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| fergus mcwilliam: Blow Your Own Horn! Fergus McWilliam, 2011 Fergus McWilliam has been a member of the Berlin Philharmonic since 1985 and was a founding member of the Berlin Philharmonic Wind Quintet in 1988. He has spent the last twenty years touring the world with the Berlin Philharmonic and has made over a dozen recordings with his ensemble. During his career, he has performed with many of the major conductors of our times, including Herbert von Karajan, Claudio Ababado, Sir Simon Rattle, Leonard Bernstein, Carlos Kleiber, Seiji Ozawa, Pierre Boulez, James Levine, Daniel Barenboim and more. In addition, McWilliam also founded the Horns of Berlin Philharmonic and has helped re-establish the Winds of Berlin Philharmonic. His solo and chamber music activities continue to take him throughout Europe, the Americas and the Far East. Fergus McWilliam is also an internationally esteemed and sought-after teacher. He continues to give master classes at leading music schools in many countries, including the Berlin Philharmonic Orchestra Academy, the Hans-Eisler Musikhochschule in Berlin, the Royal Academy of Music and the Guildhall School in London, the Paris Conservatoire, the Tokyo University of Fine Arts, the Royal Scottish Academy of Music and Drama in Glasgow, the Venezuela Youth Music programme and more. Blow your OWN Horn is Fergus McWilliams 'take' on horn playing and more generally on music education. Written in a very spirited style, the book covers all aspects of playing and the profession, including, practical elements such as: auditions, embouchure, breathing, exercises. In addition, McWilliam explores topics such as: mind games, attitude, strategies, relativity, under pressure, why do we need teachers and much more |
| fergus mcwilliam: Music as Alchemy Tom Service, 2012-06-05 How are conductors' silent gestures magicked into sound by a group of more than a hundred brilliant but belligerent musicians? The mute choreography of great conductors has fascinated and frustrated musicians and music-lovers for centuries. Orchestras can be inspired to the heights of musical and expressive possibility by their maestros, or flabbergasted that someone who doesn't even make a sound should be elevated to demigod-like status by the public. This is the first book to go inside the rehearsal rooms of some of the most inspirational orchestral partnerships in the world - how Simon Rattle works at the Berlin Philharmonic, how Mariss Jansons deals with the Concertgebouw Orchestra in Amsterdam, and how Claudio Abbado creates the world's most luxurious pick-up band every year with the Lucerne Festival Orchestra. From London to Budapest, Bamberg to Vienna, great orchestral concerts are recreated as a collection of countless human and musical stories. |
| fergus mcwilliam: A Singing Approach to Horn Playing Natalie Douglass Grana, 2022 In A Singing Approach to Horn Playing, author and renowned teacher-musician Natalie Douglass Grana develops the fundamental sense of pitch that is essential to play the horn. The book begins with simple songs to sing on solfège, buzz on the mouthpiece, and play on the horn, followed by inner hearing, transposition, and polyphonic exercises. Readers learn to fluidly hear the notes on the page before playing them, through sequential exercises with songs, improvisation, stick notation, and duets. Training continues with progressively challenging melodies, including canons as well as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally, hornists apply their musicianship skills to standard etude, solo, and orchestral horn repertoire. Horn parts are provided with important lines from the orchestra or accompaniment, transposed to also be sung and played on the horn. Accompanying rhythmic and harmonic exercises enable performers to learn to hear the parts together as they play. Through a wide-ranging synthesis of theory, practical advice, and exercises, Douglass Grana puts forth a crucial guide for a new generation of horn players and burgeoning musicians seeking to improve and perfect their sense of pitch. |
