christina (viola); Dyer, Max (cello); Hunt, Mary (piano); Dillard, Ray (percussion); Ettelson, Meryl (piano); Schaffer, Christine (piano); Levin, Jodi (soprano); Ley, Sharon (piano)
    Playlist: Tango / Ted Piltzecker -- Revenants / Ellsworth Milburn -- Mirrors / Charles Sepos -- Liaisons/Voyager II / Aubrey Tucker -- Vox femina / Dan Welcher.
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    Concerto da camera
    (1982) Ruffin, Rawslyn; Cooper, Paul; Tipton, Albert; Milburn, Ellsworth
    Concerto Da Camera takes the form of a concerto grosso in that it incorporates a concertino, or solo instrumentalist, against a full orchestra, the concerto or tutti. This premise, however, is deviated from in measures 29-294 where the percussion section is used as a solo ensemble without orchestral accompaniment. The melodic material consists of a Primary tone row which is most noticeably used in the tutti sections, and two Secondary tone rows: The first tutti, or Prelude, is quiet and relatively static. The first three solos -- flute, trumpet, and clarinet -- are, respectively, fast, slower and even faster in rhythmic execution. The Interlude starts loudly but diminuendos into an animated bassoon solo. The percussion ensemble takes over and the double bass emerges to deliver an expressive line. The Postlude begins loudly and, after a final restatement of the theme in the trombones (soli), ends in a cluster chord marked sforzando.
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    CSABA ERDÉLYI, viola JEANNE KIERMAN, piano Wednesday, November 3, 1993 8:00 p.m. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 1993-11-03) Milburn, Ellsworth; Finney, Ross Lee, 1906-1997; Bloch, Ernest, 1880-1959; McGuire, Edward, 1948-; Erdelyi, Csaba (viola); Kierman, Jeanne (piano)
    Playlist: Entendre -- Ellsworth Milburn / Second sonata for viola and piano -- Ross Lee Finney (1906-1997) / Martyr (for solo viola(s)) -- Edward McGuire (1948-) / Suite for viola solo (1959; unfinished) -- Ernst Bloch / Cinq pieces hebraiques pour alto et piao -- Ernst Bloch.
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    Ekklesia. (Original composition);
    (1996) McCarthy, Justin Patrick; Milburn, Ellsworth
    Ekklesia is the Greek word for Cathedral. The composition is set for full orchestra and lasts approximately seven minutes. Two ideas serve as the basis for the piece. The first is the hymn tune, For The Beauty of The Earth; the second is an original motive, first introduced by the trumpet. Ekklesia, in one movement, is comprised of three sections (slow - faster - slow).
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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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    Ezekiel's Wheel: Piece for orchestra. (Original composition)
    (1995) Cornelius, John Lawrence; Milburn, Ellsworth
    Ezekiel's Wheel is a tone poem based on the experience of the prophet Ezekiel, as told in the Old Testament. The piece deals with the moment of his vision and the sensations during the course of his experience. The piece manifests itself through an opening chord which is a combination of major, minor and half-diminished triads which are stacked and inverted. Various bits of detail from the desert setting and the vision itself are interspersed through the winds, strings and percussion.
