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Home › News & Events › Events › Twenty-Fourth CMT Colloquium “Erlkönig: Franz Schubert’s Mini-Opera”

Twenty-Fourth CMT Colloquium “Erlkönig: Franz Schubert’s Mini-Opera”

Lecture Friday April 27, 2018 - 4:00p.m. to 5:00p.m.

Venue: Room 146, 1017 N Olive Rd, Tucson, AZ 85721-0004

The University of Arizona Fred Fox School of Music presents:

Twenty-Fourth CMT Colloquium

“Erlkönig: Franz Schubert’s Mini-Opera”

Presented by Timothy Kolosick (Professor Emeritus) and Paula Fan (Regents Professor Emeritus)

 

Friday, April 27, 2018

Room 146, Fred Fox School of Music, 4:00–5:00 p.m.

Free Admission

 

 

This colloquium is the twenty-fourth in a continuing series of lectures, to take place on the last Friday of the month. Each features a presentation by a faculty member, student, or guest in the areas of Composition, Musicology, or Music Theory (CMT), followed by a time for questions, comments, and general discussion. It is hoped that these monthly sessions will be an opportunity to communicate current ideas and research in these areas within the Fred Fox School of Music.

 

 

Timothy Kolosick and Paula Fan: “Erlkönig: Franz Schubert’s Mini-Opera”

 

Franz Schubert composed “Erlkönig” for solo voice and piano in 1815 at the age of 18. After three revisions, he published it in 1821 as his Opus 1. Typical of German Romantic Song (Lied) the work employs the singer and pianist as equal partners in the depiction of Goethe’s text. The harmonic structure, tonal language, and rhythmic intensity clearly represent each of four characters, using the same techniques used by opera composers throughout the history of the art form. For this reason, we call Erlkönig, “Schubert’s mini-opera.”

 

The four characters in the song — narrator, father, son, and the Erlkönig — are all sung by a single vocalist. Each character is sung using a different vocal range and timbre. In addition, each character has his own tonal and harmonic “Leitmotifs.”

 

1    The Narrator sings in his middle range and introduces and closes the story in G minor. Why are there characteristically Baroque elements present in the notation of his melodies?

2    The Father sings generally in his lower range and seems intent on explaining away the dangers his son encounters. Are his cadences any more convincing than his explanations?

3    The Son’s reactions lie in a higher range and center around one chord. What makes his signature chord so unstable?

4    The Erlkönig’s vocal line, associated with the major mode and secondary dominants, offers relief from persistent human adversaries: cold, rain, wind, illness, and death. What about other secondary dominants in the song?

 

At the colloquium, we will interactively explore the harmonic language associated with each character and the interaction between the characters, leading to a greater appreciation of the genius behind this mini-opera. The presentation will conclude with a complete performance of Erlkönig.

 

 

About the presenters:

 

Timothy Kolosick

 

  1. Timothy Kolosick, Ph.D., is Professor Emeritus of Music Theory at the University of Arizona School of Music. He holds music theory and conducting degrees from the University of the Pacific, Conservatory of Vienna, University of London, and University of Wisconsin-Madison. His conducting professors include J. Russell Bodley, Kyung Soo Won, Gustav Koslik, Karl Randolf, and Catherine Comet.

 

Dr. Kolosick’s thirty-year academic career combined theoretical studies with practical, creative applications in technology and conducting. He has been a specialist in applications of high technology to music analysis, performance, and instruction. Author of numerous articles, books, award-winning music computer software, he is also a recipient of the Five-star Teaching Award at the University of Arizona. In 1988 a Fulbright Professor Exchange took him to London to teach music theory, composition, technology, and conducting at Goldsmiths’ College, University of London.

