41 Results for : 'saskatoon
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Collaboration and Technology
Collaboration and Technology - 23rd International Conference CRIWG 2017 Saskatoon SK Canada August 9-11 2017 Proceedings: ab 58.99 €- Shop: ebook.de
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Boreal Forests and Global Change
Boreal Forests and Global Change - Peer-reviewed manuscripts selected from the International Boreal Forest Research Association Conference held in Saskatoon Saskatchewan Canada September 25-30 1994: ab 308.99 €- Shop: ebook.de
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Crystallization and Precipitation
Crystallization and Precipitation - Proceedings of the International Symposium Saskatoon Saskatchewan Canada 5-7 October 1987: ab 54.99 €- Shop: ebook.de
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Collaboration Technologies and Social Computing
Collaboration Technologies and Social Computing - 9th International Conference CollabTech 2017 Saskatoon SK Canada August 8-10 2017 Proceedings: ab 53.49 €- Shop: ebook.de
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Mendelssohn
About the Trio One of the most distinguished piano trios in North America, the Newstead Trio's performances are personified by warmth, energy, and depth of expression. In more than fifteen years together, they have performed for audiences throughout the United States, Canada, Italy, Hungary, Singapore, and China, where they gave their concerto debut performing Beethoven's Triple Concerto with the Shenzen Symphony Orchestra. The trio made their New York debut at Carnegie Hall, and has been broadcast live on radio and television. Their innovative and uniquely accessible concert programming combines traditional piano trio literature with more contemporary works. These presentations are characterized by a dramatic variety that can be enjoyed by a wide variety of audiences worldwide. They have also commissioned numerous works by widely respected composers and have included a world premier performance on each of their three recordings. The Newstead Trio is the ensemble in residence at the Pennsylvania Academy of Music and is included on the roster of Pennsylvania Performing Arts on Tour. Michael Jamanis, Violin Michael Jamanis received a Bachelor of Music from The Juilliard School, a Master of Music from Yale University, and a Doctor of Musical Arts from Rutgers University. He has been the recipient of numerous awards throughout his career, including the Lincoln Center, Victor Herbert, and Metro-Media Awards. In addition, he has worked with such artists as Leonard Bernstein, Arnold Steinhardt and Joseph Fuchs. When Dr. Jamanis is not on tour with the Newstead Trio, he serves as the head of the string department at the Pennsylvania Academy of Music, as well as the artistic director of Vivace, a summer music festival now in it's eighth year. Dr. Jamanis is also a visiting professor at China Northwest University for Nationalities and a senior adjunct assistant professor at Franklin and Marshall College in Lancaster, Pennsylvania. Sara Male, Cello Canadian cellist Sara Male received an Associate of the Arts in Music degree from the Victoria Conservatory where she was presented the Principal Emeritus Prize. Her major teachers include Bernard Greenhouse, Zara Nelsova and Timothy Eddy. Ms. Male holds a Bachelor of Music with high honors from Rutgers University, and a Master of Music from the Mannes College of Music. Ms. Male is a former member of the Saskatoon Symphony and is well sought after as a chamber music recitalist, having performed in major venues in the US, Canada, Europe and Asia. Ms. Male joined the faculty of the Pennsylvania Academy of Music as cello instructor and director of the Chamber Music Program in 1994 and is an adjunct assistant professor at Franklin and Marshall College. Xun Pan, Piano Born in Tianjin, China, Xun received his early musical training from his grandmother and parents. He continued his studies at the Central Conservatory of Music in Beijing and Syracuse University, and earned a Doctorate of Musical Arts degree from Rutgers University. Xun was the winner of the Dr. Luis Sigall International Piano Competition in Chile in 1987 and the Frinna Awerbuch International Piano Competition in New York in 1992, and has performed solo recitals worldwide from Carnegie Hall's Weill Recital Hall to China's Beijing Concert Hall. Currently, Xun serves as chairman of the piano department at the Pennsylvania Academy of Music and is a visiting professor at the China Conservatory of Music, China Northwest University for Nationalities, and at Wenzhou University. Mendelssohn The bicentenary of Mendelssohn's birth is observed with affection as well as admiration, the happy regard reserved for those creative artists whose communicative power combines elegance with warmth of heart. Mendelssohn was not a revolutionary, and could not abide some who were (his reactions to Berlioz and his music provide innocent amusement now), but his music and what we know of his personality add up to an agreeably positive image, at once perdurably youthful and consistently mature, characterized