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    FACULTY RECITAL SHIRLEY TREPEL, Cello KATHARINA KEGLER-BORGIR Piano Tuesday, December 4, 1990 8:00 p.m. in Hamman Hall
    (Shepherd School of Music, Rice University, 1990-12-04) Feuermann, Emanuel, 1902-1942; Milburn, Ellsworth; Pierné, Gabriel, 1863-1937; Chopin, Frédéric, 1810-1849; Handel, George Frideric, 1685-1759; Trepel, Shirley (violincello); Kegler-Borgir, Katharina (piano)
    PROGRAM: Adagio and Allegro (transcribed from the Organ concerto in g minor) / George Frideric Handel, Emanuel Feuermann -- Sonata in f sharp minor, op. 46, (1922) / Gabriel Pierné -- Character pieces (1980) / Ellsworth Milburn -- Introduction and polonaise brilli
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    Fantasy for violin and orchestra
    (1981) Gehman, Scott Harwood; Gottschalk, Arthur; Milburn, Ellsworth; Ettelson, Meryl
    Fantasy for Violin and Orchestra is written for solo violin, three flutes (alto flute), two oboes, two clarinets in B-flat, two horns in F, two trumpets in C, timpani, bass drum, two tom-toms, snare drum, cymbal, sizzle cymbal, crash cymbal, bell tree, tamtam, triangle, large and small wind chimes, vibraphone, marimba, xylophone, glockenspiel, celesta, chimes, and strings. Its duration is approximately fourteen and a half minutes. To unify its tonal language, serial procedure based upon the twelve tone technique of Arnold Schoenberg, is used to organize the harmonies and melodies of Fantasy for Violin and Orchestra. However, the mirrored structure of the row reduces by half the number of permutations available, so other techniques are also employed. The first method gathers all odd and even numbered pitches separately resulting in the order. After renumbering this new series, it is processed again. A total of ten rows are yielded given this type of logic. This version is then processed with the odd-even idea describe above. Fantasy for Violin and Orchestra is organized by the form A B A. The opening section may be characterized by light orchestration predominated by muted strings, soft percussion and serene melodies utilizing the middle and lower registers of the solo violin. As the soloist fades, activated chord, pitch wheels and denser clusters in the woodwinds and strings provoke a feeling of agitation, heightening at measure 47. Here, the violin changes its character to one of anger, providing the mood necessary for the transition to the second section. The agitation of the first half of B is sustained by thick chords in the strings, staccato flurries in the woodwinds and a four voice canon in the brass. Hence, the soloist, using extremes of register and dynamics, multiple stops, and jagged melodic lines, fights for dominance. The mood abruptly changes with the entrance of the 'C motive at measure 63, where activated diatonic clusters in the flutes and clarinets accompany soft trills in the solo violin. The strings' entrance at 78, also diatonically built begins a drive to the second climax of the work at measure 94, preparing the way for the cadenza. Since a cadenza is dramatically static, transitory elements must be added so that it functions as a transition. A gradual reduction of percussion accompaniment and an increase of consonant and lyrical melodies achieve this goal. Off-stage chimes and harmonics in the solo violin preface the last section, composed of previous and new material. This section contains the largest and longest climax of the entire piece. Following a lengthy release, opening material appears, closing the work as quietly as it began.
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    From Shadow
    (1999) Williams, Ross Adrian; Milburn, Ellsworth
    From Shadow is a nine minute orchestral work which has three main sections. The fast first section is based around a repeated eighth note figure. This figure is first heard in the pizzicato string section at measure 2. Pizzicato is used extensively in the first section and is a feature of the orchestration. Melodic material that is presented late in the first section becomes the basis for the next two sections. The second section is slow and more melodic and the third is fast and loud. The overall climax of the piece occurs at measure 191 which is followed by a codetta.
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    GABRIEL SAKAKEENY, conductor JOHANNA THOMPSON, mezzo-soprano Saturday, March 21, 1987 8:00 p. m. in Hamman Hall
    (Shepherd School of Music, Rice University, 1987-03-21) Milburn, Ellsworth; Brahms, Johannes, 1833-1897; Mahler, Gustav, 1860-1911; Sakakeeny, Gabriel; Campanile Orchestra; Thompson, Johanna (mezzo-soprano)
    Playlist: "Salus…esto" (Houston premiere) / Ellsworth Milburn -- Lieder eines fahrenden Gesellen / Gustav Mahler -- Symphony No. 1 inC minor, Op. 68 / Johannes Brahms (1833-1897).
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    In the quiet saffron hour
    (1982) Lindsey, Philip; Cooper, Paul; Milburn, Ellsworth; Ettelson, Meryl
    "In the Quiet Saffron Hour" divides formally into three sections, slow-fast-slow, with each section having its own structure. The outer sections are related not only by tempo but also by mood, orchestration, and melodic materials. The harmonies and melodies of the entire piece are derived from a five-note chord, a ten-note scale using the five-note chord and its inversion, and by a whole-step melodic figure. Rhythmically, much use is made of the Scottish snap, particularly in conjunction with the two-note whole-step melodic figure. Rhythmic notation is traditional except in the case of certain repeated figures used to build textural backgrounds, and in a rhythmically "free" section near the end of the piece. In these instances a slightly less restrictive and less specific notation was used.