 

Dr. Kolosick is a former director of the Peter Treistman Fine Arts Center for New Media, a high-tech research arm of the College of Fine Arts. In conjunction with that center he received a grant in 1992 to found and conduct Orchestra Nova, a live keyboard orchestra. He also conducted the Yamaha-sponsored Clavinova Festival during its five-year existence and completed fourteen years as conductor of the TMTA Piano Ensemble Concert with circa 500 young participants. His past conducting positions include Assistant Conductor at the Vienna Conservatory, a member of the conducting staff of the Wisconsin Youth Symphony Orchestras, numerous church choirs, and most recently six years as Worship Pastor at El Camino Baptist Church.

 

Paula Fan

 

Pianist Paula Fan has performed on five continents, recorded twenty commercial albums, and has broadcast for the BBC, NPR, Radio Television China, and international stations from Bosnia to Australia. As one of the first recipients of the doctorate in Collaborative Piano, she has lectured on the subject worldwide. She performed and taught at the UA’s Fred Fox School of Music for forty years, has played with the Tucson Symphony for thirty-one, and has also served as Visiting Professor at the Eastman School of Music. As both performer and teacher, one of her greatest interests has been building bridges between classical music and audiences of all ages and backgrounds, as well as between disciplines.

 

As the only Regents’ Professor from the Fine Arts, Dr. Fan was part of the team that founded the UA’s Confluencenter for Creative Inquiry, which not only brings together traditionally complementary disciplines within the humanities and fine arts, but also, recognizing that creativity exists within a context, is unique in its inclusion of the social and behavioral sciences and beyond. With Confluencenter’s encouragement, Dr. Fan’s Creative Collaborations series married disciplines from Hospice Care to Cookery with so-called “serious” music, based on her belief that classical music belongs to everyone. She is Confluencenter’s first Senior Fellow (from 2014 to the present), and continues to perform throughout the world.

 

Throughout her academic career, Dr. Fan has explored the world of classical music in different ways with her series of “Time Traveler’s Concerts” in which musicians from history speak as well as perform, “Accompanist’s Lib” concerts highlighting the role of the underappreciated assisting pianist, and in collaboration with other entities, most notably the Arizona Research Institute for Solar Energy (AzRISE). She was a founder of the Solar Storytellers — a piano trio playing electric instruments powered by a golf cart with a solar panel for a roof — and with her brother Michael, produced the Dr. Solara Trilogy of children’s solar energy shows performed on the National Mall in Washington, DC, at the Aspen Science Center, and in Tucson.

 

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The University of Arizona Fred Fox School of Music

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I don't listen to enough percussion music, this was amazing!

Mesmerizing performance! Congratulations to UARIZONA Percussion and Morris Palter!

The University of Arizona Fred Fox School of Music

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The University of Arizona Fred Fox School of Music

River Town Duo releases a debut album featuring original works by six contemporary composers Including pulitzer prize-winning Caroline Shaw.

River Town Duo features Philip Alejo (double bass) and Claire Happel Ashe (harp). Bassist Philip Alejo currently teaches at University of Arizona in Tucson (Associate Professor of Music, Double Bass).

Online Streaming:

Composers: Caroline Shaw (b.1982), Whitney Ashe (b.1971), Derick Evans (b.1991), Hannah Lash (b.1981), Evan Premo (b.1985), Stephen Andrew Taylor (b.1965)

Works: 1. "For Claire & Philip" (2014) by Caroline Shaw, 2. "The Circuitous Six" (2016) by Whitney Ashe, 3. "On Lotusland" (2015) by Derick Evans, 4-5. "Leaves, Space" (2015) by Hannah Lash, 6-7. "Two Meditations on Poems of Mary Oliver" (2017) by Evan Premo, 8-12. "Oxygen" (2017) by Stephen Andrew Taylor

About River Town Duo
Founded in 2012, River Town Duo has presented dozens of recitals at venues including the University of Arizona, University of Illinois, Avaloch Farm Music Institute, Mackinac Island Music Festival, University of Notre Dame, and the University of Wisconsin, among others. River Town Duo has also performed recitals as invited artists at the International Society of Bassists Convention and the American Harp Society Summer Institute. Although there are only a handful of double bass and harp duos in the world, over 20 composers have written works for this instrumentation. River Town Duo is committed to commissioning new works from influential composers and adding to the growing repertoire of pieces for double bass and harp. River Town Duo comprises double bassist Philip Alejo and harpist Claire Happel Ashe.