| fergus mcwilliam: Playing for Their Lives: The Global El Sistema Movement for Social Change Through Music Eric Booth, Tricia Tunstall, 2016-09-13 An eye-opening view of the unprecedented global spread of El Sistema—intensive music education that disrupts the cycles of poverty. In some of the bleakest corners of the world, an unprecedented movement is taking root. From the favelas of Brazil to the Maori villages in New Zealand, from occupied Palestine to South Central Los Angeles, musicians with strong social consciences are founding intensive orchestra programs for children in need. In this captivating and inspiring account, authors Tricia Tunstall and Eric Booth tell the remarkable story of the international El Sistema movement. A program that started over four decades ago with a handful of music students in a parking garage in Caracas, El Sistema has evolved into one of classical music’s most vibrant new expressions and one of the world’s most promising social initiatives. Now with more than 700,000 students in Venezuela, El Sistema’s central message—that music can be a powerful tool for social change—has burst borders to grow in 64 countries (and that number increases steadily) across the globe. To discover what makes this movement successful across the radically different cultures that have embraced it, the authors traveled to 25 countries, where they discovered programs thriving even in communities ravaged by poverty, violence, or political unrest. At the heart of each program is a deep commitment to inclusivity. There are no auditions or entry costs, so El Sistema’s doors are open to any child who wants to learn music—or simply needs a place to belong. While intensive music-making may seem an unlikely solution to intractable poverty, this book bears witness to a program that is producing tangible changes in the lives of children and their communities. The authors conclude with a compelling and practicable call to action, highlighting civic and corporate collaborations that have proven successful in communities around the world. |
| fergus mcwilliam: Horn Playing from the Inside Out, Third Edition Eli Epstein, 2018-08-15 This book is a result of Eli Epstein's 18 years in the Cleveland Orchestra and 30 years of Conservatoire teaching. It breaks down into four parts, dealing with Technique, Musicianship, Warm up and Exercises and finally Applying the Method. It is both innovative and inspiring and presents his theories in a clear and understandable way, which gives the reader much to think about and practical ideas to help improve one's playing. An excellent addition to any horn enthusiast's collection.The third edition presents MRI images and data of an elite group of horn players, including Stefan Dohr, Fergus McWilliam, Sarah Willis, Stefan Jezierski (all of the Berlin Philharmonic), Marie-Luise Neunecker, Jeff Nelsen, and others. MRI films confirm that what we do internally, inside the mouth, pharynx, and thoracic cavity is just as important as what we do externally. And, just as there are hallmarks of healthy embouchures that most professional horn players employ, there are many consistent internal movement patterns among the elite group. Epstein presents tried and true methods to learn and teach these exemplary biomechanics. Without a doubt the most physiologically correct book ever published on horn playing. ~John Ericson, Horn Matters |
| fergus mcwilliam: The University of Michigan at Orchestra Hall , 1980 |
| fergus mcwilliam: Alexander Zemlinsky Marc Moskovitz, 2010 Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yetunwilling to abandon his 19th century roots. From Zemlinsky's early success as a composer and widely recognized achievements as a conductor to his eventual descent into obscurity, this new biography places Zemlinsky (1871-1942) against the backdrops of Vienna, Prague and Berlin and illuminates his relationships with figures like Johannes Brahms, Alma Schindler, Gustav Mahler and Arnold Schoenberg. Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yet unwilling to abandon his 19th century roots. Alexander Zemlinsky: A Lyric Symphony includes an Afterword by conductor James Conlon and a complete discography of Zemlinsky recordings. MARC D. MOSKOVITZ is principal cellist of the ProMusica Chamber Orchestra of Columbus, Ohio and has written for various music journals and the New Grove Dictionary of Music and Musicians. |