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    JEANETTE LOMBARD, Soprano SCOTT HOLSHOUSER, Piano ARALEE DOROUGH, Flute Wednesday, November 7, 1990 8:00 p.m. in Hamman Hall
    (Shepherd School of Music, Rice University, 1990-11-07) Milburn, Ellsworth; Finney, Ross Lee, 1906-1997; Berg, Alban, 1885-1935; Cooper, Paul, 1926-1996; Lombard, Jeanette (soprano); Holshauser, Scott (piano); Dorough, Aralee (flute)
    PROGRAM: Three 17th century lyrics (1936-38) / Ross Lee Finney -- A cycle of songs to poems by Archibald MacLeish (1934) / Ross Lee Finney -- Tomorrow's songs (1974) / Paul Cooper -- Two love songs (1970) / Ellsworth Milburn -- Sieben frühen Lieder (Seven early songs) (1907) / Alban Berg
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    JOHN HENDRICKSON, Piano Tuesday, February 18, 1992 8:00 p.m. Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 1992-02-18) Milburn, Ellsworth; Carbon, John, 1951-; Cage, John; Copland, Aaron, 1900-1990; Cooper, Paul, 1926-1996; Hendrickson, John (piano)
    Program: Icarus / John Carbon -- The perilous night / John Cage -- Scherzo / Ellsworth Milburn -- The stone forest / Ellsworth Milburn -- Piano variations / Aaron Copland (1900-1990) -- Sinfonia / Paul Cooper.
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    Mario Lavista and his music with an analysis of "Ficciones"
    (1988) Bonnet, Beatriz A.; Milburn, Ellsworth
    The musical output of Mexican composer Mario Lavista can be roughly organized into three compositional periods corresponding to different techniques and media which he explored in search of his own original voice. These periods are defined in the first chapter, which also delves into Lavista's background and influences, and are represented in an annotated chronological catalogue. Ficciones, an orchestral composition belonging to Lavista's third period, shows an A-B form. Although it is an atonal piece, it has many tonal connotations derived from a germinal cell based on a perfect fifth with an upper and a lower tritone. Throughout the piece the tritone establishes all tonal areas, substituting for the V-I progression of tonal harmony. Lavista is also an influential thinker and teacher, and an interview conducted by the author in Mexico City conveys many of the composer's views on topics such as teaching, literature, analysis and composition.
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    Method and style in the string quartets of Roger Sessions: an interview and analysis
    (1982) Lovekin, Charles B.; Milburn, Ellsworth; Cooper, Paul; Hanson, Alice
    Analysis and comparison of the String Quartet in E minor (1936) and the Second String Quartet (1951) (which are the only two string quartets written by Roger Sessions) reveals important aspects of Sessions’ compositional style and how certain of these aspects undergo change over the fifteen years separating the quartets. The two quartets have more similarities than differences in style. In both works form is clearly demarcated by very traditional associations of musical ideas, the music depending upon developmental procedures for its direction. Tension is controlled through careful contrasts of tempo, motion, texture, rhythm, consonance and dissonance, melodic contour and range, etc. The various climaxes and cadences in the two pieces also reveal the same procedures. Finally, both works display long, often-elided phrase constructions. The most important stylistic difference between the two quartets is that the Second String Quartet presents and develops fewer ideas per movement and has more movements (although approximately the same number of bars). In broad terms the quartet may therefore be described as embodying greater control of fewer resources than its predecessor. One of the principle differences between the two quartets might seem to be the use of key in the String Quartet in E minor but not in the Second String Quartet. In fact, this difference is of little significance to the writing style common to both works, since each is highly chromatic. In the earlier piece only large-scale harmonic progressions may be analyzed with any degree of accuracy; chord-by-chord analysis is virtually impossible because the tonal relationships are too complex. In comparison to the String Quartet in E minor, the Second String Quartet represents not a turning away from, but a growth beyond the use of tonality. Thus, in its own way, Sessions' development as a composer parallels that of Arnold Schoenberg in the early years of the twentieth century, and reinforces the example of artistic craftsmanship that serves, rather than hampers, expression.
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    Music From The Red Pony - Film Music by Aaron Copland
    (1989) Tucker, Aubrey; Burt, George; Schnoebelen, Anne; Milburn, Ellsworth
    As the motion picture in the twentieth century's unique contribution to the dramatic arts, academic attention to the study of film music is more than justified. The greatest hindrance to research is the unavailability of many film scores. The film composer's task is specialized, demanding the ability to create quickly and coolly under pressure. Aaron Copland developed as a dramatic composer from the beginning. While studying in Paris, he was influenced toward seeking an accessible and uniquely American style. His arrival at that style in the late 1930's preceded an invitation to compose music for films. Analysis of the original score for The Red Pony reveals Aaron Copland as a skillful and artistic film composer. The Copland music is also discussed as it relates to other aspects of the film. Copland was a dominant influence on film scores after 1940, particularly concerning themes of Americana and the West.