Philip Alejo is the Associate Professor of Music, Double Bass at the University of Arizona and Artist Faculty at the Bay View Music Festival. Previously he served as Associate Principal Bass of the Quad City Symphony and Visiting Professor of Bass at the University of Michigan. A former member of the Chicago Civic Orchestra, Philip has additionally performed with the Tucson Symphony, Arizona Opera, Ensemble Dal Niente, Flint Symphony, and Ann Arbor Symphony. His numerous music festivals and residencies include Spoleto Festival USA, Lucerne Festival, Swannanoa Chamber Music Festival, Mackinac Island Music Festival, Oaxaca Instrumenta, Aldeburgh Festival, Tucson Winter Chamber Music Festival, Pacific Music Festival, and Aspen Music Festival. Philip teaches at the Arizona ASTA Bass Jams and the Richard Davis Bass Conference at the University of Wisconsin. He was recently named Guest Professor at the Wuhan Conservatory of Music and MusAid Teaching Artist at El Sistema, El Salvador. Philip holds degrees from Oberlin College (BA, BM), Yale University (MM), and the University of Michigan (DMA), where his principal teachers included Diana Gannett, Donald Palma, Peter Dominguez, and Thomas Sperl.

Claire Happel Ashe is a versatile performer known for integrating diverse aspects of movement and music. As a harpist, she has appeared with the St. Louis Symphony Orchestra, Milwaukee Symphony Orchestra, Orquesta Sinfónica Nacional of the Dominican Republic, and the Newberry Consort among many other ensembles. She regularly collaborates in chamber music performances with oboist Karisa Werdon (Immer Neu), and guitarist James Moore and mandolin player Jeremy Harting (Noble Fowl Trio). An advocate of new music, she has performed with contemporary ensembles such as the Chicago Composers Orchestra, International Ensemble Modern Academy, and the Pulitzer Series of St. Louis, and commissioned new works with grants from the Urbana Public Arts Program, City of Chicago Cultural Affairs, American Harp Society, and the Illinois Arts Council. In the summers, she has performed at the Midwest Harp Festival, American Harp Society Conferences and Institutes in Chicago, Logan (UT), and Tacoma (WA), and presented at the World Harp Congress in Dublin and Alexander Technique Congress in Chicago. In addition to performances on the modern pedal harp, Claire has performed on the Baroque triple harp since 2016 mentored by artists such as Cheryl Ann Fulton, Charlotte Mattax Moersch, and Christa Patton at the Madison Early Music Festival and Queens College Early Opera Workshop. She holds degrees in music performance from Yale University and the University of Illinois, where she also received a BFA in Dance, and was a 2007-08 Fulbright Scholar in Prague. She has served on the faculty of the University of Notre Dame, Saint Mary’s College, Illinois Summer Youth Music, and Blue Lake Fine Arts Camp, and as a teaching assistant at Yale University, the University of Illinois, and the Music in the Mountains Festival. She currently teaches harp, Alexander Technique, and movement at the Music Institute of Chicago, Valparaiso University, Olivet Nazarene University, and the James Hart Harp Program in the Homewood Public Schools.
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The University of Arizona Fred Fox School of Music

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The University of Arizona Fred Fox School of Music

Tune in on Friday nights at 7:00 p.m. for livestream performances


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The University of Arizona Fred Fox School of Music

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The University of Arizona Fred Fox School of Music

Registration is now open for UArizona Virtual Clarinet Day! Mark your calendars for Jan. 17, 2021 and join us for this free event! ... See MoreSee Less

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The University of Arizona Fred Fox School of Music

1 week ago

The University of Arizona Fred Fox School of Music

Congratulations to DMA candidate Erik Peregrine!

https://facebook.com/UAChoirs/photos/…
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Congratulations, Erik! We are so proud of you!!

