recursal/Fanatic-Fandom huggingface dataset:
Soomin Kim

## Introduction

Soomin Kim was born in South Korea. She now is a junior majoring in Composition at Open Conservatoir. She is a composer with brilliant ideas and extremely talented however she hasn't found a direction and style that speaks to her. This gives her the chance to experiment with new sounds as well as styles within her music composition.

- One minute video of Soomin Kim introducing herself and talks about the program she is on during the festival along with talking about her style of composing.

## Comparisons

I was able to hear Soomin's City of Sea in the Alba Music Festival. Her work was extremely moderner and sounded so much like she wrote music in order to express emotion. In comparison to other music performed during the festival, it is very clear that Soomin's work is very different. at the music she wrote for this festival sounded extremely modern. This is true especially compared to the traditional style of music that was being heard throughout the concert.

## Observations

While listening to Soomin's piece during the festival, I found an important observation I made was that her music consisted of burst of sound from the bass clarinet as well as smooth long, yet strong notes from the marimba. I observed that the notes played by the marimba within this specific piece sounded more like how the sea would sound based on emotional construction. Then, the bass clarinet played notes that I feel represented the sea in which is reference in the title. I feel this is an important observation because now it is possible to have a connection between the title and the actual music, therefore it is possible to have an understanding of the purpose of the piece, which allows for a better emotional connection.

## Works Cited

https://youtu.be/g1LLBYFnc8U?list=PLlMNn6o7SCEak8cq3uo7-sreFO\_lO8Q2N
François-Joseph Gossec (1734-1829)

## Introduction

François Gossec is a French composer. His has composed choral works, operas, symphonies and string quartets. As a young boy he showed much interest in music and had become a choir boy in Antwerp. In 1751, Gossec moved to Paris where he met composer Jean-Philippe Rameau. His first symphony was premiered 3 short years later in 1754. He soared to fame in 1760 when his piece, *Requiem,* was premiered. towards the 1780's, Gossec began focusing more on writing operas rather than the symphonies that gave him fame. He revived instrumental music in France until his death in 1829.

## Works

*Tambourin* was written in 1794. It was performed by a Japanese flute ensemble in the Alba Music Festival in 2017. The piece is light and fast as the flutes dance around. It revolves around a tonal center and always resolves.

## Comparisons

His music reminds me of Mozart. It is a good representation of classical music. Even Mozart came to visit him in 1778 in Paris.

## Observations

He has a famous melody that is recognizable by many from a Warner Brothers Cartoon. He has created some beautiful pieces of music that people could relate to nearly 300 years later.

## Works Cited

https://en.wikipedia.org/wiki/Fran%C3%A7ois-Joseph\_Gossec
Giacomo Puccini (1858-1924)

## Introduction

Giacomo Puccini was an Italian composer known for starting the opera trend towards realism. Growing up in a musical family, Puccini's family had hopes he would follow suit. Despite being uninterested in music at first, Puccini would discover opera and began studying compositions. After some time, Giacomo would become famous with his pieces La Boheme and Madame Butterfly.

## Works

Da Manon Lescaut: *In quelletrine morbide* was performed by the Flute Ensemble des Cinq Roses, conducted Aya Ohta in the Chiesa di San Giuseppe a the Alba Music Festival on May 29, 2017.da Madama Butterfly: *Un bel dí vedremo*

## Observations

Puccini is one of the most famous Italian opera composers. His transition to realism is heard within this songs. The romance aspect is clearly there along with the perfect libretto. Starting out with the organ creates a somber mood that transforms into a flourishing melody which is what Puccini brought to the Italian opera.

## Works Cited

https://www.biography.com/people/giacomo-puccini-9448208

https://en.wikipedia.org/wiki/Giacomo\_Puccini
Zack Pentecost (living composer)

## Introduction

"Zack Pentecost (1990) is a composer, sound designer, producer, and arts enthusiast originally from Springfield, TN now based in Minneapolis, MN. Currently, his interests are in creating new works for classical guitar, electronics, choir, small chamber ensembles, and incorporating electronic elements into works for large ensembles. As a graduate student, Zack helps lead an interdisciplinary group in Music and Sound Studies, performs with the University of Minnesota’s World Music Ensemble – Carnaval, and serves as a student ambassador to the Minnesota Orchestra." ( Zack P) Zack also has his own website of his work and many pieces on SoundCloud to listen to.

## Works

Passage (2017)

Link to his other works:

https://soundcloud.com/zack-pentecost

* Clear Midnight" for Choir, Bass Drum, and Fixed
* Interlude:1882
* "Come Away, Death" for soloist(s), Choir and Fixed
* Postlude: 1602/1623
* "Alleluia" for Choir and Fixed Media

Live composer interview in Alba:

## Comparisons

Zack Pentecost's composition, Passage is different than the other student composers that Transient Canvas presented. Dr. Pentecost's piece was a funky, excited upbeat 80's disco vibe. While another composer presented a piece just as amazing about the empty deep sea with occasional whale noises. This is different to Zack's work because its played much quieter and a slower tempo. This piece would be great for meditation while Zacks piece could be listened to while running or moving around a lot.

## Observations

Passage (2017)

Instruments: Marimba and bass Clarinet

Is funky, Jazzy, with excitable energy. The tempo is fast and the over all feeling is happy. Its about a 6:00 minute song.