by enthusiasm, freshness, imaginativeness and an interest in a broad range of interests which contributed to his sense of drama and gift for color. (His pen-and-ink sketches and water colors are worthy of exhibition). Mendelssohn composed his stunning Overture to A Midsummer Night's Dream and his remarkably mature String Octet as a teen-ager, when Beethoven was still alive, and he is remembered, among other distinctions, for excelling even Mozart's accomplishment as a certifiable child prodigy. Throughout his life, Mendelssohn's commitment to the music of his artistic forebears was more than merely a matter of scholarly interest. He is remembered for restoring Bach's St. Matthew Passion to circulation at age 20, and for similarly successful rescue efforts on behalf of Beethoven's Fourth and Fifth Piano Concertos and, with his young protégé Joseph Joachim, the same composer's Violin Concerto. He regarded such activity with the same seriousness and intensity as his own creative work, but it in no way affected the individuality of his personal style as a composer, which only became more distinctive as the years passed. That style, always marked by great spontaneity and melodic richness and frequently exhibiting the "elfin" spirit that made him the ideal composer of the music for A Midsummer Night's Dream, and is epitomized in it's most mature stage by these two trios, both of which are products of his maturity, created out of his declared intention to revive and refresh the tradition of this genre as represented in the trios of Beethoven and Schubert.. The years in which they were composed frame the rich period during which he produced the stage music for MND (remarkably "picking up where he had left" off with the aforementioned overture some sixteen years earlier), the beloved Violin Concerto in E minor, and the last and greatest of his symphonies, the "Scottish." Mendelssohn had actually composed a Trio in C minor as early as 1820, at age eleven, but that work was scored for piano, violin and viola, and it was in any event one of the numerous compositions in various forms which he regarded as juvenilia and neither brought to publication nor performed in public. The two later recorded here identify him as the continuator between the definitive masterworks for piano, violin and cello by Beethoven and Schubert before him and those to come decades later from Brahms. The Trio in D minor, the earlier and by far the more popular of the two, was composed in 1839, when Mendelssohn was 30 years old. (That was the year in which, as conductor of the Leipzig Gewandhaus Orchestra, he presided over the belated premiere of Schubert's big Symphony in C major--not so big on that occasion, when it was performed with numerous cuts). The opening of this work is frequently cited as a sort of "pre-echo" of the elegiac, or "autumnal" trios of Brahms (who frequently spoke of his admiration for Mendelssohn, and left evidence of it in several of his own works in various forms), but throughout the work there are also suggestions of the legacy of Beethoven and Schubert. The slow movement, which Robert Schumann praised so unreservedly, is characterized by a noble and somewhat restrained level of melancholy, but has a fiery middle section which fades away resignedly when the opening material returns. It is followed by one of the great examples of the scherzo style that Mendelssohn made more or less his own, this one being a meeting place for some darker figures as well as the usual elfin ones. (Some eighteen years earlier, when Carl Zelter, Mendelssohn's teacher, took the lad to meet Goethe and play for him, Zelter remarked to him, "What goblins and dragons have you been dreaming about, to drive you along so wildly?") The finale's marking of assai appassionato would appear to sum up the entire work. In the main, this final Allegro is a brilliant, dancelike piece, but two poignant interludes occur along it's cou- Shop: odax
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Remember
The choral selections on this recording cover a wide spectrum in their approach to life and it's inevitable ending. The composers of these pieces have created strong emotional works that can move the listener to tears, but at the same time raise that listener's spirit. Listening to this music is a chance to remember - but that can be experienced in different ways. Five of the compositions are directly related to war. Three of them are based on texts from World War I. Of those, two are set to Laurence Binyon's timeless poem For the Fallen. Canadian composer Eleanor Daley's setting makes evocative use of the trumpet so often associated with military ceremonies. Mike Sammes' composition for male voices is incredibly moving and ends with the piano playing the final notes of The Last Post. It has been sung at every Saskatoon Chamber Singers' Remembrance Day concert as the Act of Remembrance. Many choral compositions have been written to the words of John McCrae's In Flanders Fields. Canadian composer Kirkland Adsett has chosen to use violin and cello to create a melodic and lyrical setting of this famous text. We Remember Them by American composer Donald McCullough (The Holocaust Cantata) has a distinctively sad and melancholy character. The text by Rabbi Sylvan Kamens and Rabbi Jack Riemer is, in many ways, reminiscent of Binyon's poem mentioned above. The text reminds us that we must all remember the terrible things that can happen in the world when hate, prejudice and oppression go unchecked, so we can try to prevent them from happening again. A Soldier's Prayer by Canadian composer Beverly Lewis is set to an anonymous text found by a hospital nurse in the Philippines during World War II. The text begins "Let them in, Peter, for they are very tired" and then goes on to enumerate those things that the dead will never see or do or know. The fallen in war deserve to be given "things they like" and be told that "they are missed." The plaintive sound of the oboe adds to the poignant mood of this piece. Following along the lines of these pieces is Michael Horvit's Even When God Is Silent. The text for this piece was found by Allied troops in Cologne, Germany, written on a basement wall by someone who had been hiding from the Gestapo. It was commissioned by Congregation Emanu-El on the occasion of the 50th anniversary of Kristallnacht. In Ose Shalom, John Leavitt uses clarinet, violin, cello, bass, and piano to accompany the choir in this moving plea for God to create not only peace in the heavens, but also peace for the Jewish people. Four of the selections are more traditionally sung as hymns. There are two settings of O God, Our Help in Ages Past. Paul Christiansen uses chorale-like arrangements of the familiar tune "St. Anne" for verses one, three, and five. The first and fifth are for male voices and the third for mixed voices. Each of these verses is joined by a contrasting verse that creates a sense of tension and despair. Alan Hovhaness wrote his own tune and accompaniment and set only three verses of the text. The first and third are homophonic in nature, the second has the voices entering one after the other, and all are accompanied by organ. Stephen Hatfield's Amazing Grace is a wonderful and innovative setting of this very familiar tune. The actual hymn tune is heard only in the solo oboe, accompanied throughout by a very beautiful counter melody for the choir. My Shepherd Will Supply My Need was arranged by our accompanist, Rod Epp. He has taken the traditional tune associated with this text and created a wonderfully tender and melodic piece. Both British composer William Walton and Canadian composer Jeff Enns have set Phineas Fletcher's poem "Litany" to music. Although Walton seldom wrote church music, A Litany, composed when he was only fourteen, already foreshadows his distinctive style. Jeff Enns' Litany, inspired by Walton's version, is a composition that is both heartfelt and uplifting and full of beautiful melodies and rich harmonies. The text begins "Drop, drop, slow tears." The shedding of tears is a natural part of the grieving and remembering process. Three of the compositions on this recording are better known for their text than the music to which they have been set. Australian composer Graeme Morton chose Tennyson's timeless poem Crossing the Bar, in which the final stages of life are paralleled with the sailor's evening return to port at journey's end. Christina Rossetti's poem Remember is the text used by Canadian composer Stephen Chatman. The sentiments of this poem reflect much of what we are asked to do when we remember: never should we let the pain of memory take away the joy of living. Chatman's piece is reminiscent of chant in that the character and movement of the piece are reliant on the ebb and flow of the words of the text. Canada's senior composer, Healey Willan, has written a sublime piece to a text by Henry Wadsworth Longfellow, How They So Softly Rest. One of Willan's early works, it hints of Russian church music with it's rich chords for both male and female choirs and is typical of his soaring melodic lines. Canadian composer Allan Bevan has written a truly beautiful arrangement of Ave Maria for two soprano soloists and women's voices. This piece won first prize in the equal voices category in the 1999-2000 Association of Canadian Choral Communities' choral composition competition. The beautiful melody and harmonies unite to create a piece that soars majestically to it's conclusion. Another Canadian composer, Stephanie Martin, set to music comforting words from the Eastern Byzantine rite (circa 842). Kontakion, although homophonic in nature and sung with a feeling of chant, creates a sense of peace now that death has come and a sense of jubilation about what is yet to come. The words of the faithfully departed ask that they be given rest with the saints in a place where there is no longer pain, sorrow, or sighing, but only life everlasting. Cellist Pablo Casals composed O Vos Omnes to a short text from Lamentations. At first Casals sets the male voices against the female voices, but soon they come together as one to reflect a united sorrow. I'm Stillen Friedhof by Hugo Wolf is one of his early compositions and was probably written for the Ritterbund, a close group of friends who came together on a weekly basis for music