The University of Arizona Fred Fox School of Music

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The University of Arizona Fred Fox School of Music

Tucson Bass Jam
Virtual Event (Zoom)
Sunday, January 17, 2021
1:00-5:00 p.m.
Free Admission

The Tucson Bass Jam is an ASTA and University of Arizona sponsored virtual clinic on Zoom for beginning, intermediate, and advanced double bass students, music educators, and community bass players of any age from Southern Arizona.

Faculty Director:
Philip Alejo, The University of Arizona

Guest Artists:
Issac Trapkus, New York Philharmonic
Juan J. García Jiménez, National Autonomous University of Mexico, CEPROMUSIC

Registration and Fees:
Tucson Bass Jam will be free of charge in 2021.

Registration: Participants should contact Philip Alejo (palejo@email.arizona.edu) to register. A Zoom link and entry code will be sent to every registered participant prior to the event. Registration on the day of the event will be possible, but not recommended. Any high school student interested in playing their regional excerpts for Isaac Trapkus should also contact Philip Alejo.

Schedule of Events:
Sunday, January 17, 2021
1:00-5:00 p.m.

1:00 - 1:15 p.m.
Welcome and introductions

1:20 - 2:00 p.m. Warm-ups with Philip Alejo (beginner/intermediate) and Juan García (advanced)

2:00 - 2:50 p.m.
New and experimental music with Juan García

3:00 - 3:55 p.m.
Masterclass on regional excerpts with Isaac Trapkus

4:00 - 5:00 p.m.
Masterclass for UA students with Isaac Trapkus

Guest Artist Biographies

Bassist Isaac Trapkus joined the New York Philharmonic in November 2016. Before joining the Philharmonic he was a member of the Detroit Symphony Orchestra and, before that, principal double bass of the New Haven Symphony while he was studying with Leigh Mesh, associate principal bass of The Metropolitan Opera Orchestra.

Mr. Trapkus is a product of Iowa’s public school music program and began his bass studies with Linda Gannett of Davenport, Iowa. He received a bachelor’s degree from the University of Michigan, where he studied with Diana Gannett, and a master’s degree from The Juilliard School, where he studied with former New York Philharmonic Principal Bass Eugene Levinson. At Michigan, Isaac Trapkus became the first bassist in 30 years to win the school’s concerto competition, for which he performed Tubin’s Bass Concerto. He also won Juilliard’s bass concerto competition, performing Vanhal’s Bass Concerto. During his study he performed with the New York String Orchestra Seminar and the Schleswig-Holstein Musik Festival in Germany. Mr. Trapkus volunteers as a designer and administrator with IMSLP, the online sheet music library.

Juan J. García Jiménez is a musician specializing in contemporary music and improvisation, who lives and works in Mexico City. Since 2012, he is a member of the ensemble at the Center for Experimentation and Production of Contemporary Music (CEPROMUSIC) and since 2018 is part of the faculty at the Music School of the National Autonomous University of Mexico, and the School of Art of Yucatán (ESAY). He has collaborated with orchestras and chamber ensembles internationally and has also developed a career in improvised and experimental music, collaborating since 2001 with iconic characters in the development of contemporary music. His practice stems from studies and practices within the musical tradition combined with a broad foray into new music, prominently in sonic explorations and experimentations. He has also developed innovative teaching techniques that have led him to mix traditional and experimental musical ideas and practices within the classroom.

García studied double bass at the University of Houston under the tutelage of Dennis Whittaker and earned a master's degree at Arizona State University under Catalin Rotaru in 2008. Since then he has fully devoted himself to teaching, performing, and disseminating new music, premiering hundreds of works by composers from around the world with the CEPROMUSIC Ensemble, Liminar Ensemble, and the Low Frequency Trio. Important performances include concerts at the Huddersfield Contemporary Music Festival (UK), The Darmstadt Summer Festival (Germany), No Idea Festival (Austin), the Tate Modern (UK), and the Rothko Chapel (Houston).
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