## Work Cited

http://zackpentecost.com/

https://soundcloud.com/zack-pentecost
Marissa Hickman

## Introduction

Marissa Hickman is a composer from Montclair, New Jersey. She started playing piano when she was six and through her life became more and more interested in music. She began composing when she was just ten years old to be able to express herself. She attended Montclair High School and was a member of their choir. She also took music theory classes while attending. When it came time to continue her education, she decided to pursue composition in college. Marissa currently attends Rutgers University in New Brunswick and is a Composition Major in the Mason Gross School of the Arts. She likes to compose in various styles such as jazz and electronic. The thing that interests her the most is movie composition. She hopes to one day compose for films.

## Works

*Anatomy of the Infinite Machine* (2017) is an electro-acoustic piece for marimba and bass clarinet. It is a conceptual piece that takes its listeners through a journey of time and space. It contains recording of her own voice saying "time" over and over. The piece plays with the lower register of the bass clarinet and a repeating rhythm in the marimba. It sometimes feels like time is not moving until it all comes to a climax. This piece was premiered at the 2017 Alba Music Festival and was performed by Transient Canvas.

## Comparisons

It is hard to compare such a unique artist to anyone. I would say she is innovative like many other composers were who brought a new meaning to music. Her experimentation with electro-acoustic music is unique and I have never heard anything quite like it.

## Observations

I can tell Marissa draws inspiration from various parts of her life. Her piece is just so unique that it is hard to compare her to anything I have heard before. Her piece really expresses an urgency and fear about time passing by.

## Works Cited

http://www.albacomposition.com/the-2017-fellows.html

personal interview:

☀https://soundcloud.com/norilynne-witt/marissa-interview
Theobald Böhm (1794-1881)

## Introduction

Böhm was a german musician and inventor. He was a flute playing virtuoso, Bavarian court musician, and respected composer. He is well known for perfecting the concert flute and its fingering system which was later adapted to fit woodwind instruments such as the clarinet and the oboe. His father was a goldsmith and he had made his own flute by age seventeen and was good enough to be part of an orchestra. He spent much of his time experimenting with the flute by changing the holes and making it out of different materials to see how it would change the sound. He attended the University of Munich where he studied acoustics. This pointed his experimentation to improving the flute and creating the Boehm System of fingering that is still seen on instruments today.

## Works

*Grand Polonaise in D Major, Op.16*. This piece starts off with an octave leap and the rest of the piece goes up and down the flute's register a lot. The first movement is full of fast chromatic scales that dance all around.

## Comparisons

I do not know many other composers who have been so dedicated to just one instrument. Because he dedicated so much time to one instrument he really became a pioneer for that instrument. Without him we would not have the modern western concert flute that we have today.

## Observations

His style of composing really shows his interest in the flute. He loved to experiment and see all of the types of sounds that could be created. He has a very tonal style and likes to play with dynamics throughout his pieces.

## Works Cited

https://en.wikipedia.org/wiki/Theobald\_Boehm
Lansing McLoskey (Add-On)

### *Moraine (1995, Rev. 2017)*

*Moraine* was originally written in 1995 and was revised in 2017. The 2017 revision was premiered at the Alba Music Festival on June 3, 2017 by the Romanian Philharmonic Orchestra. It is 12 minutes long, and is written for percussion, piano, and strings. It was awarded First Prize in the Kenneth Davenport National Competition for Orchestral Works and was the Co-Winner for the Charles Ives Center Orchestral Composition Competition.

This piece utilized the low brass paired with an intense-sounding string section. Sustained notes are used in the strings to create tension and the tuba is used for dramatic effect. Sharp notes on violins and violas create a feeling of anxiety, confusion, and frustration. This piece is akin to the feeling of being in a storm on the sea.
Year One Manga Chapter 9

This is the ninth chapter of the Year One manga.

## Official Description

*Goblin Slayer is growing, and it shows in everything from his interactions with others to his choices of equipment...*
— Year One Chapter 9's official description.
## Full Summary

In a flashback, Burglar lectures the young boy to never to think of himself as high and mighty. Beginning the boy's training, the rhea then kicks the boy into a frozen stream of water, forcing the boy to sink to the bottom in order to propel himself to the surface. Back in present day, Cow Girl's Uncle asks the boy what he did to his niece, to which the boy replies that nothing happened. The farmer then asks him if he was thinking of settling down with her, but the adventurer denies this, stating that there were still goblins. Thinking that the boy had gone completely mad, the farmer is mildly surprised to hear the boy ask where Cow Girl was. As the adventurer sets out for the Adventurer's Guild, the farmer notices the way he walks is similar to a child who had been left behind.

At the Guild, Guild Girl notices that the adventurer was having trouble standing still, but the adventurer insists nothing of the sort. In response, Guild Girl menacingly asks him if he really thought that, before telling him he needed rest to get the most of out adventuring and secretly handing him a stamina potion. Guild Girl informs him all the other adventurers were at the mines, but the adventurer insists that goblins were something he can handle alone.

While the adventurer was purchasing new equipment at the blacksmith, Smith gives him chainmail armor, though he tells him it isn't of the highest quality. The adventurer is willing to purchase it anyway, making Smith realize that the adventurer was choosing his gear based on the assumption that goblins would take it.