| fergus mcwilliam: The Horn Call , 1992 |
| fergus mcwilliam: The Instrumentalist Traugott Rohner, 2007 The magazine for school band and orchestra directors. |
| fergus mcwilliam: The Famine Immigrants , 2007 |
| fergus mcwilliam: The Gramophone , 2008 |
| fergus mcwilliam: Michael Boder Jürg Stenzl, 2022-04-20 Seine Karriere begann Michael Boder (*1958) in den 1980er Jahren als Assistent von Michael Gielen an der Oper Frankfurt. Heute gilt er als einer der international hervorragenden Dirigenten, für den bereits vor Beginn seiner Laufbahn die Musik der Gegenwart so selbstverständlich war wie das klassische Repertoire in Oper und Konzert. Für mich persönlich ist Alban Berg der Komponist, durch den ich am meisten über das Hören, Spielen, ja über das Denken gelernt habe. Damit fühle ich mich zwar manchmal recht einsam, aber das macht mir nichts aus. Da ein wesentlicher künstlerischer Schwerpunkt des Musikers Michael Boder im Bereich der Oper, ganz besonders des 20. und 21. Jahrhunderts liegt, ist er es gewohnt, die Werke mit Künstlern unterschiedlicher Herkunft und mit teils sehr verschiedenen Arbeitsweisen gemeinsam zu erarbeiten: mit Sängerinnen und Sängern, Regisseuren und Bühnenbildnern, vor allem aber mit den so unterschiedlich besetzten Orchestern. Ob im Theater oder im Konzertsaal: Michael Boder ist mit Sicherheit kein Musikdarsteller, was sich genauso auch angesichts der Werke seiner Konzertprogramme zeigt. Die Reihe SOLO - Porträts und Profile lädt dazu ein, die Künstlerinnen und Künstler der klassischen Musik kennenzulernen. Erstmals auf dem deutschsprachigen Buchmarkt stehen hier internationale Interpretinnen und Interpreten des 20. und 21. Jahrhunderts im Mittelpunkt. Jedes Buch porträtiert in gut zugänglicher und kompakter Form eine Musiker-Persönlichkeit: Dirigentinnen und Dirigenten, Solistinnen und Solisten, Sängerinnen und Sänger. Biografie und Karriere werden ebenso vorgestellt wie wesentliche Merkmale des individuellen Musizierens. Eine Einordnung des künstlerischen Profils rundet die fundierten Darstellungen ab. Die Autorinnen und Autoren der Reihe sind auf ihrem jeweiligen Gebiet ausgewiesene Fachleute und kommen aus Forschung und Praxis. |
| fergus mcwilliam: Toonaangevend Phebo Wibbens, Gillis Jonk, Jan Raes, Xavier Bekaert, 2013-06-01 Hoe het 125-jarige concertgebouworkest (KCO) een fenomeen in de muziekwereld is geworden en gebleven Wat hebben het Koninklijk Concertgebouworkest, restaurant elBulli en de rugbyploeg All Blacks met elkaar gemeen? Alledrie zijn het iconen: organisaties die iets bijzonders maken of doen dat decennia toonaangevend blijft. Waardoor blijven ze zo lang succesvol, terwijl de roem van de meeste organisaties komt en gaat? Toonaangevend bespreekt de drie essentiële kenmerken die de auteurs ontdekten: 1 Compromisloze selectie van talent 2 Samenspel dat het team boven zichzelf doet uitstijgen 3 Drang om grenzen te blijven verleggen Deze elementen creëren een positieve spiraal: door het steeds verder verleggen van grenzen oefent de organisatie meer en meer aantrekkingskracht uit op het beste talent. Onder anderen Mariss Jansons, Robert Reibestein, Jeroen van der Veer en Robbert Dijkgraaf komen aan het woord over hun ervaringen bij het Concertgebouworkest, McKinsey, Shell en het Institute for Advanced Study in Princeton. Het boek geeft zo een unieke inkijk in wat managers en bestuurders voor hun organisaties kunnen doen om een icoon te worden en te blijven. 'Toonaangevend geeft geen recept voor instant succes, maar wel een blauwdruk voor het bouwen van iconische organisaties. Het biedt een wenkend perspectief voor ambitieuze managers met een lange adem.' Robert Reibestein, voormalig hoofd McKinsey EMEA 'De essentie van duurzaam leiderschap is het bouwen aan een organisatie die met elke generatie sterker en meer gerespecteerd wordt. Toonaangevend beschrijft op een indringende wijze een aantal van de hiervoor essentiële elementen. De lessen die gedistilleerd werden uit het bestuderen van een reeks iconische bedrijven en instituten buiten het traditionele referentiekader leidden mij tot een aantal heel nieuwe inzichten.' Thomas Leysen, Voorzitter KBC en Umicore 'Een TomTom om de competentie van uw bedrijf of instelling vele toontjes hoger te krijgen.' Jeroen van der Veer, voormalig CEO Royal Dutch Shell 'Minder goede teams onthouden de enkele keren dat het fantastisch ging. Topteams onthouden die ene keer dat het minder goed ging.' Fergus McWilliam, hoornist Berliner Philharmoniker |