and good company. The sombre mood first set by the opening chords of the piano gives way to a rhapsodic melody that is sung in turn by the four voices before once again returning to the same sombre mood of the opening. The piece asks us to consider the speed with which the body within a grave can be forgotten, since life seems to continue unaffected. Canadian composer Pierre Mercure wrote Cantate pour une joie in 1955. It is a remarkable work of seven movements, six of which depict the horror and savagery and sadness of war and the state of the world. The cantata concludes, however, with a joyous A Cry of Joy in which the opening piano introduction imitates the pealing of bells on some auspicious occasion, and this sense of festivity and celebration continues throughout the piece. Mercure was concerned with the yearning for joy rather than the concept of joy itself. Jeff Enns' God Be in My Head serves as a suitable conclusion or benediction for this CD. Sung in unison, it's simplicity of melody and text calls us back together to do what the title of the CD first asked us to do - Remember.- Shop: odax
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Gilles Zolty
After several years absence from the Canadian music scene, Gilles returns with a moving collection of songs that effortlessly summarize all that has transpired over the past decade. Still rooted in his folk background, the new album extends the path begun with Zolty Cracker and arrives at this amalgamation of acoustic and electronic ideas: 'folk noir' in his own words. Leonard Cohen and Serge Gainsbourgh share equal space on Gilles' mantel: who seems as fluent sharing his European heritage as his now-Saskatchewan postal code. The songs were recorded in an equally interesting path, some initially recorded in basement studios in Vancouver in 2000, others during early morning post-pub inspired moments within stone walled flats across London, all to be completed and compiled at his personal studio in Saskatoon over the last year. There are performances on record featuring the acoustic brilliance of The Real Ones from Norway, an operatic duet with his sister Tania Zolty, the wonderful bass manipulation of Tomaz Grom, as well as collaborations with Wayne Adams (formerly of Zolty Cracker) and Mark Henning (Guilty About Girls).- Shop: odax
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Better Part of You
Hailing from Saskatoon Canada, Ash Jones combines the Goo Goo Dolls and Ben Harper with a strong undertone of Axl Rose, carving out a musical niche all of his own. Combining the essential elements of poetry, pop sensibility, innate musicianship and powerful thought invoking melody, Ash fishhooks listeners with raw emotion and sincerity. 'Everything I write comes from personal experience, I'm basically just trying to delve inside people and connect with the array of emotions life has to offer.' After years of honing his craft in the trenches of the Saskatchewan acoustic scene, Ash released his debut independent release "Crashing Down" in 2002. The title track was instantly well received, earning Ash a place in the top 12 out of 10,000 entries in the 2003 Canadian National Songwriting Competition. After the competition Ash enlisted Veteran Canadian rockers Angelo Frassetto, Steve Bunka, and Kyle Kildaw from the Touchtone Gurus to perform on and help produce his album "Better Part of You'. Like all great laid plans and intentions, the album was to be released in 2007 once Ash had moved to the London, England but the 'perfect mix' seemed to elude the project for the next few years. Ash continued to live and perform in London throughout 2006 and 2007 garnering great performance reviews. On why "Better Part of You" took so long to complete, Ash states " I had a vision in my mind of how I wanted this album to sound and a plan for how I wanted to achieve it but with so many players and their often competing visions to contend with, a lot of the plans overtime, became unglued. At the end of the day it is the album I've always wanted and dreamed of making. It sounds exactly as I intended and regardless of the time it took to create, I stand proud behind it and will now release it into the atmosphere and let fate take it's course." "Better Part of You" will be internationally released on Nov 20th 2010.- Shop: odax
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Pianoganini
Born in Saskatoon in 1920 of Russian Jewish immigrants, who settled in Saskatchewan in the 1900s. Neil's father was a butcher by trade, quite a successful one at that. But it was his mother who first took Neil to music school. His father although not a musician, loved music and bought a Heintzman piano for $1700. A small fortune in the '20's. Together they contributed much energy and encouragement toward this very young pianist, his musical aspirations, and his quite obvious talent. Neil gave his first piano performance at the tender age of five. At the age of thirteen he was auditioning for pianists Joseph Levine, Carl Friedberg, Alexandre Siloti and Harold Samuel. Later his Mother pulled Neil out of his first music school, for it was not challenging enough for this five year