## Major Events

* Cow Girl's Uncle realizes the boy is not the same as he once was.
* Smith deduces that the adventurer chooses his equipment based on the assumption that goblins would take his gear.
Year One Manga Chapter 49

This is the forty-ninth chapter of the Year One manga.

## Official Description

*Forced to take a rare day off while waiting for his promotion meeting, Goblin Slayer returns to the farm bearing news Cow Girl and her uncle are sure to be interested in...*
## Full Summary

Upon arriving at the farm, Goblin Slayer notices damage on the wall and goes to repair it when Cow Girl's Uncle invites him to lunch. Once Cow Girl serves them stew, Goblin Slayer announces he will be leaving for the guild tomorrow to discuss a potential promotion above his current obsidian rank. Despite being told to look presentable, Goblin Slayer decides to go with his current dirtied appearance, which does not sit well with Cow Girl. The latter immediately hollers for him to shower and clean his attire, but soon decides to do those things herself. Cow Girl's Uncle suggests that they do whatever they want once they finish the stew, and the group resumes eating.

## Major Events

* Goblin Slayer goes back to the farm bringing news of a possible promotion.

## References

1. ↑ 1.0 1.1 https://www.comixology.com/Goblin-Slayer-Side-Story-Year-One-49/digital-comic/908969?ref=c2VyaWVzL3ZpZXcvZGVza3RvcC9ncmlkTGlzdC9SZWNlbnRBZGRpdGlvbnM
Year One Light Novel Volume 1

## Adaptations

### **Manga**

Year One Chapters: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 17.5, 18, 19, 20, 20.5

## Volume Navigation

### **Next Volume**

Year One Light Novel Volume 2

**Goblin Slayer! Side Story: Year One Volume 1** is the first novel of the Goblin Slayer Side Story: Year One series.

## Official Synopsis

*After his sister is brutally murdered during a goblin raid, a young boy swears vengeance upon the creatures who killed her and the rest of his village. Five years later and now a novice adventurer, he is by chance reunited with his childhood friend, another survivor of the massacre.*

*Despite his inexperience, crude battle gear, and low rank, the boy sets off alone on a mission to defeat a lair of goblins--thus begins the origin story of how he came to be known as Goblin Slayer!*

*-* Yen Press

## Chapters

* Prologue: Campaign Climax: Thus, the World Was Saved
* Chapter 1: Life Path: Bloodline, Experience, and Encounters
* Interlude: Of Something Typical That Becomes the Seed of an Adventure
* Chapter 2: Shopping Expedition: Getting Equipment
* Interlude: Of Their First Adventure
* Chapter 3: Tutorial: First Adventure
* Interlude: Of the Two of Them After That
* Chapter 4: Middle Phase
* Interlude: "Sadly, Her Adventure Ended Here"
* Chapter 5: Advance to the Next: Level Experience and Growth
* Chapter 6: Solo Adventure: Not Even Seven Adventurers
* Chapter 7: Climax Phase: Night Comes
* Chapter 8: Ending Phase: The Battle Ends
* Chapter 9: After Session: Between Adventures
* Epilogue: Character Creation: Thus, the Adventurer Steps upon the Board
Gunther Schuller (1925 -2015)

*[here you put details of the music you heard and researched]*

## Observations

His work has a large sound! Even in the smallest of phrasing there is a grandeur to his work that resonates within the smallest of ensembles to the obvious large orchestral pieces. The 2 pieces I contrast are his **"Dreamscape for orchestra"** written in 2012, (only 3 years before his death in 2015) and his earlier forays into **The Third Stream** with **"Jazz Abstractions for Nine instruments"** in 1961. The melding of jazz sensibility of rhythm and pulse melded with the Classical grandiosity and use of alternate composing techniques such as 12 Tone or more traditional classical forms creates a wholly original and big sound.
Goblin Slayer Episode 7

## Onward Unto Death

**Onward Unto Death** (死へ進め, *Shi e Susume*) is the seventh episode of anime adaptation of *Goblin Slayer*. It was aired on November 17, 2018, in Japan and December 13, 2018, in the US.

## Summary

After a brief rest in town, Goblin Slayer and his party venture back into the sewers to investigate the source of the goblins. As a precaution, Goblin Slayer brings along a canary to warn them of any poison gas. The party delves deeper into the sewers but are led into a trap when they are locked inside a tomb.

The goblins also begin pumping poison gas into the room which the canary warns the party of, and they successfully seal off the vents to prevent the gas from entering. The goblins then resort to attacking the party directly, and it is revealed they are being led by a goblin champion. The goblin champion critically wounds Goblin Slayer and attacks Priestess as the goblins overwhelm the rest of the party. Motivated by Priestess' screams, Goblin Slayer regains consciousness and attacks the goblin champion from behind, tearing his right eye out in the process.

The goblin champion and his minions flee in fear, giving the party the chance to regroup. Priestess' wounds are slightly healed, but Goblin Slayer collapses from his own wounds.