| fergus mcwilliam: Hans Werner Henze Peter Petersen, 2022-07-08 Hans Werner Henze (1926–2012) war einer der führenden Komponisten, die nach dem Zweiten Weltkrieg einen Neuanfang innerhalb der Musikmoderne einleiteten. Sein Werk umfasst nahezu alle Gattungen der Musik. Offen für die Anknüpfung an bestimmte Musikrichtungen der Vergangenheit trug Henze mit zahlreichen experimentellen und innovativen Werken zugleich zur Weiterentwicklung und Diversifizierung einer zeitgenössischen Musiksprache bei. Anlässlich des zehnten Todestages von Hans Werner Henze am 27. Oktober 2022 legt der renommierte Henze-Forscher Peter Petersen ein Handbuch über das Gesamtwerk des Komponisten vor: Es bietet Beschreibungen und Kommentare zu allen wichtigen Musiktheater-, Vokal-, Orchester- und Kammermusikwerken. Vorangestellt sind ein biografischer Abriss sowie die Einordnung von Henzes kompositorischem Schaffen und musikkulturellem Wirken. Es folgen Verzeichnisse seiner Werke und Schriften sowie CDs und Schallplatten, Videos und Filme. Ausführliche Literaturhinweise und ein Register runden das Handbuch ab. Es wendet sich an alle Musikinteressierte sowie speziell an Musikschaffende in Opernhäusern, Orchestern und Chören, an Konzertagenturen, Rundfunkanstalten, Zeitungsverlage, Musikfestivals, Musikhochschulen, Universitäten, Musikverbände und Behörden. |
| fergus mcwilliam: Canadian Almanac and Legal and Court Directory , 1898 |
| fergus mcwilliam: A Devil to Play Jasper Rees, 2009-12-08 In the days before his fortieth birthday, London-based journalist Jasper Rees traded his pen for a French horn that had been gathering dust in the attic for more than twenty-two years and, on a lark, played it at the annual festival of the British Horn Society. Despite an embarrassingly poor performance, the experience inspired Rees to embark on a daunting, bizarre, and ultimately winning journey: to return to the festival in one year's time and play a Mozart concerto—solo—to a large paying audience. A Devil to Play is the true story of an unlikely midlife crisis spent conquering eighteen feet of wrapped brass tubing widely regarded as the most difficult instrument in the world to master—an endearing, inspiring tale of perseverance and achievement, relayed masterfully, one side-splittingly off-key note at a time. |
| fergus mcwilliam: Fanfare , 1994 |
| fergus mcwilliam: The Detroit Symphony Orchestra Paul Ganson, Laurie Lanzen Harris, 2016-06-09 The first history of the Detroit Symphony Orchestra to describe and document its origins in 1887 to the present day, relating its changing fortunes in light of the economic, demographic, and cultural history of the city of Detroit. The Detroit Symphony Orchestra: Grace, Grit, and Glory details the history of the Detroit Symphony Orchestra as seen through the prism of the city it has called home for nearly 130 years. Now one of America’s finest orchestras, the Detroit Symphony Orchestra began in 1887 as a rather small ensemble of around thirty-five players in a city that was just emerging as an industrial powerhouse. Since then, both the city and its orchestra have known great success in musical artistry for the symphony and economic influence for the city. They have each faced crises as well—financial, social, and cultural—that have forced the DSO into closure three times, and the city to the brink of dissolution. Yet somehow, in the face of adversity, the DSO stands strong today, a beacon of perseverence and rebirth in a city of second chances. This is the first history of the DSO to document the orchestra from its earliest incarnation in the late nineteenth century to its current status as one of the top orchestras in the country. The Detroit Symphony Orchestra tells the story of the organization—the musicians, the musical directors, the boards, and the management—as they strove for musical excellence, and the consistent funding and leadership to achieve it in the changing economic and cultural landscape of Detroit. Author Laurie Lanzen Harris, with Paul Ganson, explores the cycles of glory, collapse, and renewal of the orchestra in light of the city’s own dynamic economic, demographic, and cultural changes. Any reader with an interest in Detroit history or the history of American smphony orchestras should have this book on his or her shelf. |