old pianist.She took him to Lyell Gustin., a noted performer and teacher, who dedicated himself to music. Neil remembers this man with much fondness, and relates a typical story, of how one day, Neil who was always trying to impress Lyell, ventured that he counted the number of pieces by Chopin he could play by memory, it was 129, and Lyell's response was, 'yes but he wrote 169.' Neil made his first recording in a studio in Minneapolis, for the sum of twenty five dollars.The pre-war years were filled with more study, radio recitals for the CBC in Winnipeg, concert tours and solo piano appearances with symphony orchestras across western Canada In the 1940's Neil moved to Montreal, because he thought it would be the place where he could further his career. For then Montreal was the entertainment capital of Canada. Here he started composing, arranging. And conducting his music for the then Radio Broadcasting Commission of Canada, later to become the CBC. At one time he was writing, composing arranging and conducting live radio broadcasts for fourteen radio programs per week for drama as well as a nightly Jazz Trio program on radio station CKAC. At the same time he was becoming recognized for his piano talents, and gave countless recitals and concerts. In 1942 Neil enlisted in the RCAF, where his musical talents were quickly recognized, and was soon found entertaining airmen in Europe, and also spent a few years in war torn England and Europe with road-show companies entertaining the troops. He meet and worked with many other notable composers and musicians, on similar missions, guest'd with Robert Farnon and gave recitals for the BBC. His reputation as both a composer, pianist and conductor soon grew, and after the war, back home in Canada, his career started to take off. He was in demand in radio, and then in the 50's in television. He hosted his own radio and TV shows on the CBC. At the same time he was continually practicing the piano, giving important recitals, played with many symphony orchestras, such as the MSO. He also became an accomplished arranger of symphony music, and was always in demand in this venue. Today Neil still arranges for some of the worlds great symphony orchestras, as well as some leading contemporary pop performers and groups. In the 60s 70s and 80s, Neil was kept active, composing, arranging and conducting for CBC radio and TV programs, appearing on his own weekly TV show Music From Montreal, gave many recitals and appearances with eastern symphony orchestras followed with cross Canada tours organized by Gilles Lefebvre for Jeunesses Musicales. Neils career continued with Montréal as his home base, often collaborating with contemporary groups such as 'Harmonium,' fulfilling commissions by symphony orchestras, composing and conducting music for television such as the CBC series Empire Inc and Chasing Rainbows. Then Neil was confronted with one of his most interesting challenges. Harry Belafonte had been convinced by the impresario Sam Gesser to do a cross Canada tour, with some of the leading symphony orchestras. The idea was for Mr. Belafonte to appear with his group as well as with the orchestras. It was to be a fund raising tour for the orchestras. Well Mr. Belafonte agreed, on the condition that Gesser be responsible for getting the symphony orchestras arrangements of some of his repertoire. Sam and Neil had worked together on many occasions before. Neil had done a quite successful Gordon Lightfoot tribute album, of Lightfoot music set for symphony orchestras a few years before. So Sam thought Neil would be a natural for the Belafonte arrangements, and probably could also convince Neil to conduct. So a few of the Lightfoot pieces were sent to Belafonte, who must have been impressed, for he insisted that Neil not only arrange but also conduct the entire tour. Needless to say much to the delight of Sam Gesser. The tour was quite the success, Neil and Belafonte had great times on and of stage, in fact on a couple of performances Belafonte managed to get Neil to sing. His big hit 'Dayo'....quite a feat !.....quite a performance...! It evidently brought the-house-down. Today Neil lives in St Lambert a suburb in Montréal, with his 'conjoint' Francoise Riopelle, where they have collaborated on many dance theatre productions, and so consequently rarely gets to dote after his grandchildren. He still practices his piano every day, and is considering recording another CD. He also still teaches music, and often speaks fondly of some of his students. A score for another film is in-the-works, and his phone is always ringing with projects and good friends. As you can see this is but a sketch of this incredible Canadian, there are countless episodes in his career, the problem will be sorting out the best ones. He is a man who those Canadians who have yet to meet, enjoy, and savor this entertainer, are in for a treat. His is a compelling story of a quiet talented Canadian doing what he does best...what he likes best...usually with people who love him, who respect him, and just simply revel in his presence. This is Neil Chotem...- Shop: odax
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