## Character Appearance

* Priestess
* Sword Maiden
* Goblin Slayer
* High Elf Archer
* Lizard Priest
* Dwarf Shaman
* Burglar (Cameo; flashback)
* Warrior (Flashback)
* Wizard (Flashback)
* Fighter (Flashback)

## Episode Notes

* Some parts of Goblin Slayer and High Elf Archer's conversation in the Water Town's Guild were omitted.
* Lizard Priest mentioning that he has poison immunity has been omitted.
Mauro Montalbetti (1969- present)

## Introduction

Montalbetti is an Italian composer born in Brescia in 1969.
He started his studies of composition in 1987 under Antonio Giacometti at the
“Guiseppe Verdi” Conservatory in Milan. His first accomplishment was when won
the Valentino Bucchi prize in 1988. He became known as an established composer
in 1999 when he received the Gaudeamus Prize. Scala Philharmonic, Music
Biennale Venice, Fondazione Teatro Grande Brescia, The Searchers Ensemble, The
Theaters Reggio Emilia Foundation, Montepulciano Shipyard, Sasha Waltz and
Guest, Orchestra ICO Lecce, Roman Philharmonic, and many more have commissioned
him.

## Works

* *Without words*
* *Only a your breath*
* *Now I’m lost in her eyes*

* *Rooms five pieces*
* *Leaves*
* *Of pink and Wind*
* *Prelude en pleurs*
* *Aus der fremde*

* It un jour
* Flower Forest, Adagio for cello and orchestra
* Another's hell

## Comparisons

Unlike some of the greats, Montalbetti's is considered to be some of the most played pieces from his generation.

## Observations

I thought that Montalbetti's work was very theatrical and fun. Especially his orchestral piece, *Another's Hell*, due to its changed in tempo and the way he manipulated the sounds of the instruments.
Joseph Dangerfield (1977-present)

## Introduction

Dangerfield was born in 1977. He began studying composition at Marshall University completing his BFA in 1999. We went on to continue his education at Bowling Green State University in Ohio where he completed his Master's. In 2005 he earned his doctorate from the University of Iowa. He was a pianist to start but is now a composer, performer active in the United States.

## Works

His piece *Aegir* was performed by Transient Canvas at the Alba Music Festival on May 29, 2017. The piece has an abrupt and loud start. The theme is stated early in the piece in the bass clarinet voice and is returned to and built upon throughout the piece. There is a lot of call and answer between the bass clarinet and the marimba. There are some very funky chords and the piece comes to a soft ending.

## Comparisons

His unique modern style reminds me of other composers in his generation such as Lowell Liebermann. They both play with interesting abrupt sounds and how those effect listeners.

## Observations

He has a very unique and modern sound to his compositions. Many of his pieces are not a wall of sound but sections of quiet sound that are then interrupted by a loud climax. Many of his pieces sound like adventure to me like someone is walking and coming across things in their path.

## Works Cited

http://www.josephdangerfield.com/Biography.html
Jesse Edwards Interview Transcript

-Were you a musician first? Do you play any instrument?

Jesse plays percussion, piano, guitar, ukelele, and sings. He also greatly enjoys bluegrass and folk music.

-Do you have a favorite time period?

Jesse’s favorite time period in musical history is the romantic era. His compositional inspirations are Chopin, Beethoven, Schumann, and Rachmaninov. He said he is inspired most by early solo piano pieces by Schumann, such as Romance in F# Major. Another favorite piece of his is Threnody for the Victims of Hiroshima by Penderecki. He said this piece always moves him to tears and is one of the greatest pieces of music he has ever listened to.

-Was there a defining moment in your life when you knew you wanted to pursue music as a career?

Jesse knew he wanted to pursue musical composition as a career when he was asked to compose pieces for his school band and theatre. These were moments in his life that helped him realize that music was more than just a passion; it was his life. He felt that by creating music, he was able to bring joy and happiness to a wide range of people through the music he composed.

-What has surprised you the most about composing?

From the beginning, Jesse knew he wanted to go into film musical composition. His passion for film scores started in middle school and followed him up to freshman year of college. His life took a turn though, when he attended a film composition workshop at New York University. There, he felt a disconnect from the composers and their work, as if the composer is left out of the process since they write on command for a certain job. He realized that it was not what he wanted to do for the rest of his life. This change was what surprised him the most in his musical career thus far.

-Who do you compose for, meaning yourself, the musician, the audience, or a combination of the three?

Jesse believes that writing for the enjoyment for himself, the musician, and the audience are all equally important. He does not believe in composing for shock value, but composing for something that speaks deeper inside the human mind for comfort. He believes music should be engaging for all three parties involved, and if one party is disinterested in the piece and took nothing away from the experience, he has failed in his job as a composer.
João de Sousa Carvalho (1745 – c. 1798)

## 1. Introduction

Carvalho was the most renowen Portuguese composer of his time. Born in Estromoz, Carvalho began studying music in 1753 at Colégio dos Santos Reis in Vila Viçosa. He would leave Portugal to study at the Conservatorio di Sabt' Onofrio in Naples soon after. By 1766, his work would become highly respected with one of his first compositions, Mestasio's Libretto, performed in Rome. Following his succes, Carvalho joined the Irmandade de Santa Cecilia in Lisbon where he was appointed professor counterpart and later mestre di capella. In his later years, Carvalho was named the music teacher for the Portuguese royal family, where his legacy as one of the most profound Portuguese composers would be cemented.

## 2. Works: L'amore Industrioso: Overture

This work, L'amore Industrioso: Overture was performed in Alba on May 27th.