| fergus mcwilliam: Schwann Opus , 1998 |
| fergus mcwilliam: Vacher's Parliamentary Companion , 1987 |
| fergus mcwilliam: The Canadian Almanac and Miscellaneous Directory , 1897 |
| fergus mcwilliam: The Piano Recital Akiko Miyakoshi, 2019-09-03 An enchanting new story from Akiko Miyakoshi. It’s Momo's first piano recital. As she nervously waits to play, she tells herself, “I’ll be okay … I’ll be okay …” Then she hears a voice nearby saying, “I’ll be okay … I’ll be okay …” It’s a mouseling, also nervous about her first performance! Momo follows her backstage, where she’s amazed to discover a miniature mouse theater. Momo accompanies her new friend on piano, and the mouse audience is so appreciative. Except, suddenly, she discovers — it’s not a mouse audience at all! Sometimes a bit of magic can make all the difference! |
| fergus mcwilliam: Gramophone , 2007 |
| fergus mcwilliam: Las claves del aprendizaje musical Rafael García, 2019-01-14 Mejorar en cualquier aspecto supone un reto. Significa pasar de un nivel de funcionamiento a otro mejor, de un nivel determinado de rendimiento a uno superior. Y conseguirlo supone estar dispuesto a exigirte un poco más para alcanzar el incremento que deseas, puesto que mejorar significa sobrepasar los límites actuales. Tal es el caso del aprendizaje musical. La música llega de tal forma al corazón y al intelecto, que de forma inexplicable produce espirales de magia y admiración. Acercarnos un poco más a suscitar en los demás tales experiencias mediante el canto o un instrumento musical, supone un verdadero privilegio. Este libro te aporta información útil y trata de ayudarte en la motivación personal para descubrir nuevos caminos para conseguirlo. * Un compromiso activo con el aprendizaje. * ¿Cómo manejar un infortunio que merma tu disfrute musical? * ¿Qué cualidades psicológicas y físicas esenciales concurren en una buena ejecución? * ¿Qué se necesita para desarrollar un criterio musical propio? * Cómo fortalecer tu concentración y entrenar tu oído Mejorar en la música no se consigue solo a base de comparación con estándares imposibles de alcanzar. El aprendizaje de calidad implica tener presente cómo funciona realmente nuestro cerebro, nuestras emociones y nuestra conducta. El verdadero reto consiste en articular estos componentes sabiamente. Conseguir, en definitiva, que el propio estudiante de canto o de instrumento musical, sepa generar en sí mismo las sinergias interiores que le orienten con ilusión hacia un camino musical de mejora continua. En la primera parte de este libro, el autor repasa un tema fundamental que recorre transversalmente toda la obra: la autorregulación del aprendizaje musical. ¿Qué implica tomar tus propias decisiones musicales? ¿Qué se necesita para desarrollar un criterio musical propio? ¿Cómo aprovechar tus experiencias para incrementar el rendimiento y la satisfacción? A través de diversos contenidos y experiencias de grandes profesionales, los primeros capítulos nos introducen en las ideas clave de lo que supone aprender a aprender. La segunda parte del libro representa una invitación al autoconocimiento, la reflexión y la práctica. Al final de cada capítulo de esta segunda parte se presentan experiencias prácticas relacionadas con la actividad musical, y que sin duda nos situarán en un plano de ventaja al abrir la tapa del piano o comencemos a vocalizar. Los siguientes capítulos inciden positivamente en la propia realización de la acción musical, abordando cuestiones como la concentración, el control sobre la ejecución o la revisión de la base técnica. En el último capítulo se muestra la importancia de revisar los resultados de las experiencias musicales y reflexionar sobre diversos asuntos relacionados con ellos. |
| fergus mcwilliam: Los grandes directores de orquesta Helena Matheopoulos, 2007-12-13 Helena Matheopoulos realiza una minuciosa exploración del arte de la dirección orquestal a través de los más grandes directores del siglo XX: Leonard Bernstein, Claudio Abbado, Karl Böhn, Carlo Maria Giulini, Herbert van Karajan, James Levine, Zubin Metha, Riccardo Muti, Georg Solti, Simon Rattle. |
