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A GRADUATE CONDUCTING RECITAL By LAUREN ELIZABETH KINGRY SUPERVISORY COMMITTEE: Raymond Chobaz, Chair Russell L. Robinson, Member A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2012
Summary of Performance Option in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida i n Partial Fulfillment of the Requirements for the Degree of Master of Music A GRADUATE CONDUCTING RECITAL By Lauren Elizabeth Kingry May 2012 Chair: Raymond Chobaz Major: Music Th is M aster of Music Conducting R ecital was performed on November 29, 2011 at 7:30pm in the University Memorial Auditorium. The program included works from the standard orchestral repertoire as well as select works chosen by the 2011 2012 Concerto Competition Winners. The recital was performed by the University of Florida Symphony Orchestra and included two pieces for instrumental soloists and orchestra, as well as two works for large symphonic orchestra. The opening piece was s Overture to his opera Der Freisch tz. The opera, usually hunter who makes a deal with the devil. The young man is allowed seven magic bullets th at are guaranteed to hit wh ichever target he chooses Der Freisch tz is classified as the first German romantic opera, one that would begin to reject its Italian counterpart s and serve as a precursor to German nationalist music. The Overture was chosen for this performance because it truly It foreshadows the drama that plays out in the opera and ref lects the continuous shifting moods of the forest where the Marksman hunts.
Next on th e program was the Concerto for Saxophone and String Orchestra by Swedish composer Lars Erik Larsson which featured Joshua Bond, the winner of the undergraduate division of the annual Concerto Competition. As a compositional st yle exemplifies a complete understand ing of twelve tone technique while including late roma nticism and neo classical features as well. His Concerto for Saxophone was written for Sigurd Rascher and stands alone as a significant contribution to the art of saxophone performance in Sweden. The graduate winner of the concerto competition was Anna Feucht, a vocalist who artfully prepared the Regnava nel Silencio Lucia di Lammermoor. In this scene, Lucia laments that she has just seen the ghost of a girl who w as killed in a jealous rage. Donizetti masterfully illustrates her torment with dramatic ornamentations and embellishments as the soprano reaches a high D. The final work on the program was the monume ntal First Symphony of Ludwig va n Beethoven. While giving obvious hom age to his two great influences, Haydn and Mozart, Beethoven still find s his own voice in style and form. The Symphony surprises the listener with a musical joke, as the first chord tonicises the subdominan t of the home key, no other symphony had ever begun this way! The work continues to captivate listeners throughout with its seamless transitions, change in textures and timbres and overall attention to detail. Beethoven gave the premier e himself, when he was twenty nine. Offering his first large orchestral work to the public was no easy task and while reviews of the Symphony have varied since its inception, the sounds spoke for themselves and have secure d a place in history as the beginning signs of a rev olutionist.
PROGRAM NOTES Carl Maria von Weber began work on Der Freischtz in 1817, although it was not finished Romantic opera, one that would lead away from its Italian counterpart and serve as a precursor to German nationalist music. Friedrich Kind, the librettist, based his text upon the German folklore of a Freischtz, in which a marksman signs a contract with t he devil. The devil allows him seven bullets which are to hit, without fail, whatever he wishes. The Overture foreshadows the drama of the opera and reflects the shifting moods of the forest. The opening chords illustrate the serene, sunlight peeking throu gh the trees. Before becoming too complacent, a shuddering tremolo of the strings is heard as the basses and timpani emulate a mysterious tone meant to depict Samiel, the young marksman and his seven charmed bullets. The New York Times review exclaimed of Swedish composer Lars Erik Larsson studied at the Stockholm Conservatory as a student of Alban Berg. He later moved to Vienna and Leipzig to study with Fritz Reuter. In 1947, Larsson became D irector of Music of the Stockholm Conservatory and in 1961 he took the same position at Uppsala University. His composition style is eclectic, ranging from late Romantic to neo tone technique. His Concerto for Saxophone and Strings was written for saxophonist Sigurd Rascher. The work is not only the first Swedish saxophone concerto, but stands as a significant contribution to the art of saxophone performance in Sweden. The story of Lucia di La mmermoor The Bride of Lammermoor In Regnava nel silenzio (Act I, Scene 2), Lucia stands at the fountain in the park of Ravenswood Castle describing an encounter with the ghost of a girl who was slain in a jealous rage by one of her ancestors. She also mentions that the water had turned to blood. This aria is a e of Lucia di Lammermoor took place in Naples in 1835. At the age of twenty nine, a young Beethoven conducted the premiere of his first large orchestral work at the Hofburg Theater in Vienna on April 2, 1800. The First Symphony seems to bid farewell to th e eighteenth century and welcomes the dawning of a new age. It serves as Gottfried van Swieten. While the nods to his teacher Haydn are obvious, Beethoven finds his own language in style and form. At the first sounds, he rejects all listener expectations and begins on the wrong chord: the dominant to the subdominant. This is commonly referred to as a musical experimentation. Reviews of the symphony have varied since its premiere. One critic of the symphony can spea k for themselves, and its place in history will hold firm as the beginning signs of a revolutionist.
BIOGRAPHICAL SKETCH Lauren E. Kingry is Associate Conductor and Graduate Assistant of the University of Florida Sympho ny Orchestra, under the supervision of Dr. Raymond Chobaz. She is seeking a Master of Music degree in Orchestral Conducting with a concentration in Music Education. Originally from Pensacola, Florida, Ms. Kingry holds a Bachelor of Music degree in Music Ed ucation with an emphasis in instrumental performance also from the University of Florida. Before graduating with her Bachelor degree, she completed her student teaching internship in Naples, Florida, instructing middle school orchestral and choral classes, as well as elementary general music classes. As an educator, her interests include string pedagogy and techniques as well as conducting and rehearsal methods in the secondary music classroom. While attending graduate school at the University of Florida, Ms. Kingry founded and directed the University of Florida String Ensemble with whom she gave numerous performances. In celebration of UF Homecoming 2011 2012, Ms. Kingry conducted the First Annual Swamp Symphony concert, which included the world premiere of three pieces. As Associate Conductor of the University Symphony, she conducted the Annual Concerto Competition winners in concerts in November 2010 and 2011. Her graduate conducting recital featured the 2011 2012 undergraduate and graduate concerto winn Der Freischtz and Symphony No. 1. In the summer of 2011, Ms. Kingry was accepted to intern at the Ambrit International School in Rome, Italy, where she instructed general music classes to international studen ts, ages three through third grade. An avid performer, Ms. Kingry has held principal and section string bass positions in many ensembles, some of which include Ocala (FL) Symphony, Gainesville (FL) Chamber, Valdosta (GA) Symphony and Albany (GA) Symphony Orchestras. At UF, she has performed
with the University Symphony Orchestra, Wind Symphony, Clarinet Choir, Brazilian Ensemble: Jacar Brazil, Steel Drum Ensemble: The Sunshine Steelers and countless other musical groups. Ms. Kingry has participated in op eratic productions of Carmina Burana La Traviata Tosca, and most recently, Die Fledermaus Her professional memberships include NAfME: the National Association for Music Educators, Florida Music Educators Association, Florida Orchestra Associat ion, American String Teachers Association and the College Orchestra Directors Association.
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