## 3. Comparisons

His music, mainly operas, were exceptionally fast-paced for his time. Through his music, he was one of the first to let opera melodies flourish in fast-paced meters. The opera combined classical roots as was the norm of the time. Some of his music, especially L'amore Industrioso includes the classical style as its rhythms are comparable to Mozart and Beethoven.

## 4. Observations

His piece L'amore Industrioso: Overture is a great piece full of different aspects of opera and classical music. The beginning is marked by constant crescendos an decrescendos. The second movements contrasts it by slowing the tempo down and focusing on one melody. His use of emotions in the piece is extremely delicate and captivates the audience. The remainder is mainly 16th notes that flow and repeatedly surround the melody as if protecting it.

## 5. Works Cited

https://www.revolvy.com/topic/Jo%C3%A3o%20de%20Sousa%20Carvalho&item\_type=topic

https://en.wikipedia.org/wiki/Jo%C3%A3o\_de\_Sousa\_Carvalho

http://www.mic.pt/dispatcher?where=0&what=2&show=0&pessoa\_id=3106&lang=EN&site=ic
Maurice Ravel (1875-1937)

## Introduction

Joseph Maurice Ravel was born March, 1875 and died December, 1937. During his musical career, Ravel was a French composer, conductor and pianist. For a decade between the 20's and 30's Ravel was titled as France's greatest living composer, both nationally and internationally. Maurice Ravel grew up in a music loving family that encourage his music aspirations. Ravel attended France's premier music college, the Paris Conservatoire. Ravel disagreed with the conservative style of teaching and left to find his own way and developed his own style of accuracy along with elements of baroque, neoclassicism and later works of jazz. Ravel's best known work, Bolero (1928), he is known for experimenting with musical forms. Ravel was a slow and patient worker than compared to his colleagues, when it came composing pieces and to some it could've been irritating. Maurice Ravel's finished pieces were for piano, chamber music, two piano concertos, ballet music, two operas, orchestral music. "Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public." (wiki)

## Works

da Sonatina per pianoforte: 3 Anime

Structure[edit]

The piece is in three movements:

I. Modéré ("moderate")

II. Mouvement de menuet ("Minuet movement")

III. Animé ("animated")

The leaping fifth melody of the first movement reappears in variations against different textures in the second and third movements. [6]

The first movement marked as Modéré-doux et espressif stays strictly in sonata form. The first theme repeats throughout in the keys of F sharp minor, D major and arrives at B minor for the finale. The final movement Animé nears virtuosic compositional style [4] (SonatineRavelwiki)

## Comparison

*da Sonatina per pianoforte: 3 Anime* compared to other Alba composers like Toru Takemitsu- Romance is vastly different in tempo, style and feeling. Ravel's composition keeps the listener involved with high energy and a twinkling pattern in repetitive notes.

## Observation

The beginning is beautiful; like running through a field of flowers. The energy is high but changes into a relaxing tempo in some parts. All of a sudden a feeling of sad and building up to a high strain of chaotic notes. This piece has a sense of happy beautiful feeling to a anxious hard to listen feeling.

## Work Cited

https://en.wikipedia.org/wiki/Maurice\_Ravelhttps://youtu.be/jAerHOMBcB0

https://en.wikipedia.org/wiki/Sonatine\_(Ravel)#cite\_note-allmusic1-4

https://youtu.be/jAerHOMBcB0
Guiseppe Verdi (1813-1901)

## Introduction

Verdi was an Italian composer who was overwhelmingly remembered for his opera works, mainly because those works outnumber his others dramatically. His most famous or popular operas are from what is known as his "middle period" and they are still performed today. These include *La Traviata, Il trovatore, and Rigoletto.*

He established himself as one of the "pre-eminent" opera composers in history, and his breadth of works speaks to that as well as the years he spent composing and producing operas which amount to about 60 years. He took some time as an elected official, as well as the attempt to own land in the area where he was born and raised, Busseto, a small region in central northern Italy, near Parma.

His works were influenced by the Italian Risorgimento, which is known as the unification of Italy. This took place in teh 19th century, and was about uniting the different regions of italy into the unified Kingdom of Italy. His use of the chorus was inspired or influenced by this unification movement. However, he was known as a very private person who did not feel the need to give into trends or popular movements, but when it comes to living in a society and when teh people in it are the ones supporting his works, he was clearly influenced by the turmoil and resolutions of Italy.

## Works Cited

https://en.wikipedia.org/wiki/Italian\_unification

https://en.wikipedia.org/wiki/Giuseppe\_Verdi#Music\_and\_form
Georgi Zlatev-Cherkin (1905-1977)

## Introduction

Georgi Zlatev-Cherkin studied for two years at the State Academy of Music majoring in Piano and Music Theory. He graduated from the State Academy of Music and Dramatic Art in Vienna in 1929. He taught Singing at the State Academy of Music (1929-36). In 1938 he returned to Bulgaria. In 1940 he joined again the staff of the State Academy of Music as a lecturer. He became full professor (1944), was elected Rector (1948-54) and Dean of the Opera Studies Faculty (1960-74). He worked as a vocal pedagogue at the Conservatories of Peking, Tientsin and Shanghai (1955-58).

## Works

His stage music included:

Operettas: The Rebels’ Song (1955); The Hidden Treasure (in co-authorship with his son Georgi Cherkin, 1961)

*Cantatas:* September 1923, lyrics by P. Tiholov (1945); Little Cantata, words in Chinese after Chinese poems by May Lee (1957).