| fergus mcwilliam: ITA Journal , 2005 |
| fergus mcwilliam: Schwann Opus Schwann Publications, Schwann Publications Staff, 1996-09 |
| fergus mcwilliam: Germany , 1994 |
| fergus mcwilliam: Official Register of the United States , 1903 |
| fergus mcwilliam: Annual Report , 1978 |
| fergus mcwilliam: Brass bulletin , 2000 |
| fergus mcwilliam: The Canadian Almanac and Miscellaneous Directory , 1907 |
| fergus mcwilliam: The Medical Register , 1973 Contains the names of medical practitioners registered with the General Medical Council of Great Britain. Data includes name and date of registration, address, registered qualifications, and registration number. Also includes information on the Council, registration statistics, and registrable qualifications granted in the United Kingdom, the Republic of Ireland, in member states of the European Economic Community, and recognized overseas (selected British Commonwealth) qualifications. |
| fergus mcwilliam: Robert and James Adam, Architects of the Age of Enlightenment Ariyuki Kondo, 2015-10-06 During the second half of the eighteenth century British architecture moved away from the dominant school of classicism in favour of a more creative freedom of expression. At the forefront of this change were architect brothers Robert and James Adam. Kondo’s work places them within the context of eighteenth-century intellectual thought. |
| fergus mcwilliam: Shareholders in the Chartered Banks of the Dominion of Canada Canada. Dept. of Finance, 1887 |
| fergus mcwilliam: Bohan and McCarthy - Capital Acquisitions Tax Brian Bohan, Fergus McCarthy, Aidan McLoughlin, 2013-01-01 Bohan and McCarthy: Capital Acquisitions Tax is recognised by tax practitioners as the leading authority on the law of capital acquisitions tax in Ireland. It guides the practitioner through the financial processes required to navigate when handling transactions with a capital acquisition tax aspect.The fourth edition includes:1. Changes to CAT Consolidation Act 2003 and the Taxes Consolidation Act 1997 introduced in five Finance Acts (2009 to 2013 inclusive).2. Relevant Irish and other case law since 2008.3. Analysis of and reference to updated Revenue commentary and precedents since 2008.4. Updated worked computations and examples where necessary in the context of any changes in CAT law.Table of contents:Chapter 1 IntroductionChapter 2 DefinitionsChapter 3 TerritorialityChapter 4 Gift Tax, Inheritance Tax and PropertyChapter 5 Taxable ValueChapter 6 ValuationChapter 7 Valuation DateChapter 8 ReliefsChapter 9 Agricultural PropertyChapter 10 Business ReliefChapter 11 ExemptionsChapter 12 Computation of CATChapter 13 Double Taxation ReliefChapter 14 Co-ownershipChapter 15 Partnerships and Lloyd's UnderwritersChapter 16 SettlementsChapter 17 Discretionary TrustsChapter 18 InsuranceChapter 19 Anti-avoidanceChapter 20 Returns and AssessmentsChapter 21 Revenue Powers and AppealsChapter 22 Payment of Tax and Interest on TaxChapter 23 MiscellaneousAppendicesAppendix A: Probate TaxAppendix B: Agricultural Relief prior to 22 January 1997Appendix C: Statement of Practice SP-CAT1-04Previous print edition ISBN: 9781847662439 |
| fergus mcwilliam: Gramophone Classical Good CD Guide 1998 , 1997 |
| fergus mcwilliam: The Reptile Club Maureen Fergus, 2018-09-04 A boy’s school club turns into something unexpected. When Rory can’t find a school club that suits him, his parents suggest he start his own club about something he loves. Rory knows exactly what it will be: a Reptile Club! He sets up his first meeting and then he waits and waits for kids to show up. Just as he is about to give up, he hears whispering in the hallway. To his astonishment, it’s not his schoolmates who have arrived to attend the first meeting, but a crocodile, an anaconda and a gecko! A club about reptiles or for reptiles? Kids will want to sign up for this one — because it’s both! |
| fergus mcwilliam: House of Commons Weekly Information Bulletin Great Britain. Parliament. House of Commons. Public Information Office, 1985 |
| fergus mcwilliam: Scottish Record Society , 1916 |
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