He also composed chamber music; 50 solo songs; songs for mixed, equal voices and traditional music choir, etc.
Robert Schumann ( 1810-1856)

## Introduction

Born June 8th, 1810 and unfortunately passing away July 29th, 1856. However in his life time, Robert Schumann was a German composer that was widely known for his romantic style of music. Most of his compositions were made for his wife, of various piano pieces, songs, and orchestras pieces. The summer of 1829, Robert Schumann composed Waltzes mimicking the style of Franz Schubert using his piano cycle *Papillons* 9 Opus 2; 1829-31), and practiced industriously with a view to abandon law and becoming a Virtuoso pianist. Friedrich Wieck, a celebrated pianist in Leipizig, wanted to practice and study with Schumann becaue he thought highly of his talent however Schumann's stability and capacity for hard work was lacking. "Much of Schumann’s most characteristic work is introverted and tends to record precise moments and their moods. But another side of his complex personality is evident in the forthright approach and strongly rhythmic patterns of such works as the Toccata (1829–32) and the Piano Quintet. These two aspects are reflected in the two self-projections—the heroically aspiring Florestan and the dreamily introspective Eusebius—into which Schumann analyzed his own character and which he drew upon in an autobiographical novel, his critical writings, and much of his music." (britannica)

## Works

*da Davidsbündlertanze, op. 6:4. Ungeduldig* ( June 2nd)

Link that talks about the piece-

https://wn.com/davidsb%C3%BCndlert%C3%A4nze,\_op.\_6,\_nr.\_4\_ungeduldig\_robert\_schumann

## Comparisons

"In view of its name, it is not surprising that the Davidsbündlertänze (League of David Dances) mark the zenith of Schumann's daring, extravagant imagination. We witness here Eusebius' most deeply affecting tenderness, and Florestan's boldest and wildest dramas, flanked by some of Schumann's most exotic whimsy. But the most affecting parts are the shimmering poetic pieces that turn the piano into the most songful instrument you could wish for. "(analekta)

## Observations

The piece starts off slow and soft notes, parts feel of anxiety, into low deep notes slow and depressing. This was entirely too long of a song. This song makes me feel so uncomfortable and upsetting and the worst thing is to have the song play longer than you can handle, it drives me crazy.

## WorkCited

https://youtu.be/8f54gTj-Bh4

https://www.britannica.com/biography/Robert-Schumann

https://wn.com/davidsb%C3%BCndlert%C3%A4nze,\_op.\_6,\_nr.\_4\_ungeduldig\_robert\_schumann

https://www.analekta.com/en/album/?kuerti-anton-schumann-davidsbundlertanze-op-6-grand-sonata-no-1-in-f-sharp-minor-op-11.1288.html
Carlo Boccadoro (1963)

## Introduction

Carlo Boccadoro is an Italian composer born in 1963. He was born in Macerata, Italy. He is not only a composer, but also a pianist. Boccadoro attended the Milan Conservatory. At the conservatory, he studied composition, piano, and percussion. He also studied jazz at school and was mentored by an Italian jazz musician named Giorgio Gaslini. Besides being very popular in Italy, Boccadoro's music is featured at several popular festivals in a variety of countries including Turkey, Spain, France, and the USA. His largest variety of compositions come from instrumental works but he has also composed opera previously. He is a co-founder of the organization "Sentieri Selvaggi". The goal of their organization is to help spread and publicize contemporary music. The organization puts on festivals and has their own ensemble to help complete their goal.

## Works

Carlo Boccadoro composes chamber music, symphonies, and music for theater and dance. He also has collaborated on several compositions with Sentieri Selvaggi. Lastly, he has also written several novels about musical topics such as jazz.

- *Midnight variations* for piano

- Sonata no. 6 Op. 3 (*Allegro moderato* movement performed in Alba Music Festival on May 28th)

-*Flory et Herba* for soprano, saxophone, and piano

## Comparisons

Although Boccadoro has composed works for many different instruments and forms, his compositions have a similar quality in that they are a certain type of intense. For example, in his *Sonata for Viola and Piano* the music feels abrupt and rushed which translates to a feeling of anxiety in the audience. This can also be seen in his *Vaalbara* for three pianos. In this piece, he uses dynamics to create intensity and urgency through music.

## Observations

One piece I found to be particularly interesting of Boccadoro's is the piece *Lunar*. I found it to be interesting because it is so unlike the other pieces that I had researched on. this piece had a slow tempo, used a smooth and flowing melody, and quiet dynamics. *Lunar* features a harp, flute, clarinet, viola, cello, and percussion. The main difference I found between this piece and Boccadoro's other compositions is the lack of dissonance in the piece. Throughout his other works that I listened to, he used dissonance as a driving force when conveying emotion. In this piece, he used other elements to convey the solemn and peaceful emotion displayed.

## Works Cited

http://www.sonzogno.it/it/compositore?id=273&lang=it&epoca=1

http://classicalplus.gmn.com/composers/composer.asp?id=732

http://www.classicalarchives.com/composer/8817.html
Saverio Mercadante (1795-1870)

## Introduction

Saverio Mercadante (full name Giuseppe Saverio Raffaele Mercadante) was an Italian composer who

composed mostly operas. He was born in Altamurabut studied music throughout his younger years in Naples. In Naples, he learned the flute, violin, and studied composition. He was very successful in his studies and was even hired as a conductor at the Naples conservatory orchestra. At the conservatory, he composed many symphonies and concertos. Following these compositions, he began to compose operas which became very successful in his career. He returned to Italy in 1831 and rebuilt himself as a composer by composing some of his most memorable and crucial works. These works included *II giuramento* which will be mentioned in the section Works. Although he composed many of his important works during this time period, his compositions in later life were also very popular and successful. Mercadante was a unique composer because he was constantly composing prosperous pieces during his entire lifetime. For the last 30 years of life, he worked back at the Naples conservatory, where he began his music career, as the director of the conservatory. He became the director in 1840 and was completely blind by 1863. 7 years later Naples would become his final resting place, where he died in 1870.  His contributions to the music world included development of structures used in opera, orchestration techniques, and melodic styles.

## Works

Mercadante composed a large variety of works including choral works, pieces for piano, symphonies, concertos, and operas. Below are some important works of Mercadante:

- *I Briganti,* opera (1836)

- *II guiramento,* opera (1831) (exert performed in Alba Music Festival on June 3rd, 2017)

- *Concerto for flute and orchestra* in D

- *Tantum ergo,* for tenor, chorus, and organ

## Comparisons

Mercadante wrote a large amount of operas but one opera in particular holds a special place in history. *II guiramento* which was written in 1831was a turning point in Mercadante's composition and reflects his extensive knowledge and development. In this piece, he focused less on the vocal lines and more on creating a balance in between vocals and the orchestra. The vocal lines in this opera were much simpler and the music was given a chance to also play a significant part in an opera. Mercadante was able to show his individuality through *II guiramento* and showcased his development as a composer.

## Observations

Mercadante's music has a very large and full sound. Even in his compositions written for as little as two instruments, the composer found a way to make the piece still feel very full and texturized. Although a large number of his compositions were operas, he also composed very many instrumental works. His passion for orchestration was a driving force in the way he composed. His instrumental works included large ensembles down to small string orchestras.

## Works Cited

https://en.wikipedia.org/wiki/Saverio\_Mercadante

http://www.classicalarchives.com/composer/2997.html

https://www.britannica.com/biography/Saverio-Mercadante
Steven D. Moreno (1995-Present)

## Introduction

Steven D. Moreno is a composer from Vernon, New Jersey. Steven has studied composition with Dr. Christopher Doll, Dr. Steven Kemper, and is currently studying with Tarik O’Regan. He just graduated from Mason Gross School of the Arts at Rutgers University with a degree in music composition, and he will be attending Boston Conservatory at Berklee for his masters in music composition in the fall. He has a new music ensemble at Rutgers, Split the Lark, who he composes for and is co-director of. The group is currently working on the premier of Steven’s opera, *Planet MOOL Comes to Visit.*

## Works

*I Made You in My Own Crab Image* is a piece that Steven wrote to be performed by marimba and bass clarinet duo, Transient Canvas. This piece is one that Transient Canvas typically saves for the end of their set due to the agility and stamina required in the piece. Active listeners can tell that this piece is heavily influenced by the metal genre because of the fast tempo and aggressive 16th notes throughout. Steven originally wrote the piece to be more complex, but he had to get rid of some of the constant 16th notes because it would've been too much for the marimba to play. The composition sends the 16th notes that were playable back and forth between the marimba and the bass clarinet for an interesting sound.

## Comparisons

Steven listens to a lot of MESHUGGAH and it is easy to see their stylistic influence show in Steven's compositions. The heavy and agile percussion is easy to hear in his music.

## Observations

I noticed that Steven really has a different style than all of the other composers in his composition master class. He really stays true to his musical background and favorite genre of music. I feel that giving him only a marimba and bass clarinet was limiting to his composition skills, but he pulled it off and rose to the challenge.

## Works Cited

Alba Music Festival Bio's- http://www.albacomposition.com/the-2017-fellows.html

Audio Interview-
Ian Clarke (1964 - present)

## Introduction

Ian Clarke was born on February 4th, 1964 in Broadstairs, UK. He is a flautist and composer who was born into a musical family. His musical lessons began on the recorder at age 6, started piano at age 8, and taught himself flute at age 10. He was interested in classical and rock music from an early age, and eventually formed a rock band. During his teenage years, he performed with his rock band, gave private lessons, and took part-time classes at Guildhall School of Music and Drama. In 1986, he completed his undergraduate degree with honors in mathematics from the Imperial College of London. In 1987, he and his rock band recorded an album called Environmental Images. They took the name Diva Music in 1992, and have produced music for film and television since.

Since 2000, Clarke has been a professor of flute at Guildhall. He has given masterclasses at a variety of colleges in the United Kingdom and has given performances and workshops at many flute events. He gave a solo flute performance at the International Flute Convention of the National Flute Association in Dallas, and has since performed at various flute conventions.

In 2005, Clarke released his debut album called Within, featuring 12 of his own compositions. This album features classical works for solo flute, flute and piano, and for flute ensembles.

## Works

### Hypnosis (2017)

Hypnosis is a piece for flute and piano. It was performed on June 3rd, 2017 at the Alba Music Festival in Alba, Italy. Karen Johnson played the flute and Robert Hayes played the piano for this performance. This piece has an easy and repeating piano part with a pretty flute melody that is complex but easy to listen to. It starts out slow and builds towards the end.

## Observations

Clarke's music can be distinguished by extended techniques of whistles, trills, alternative fingerings, and simultaneous singing and playing.

## Works Cited

https://en.wikipedia.org/wiki/Ian\_Clarke\_(flautist)

http://www.southwestern.edu/live/image/gid/13/width/250/22570\_ian\_clarke\_press.jpg
Emily Koh (1986)

## Introduction

Emily Koh is a contemporary composer who works mainly out of Boston. Koh was born and raised in Singapore. Her music has been performed all over the world in places such as Taiwan, Japan, and Hong Kong. She is not only a composer but also a double bassist. Koh completed her bachelors at the **National University of Singapore.** After receiving this degree, she traveled to the United States to complete her Masters degree at the **Peabody Institute, John Hopkins University.**  Ultimately, she has recently graduated with a Ph.D. for music composition and theory from Brandeis University. Emily Koh has written music for large ensembles, choral/chamber music, small ensembles, and solos, She also has teaching experience as a Teacher's Assistant at **Harvard University, the National University of Singapore, and John Hopkins University.** Currently, Koh is composing while also serving as the co-artistic director of the Dinosaur Annex Music Ensemble which performs contemporary music. She also teaches at **Harvard, Brandeis University**, and the **Walnut Hill School for the Arts.**

## Works

**\very/ specifically vague** (2017) was performed on May 29th at the Alba Music Festival. Below, other important works are listed:

- **bridging:isolation** (2013)

-**diverse[city]** (2015)

-**cycrotations (**2012)

## Comparisons

Emily Koh's piece **\very specifically vague/** uses elements of dissonance, rhythms that feel almost randomized, and large dynamic changes. In comparison, her piece **kilobyte** (2014) makes a larger use of silence. This could possibly be because the piece is written for a solo instrument vs a duo such as in the piece played in the Alba music festival. However, most of Emily Koh's pieces use very similar elements in new and varying ways which makes her a very unique composer.

## Observations

Emily Koh's work has a unique and chaotic feel. Her piece in the Alba Music Festival used abrupt dynamic changes and complex rhythm to leave the audience wondering what would happen next. Her other pieces, such as *bridging:isolation* use dissonance to create an eerie sound. Overall, Koh's work capsizes on silence and how powerful it can be. Her pieces are very interesting because of the way they are structured and played.

## Works Cited

http://emilykoh.net/about/composer/

http://emilykoh.net/works/

http://emilykoh.net/wp-content/uploads/2016/10/161006-ekoh-cv.pdf

https://www.brandeis.edu/gsas/news/news-stories/emily-koh.html

http://dinosaurannex.org

(http://bostonclassicalreview.com/2013/04/boston-new-music-initiative-serves-up-a-bracing-array-of-works/)
Ludwig Van Beethoven (1770-1827)

## Works

Beethoven composed many works. Below there are types with how many in total and examples of each.

**Orchestral Music**

Symphonies (9 in total)

* Symphony No. 3 in E-flat major "Eroica"
* Symphony No. 6 in F major "Pastoral"

Concertos (9 in total)

* Violin Concerto in D major
* Piano Concerto No. 2 in B-flat major

Other works such as overtures and soloist and orchestra

**Chamber Music**

Piano trios, string trios, quartets

Sonatas: violin, cello, horn

**Solo Piano Music**

* Opus 10: Three Piano Sonatas

* Opus 27: 'Sonata quasi una fantasia', Two Piano Sonatas

**Vocal Music**

Opera, choral,

## Comparisons

His works ranged over a wide variety of types such as chamber music, symphony, and fugue. His music can be divided into three periods. The first period would be his early life. During this period he was composing mostly chamber music with a select few of other works. This is the period in his life where he is just beginning to learn and become established as a great composer. The seocnd period is his mid life where he is first beginning to struggle with hearing loss. He composed very often during this period and composed mostly symphonies which began to lead him into Romantic Era music. During this period, he composed his 3rd symphony which was crucial to revealing his new found individualism. The third and last period of his composition is characterized by his most complex and personal compositions. These works were composed when Beethoven was fully deaf which was a difficult time in his life. Throughout the three periods of musical development in his life, one can see the transformation made from classical works that fit the mainstream musical ideals to personal works that showed Beethoven's true and inner self.

## Observations

Beethoven's music has a very dramatic and abrupt quality. A listener will never have to wonder which emotion Beethoven is trying to convey with his compositions. One can observe the musical development when comparing Beethoven's two pieces, first **Creatures of Prometheus**composed in 1801 and his **9th Symphony**composed in 1824. Both of these pieces have a dramatic quality and resemble eachother in several ways. However, the 9th Symphony has much more complexity along with advanced manipulation of dynamics. I feel that the contrasting qualities of these two pieces show the development that Beethoven made not only as a composer but also as an individual.

## Works Cited:

http://www.lvbeethoven.com/Bio/BiographyLudwig.html

https://www.biography.com/people/ludwig-van-beethoven-9204862

https://www.britannica.com/biography/Ludwig-van-Beethoven/Reputation-and-influence#toc21592

https://en.wikipedia.org/wiki/List\_of\_compositions\_by\_Ludwig\_van\_Beethoven