Dr. Bobbie Bailey & Family Performance Center (Audio)

La bonne chanson, Op.61 is a song cycle of nine melodies for voice and piano. L'hiver a cessé is the last cycle in La bonne chanson. The cycle was composed in the summers of 1892 and 1893 while Fauré was staying in Bougival, as the guest of the banker Sigismond Bardac and his wife, the soprano Emma Bardac. Fauré wrote later that the cycle was his most spontaneous creation, with Bardac singing the newly composed material for him each day. The final song, "L'hiver a cessé", was completed in February 1894, and the cycle was published by Hamelle that year, with a dedication to Emma Bardac. In a 1902 interview conducted by Louis Aguettant for Le Courrier musical, Fauré enumerated five main musical themes which recur throughout the cycle until they appear together in the final song, "L'hiver a cessé".

Collateral Damage for Clarinet and Orchestra (2000) A Concerto for Bb Clarinet and Orchestra A standard three movement concerto for Solo Clarinet and Orchestra 2222/4331/3perc/timp/Strings. I. A Bosnian Rhapsody II. Funeral for a Rock Star III. Serbian Hoedown (The bombs fly but the band plays on) Total duration of the work is about 20 minutes. Bearing the title "Collateral Damage," the Concerto for Clarinet and Orchestra was composed for clarinetist and former colleague Håkan Rosengren. It was completed over a six week period during the months of February and March of 2000 and was premiered by Peter Wright (Principal Clarinetist) and the Jacksonville Symphony Orchestra (Fabio Machetti, Conductor) on March 3 & 4, 2005 at the Times-Union Performing Arts Hall in Jacksonville, Florida. The work was also performed by Frank Cohen and the Cleveland Orchestra in July, 2005 at Blossom Music Pavillion. The 20 minute work is somewhat eclectic and post modern in style and follows the traditional three movement form. The faster outer movements are a musical blend of both contemporary classical and Eastern European folk idioms. By contrast, the slower middle movement incorporates musical elements that characterize some of the popular music of the late 20th century. Inspired largely by the tragic events which surrounded the break-up of the former Yugoslavia during the 1990's, the work is dedicated to the civilian victims of all modern wars. The rousing and spirited finale "Serbian Hoedown" (The bombs fly but the band plays on) takes its inspiration from those men and women who would congregate on the bridges during the bombing raids in Serbia in the spring of 1999. They often passed their time with defiant speeches and traditional folk singing and dancing in the hope that the massive structure - which they depended on for their general livelihood and security - would not be targeted and destroyed. Here the clarinet, performing melodic material steeped in Serbian folk-dance idioms, seems to lead the orchestra through a series of climaxes and mishaps (even reviving the ensemble at one point) as melodic materials first presented by the solo clarinet are taken up by the accompanying ensemble.

Bearing the title "Collateral Damage," the Concerto for Clarinet and Orchestra was composed for clarinetist and former colleague Håkan Rosengren. It was completed over a six week period during the months of February and March of 2000 and was premiered by Peter Wright (Principal Clarinetist) and the Jacksonville Symphony Orchestra (Fabio Machetti, Conductor) on March 3 & 4, 2005 at the Times-Union Performing Arts Hall in Jacksonville, Florida. The work was also performed by Frank Cohen and the Cleveland Orchestra in July, 2005 at Blossom Music Pavillion. The 20 minute work is somewhat eclectic and post modern in style and follows the traditional three movement form. The faster outer movements are a musical blend of both contemporary classical and Eastern European folk idioms. By contrast, the slower middle movement incorporates musical elements that characterize some of the popular music of the late 20th century. Inspired largely by the tragic events which surrounded the break-up of the former Yugoslavia during the 1990's, the work is dedicated to the civilian victims of all modern wars. The second movement features the clarinet spinning out a continuously evolving and expanding melody over a series of recurring but shifting harmonic patterns. The title "Funeral for a Rock Star" is a concise description of the imagery and emotion that the music seeks to convey. The seemingly improvisatory and unrestrained clarinet solo evokes the image of a soul freely born aloft, while the heavy, plodding undercurrent of low brass and strings reveals a procession of loved ones bearing the weight of a casket and a profound grief whose consolation lies somewhere between memory and hope.

Sheherazade, Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888. Based on One Thousand and One Nights, sometimes known as The Arabian Nights, this orchestral work combines two features common to Russian music and of Rimsky-Korsakov in particular: dazzling, colourful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. It is considered Rimsky-Korsakov's most popular work.

Sheherazade, Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888. Based on One Thousand and One Nights, sometimes known as The Arabian Nights, this orchestral work combines two features common to Russian music and of Rimsky-Korsakov in particular: dazzling, colourful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. It is considered Rimsky-Korsakov's most popular work.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Chen Yi, a distinguished Chinese composer and graduate of the Central Conservatory in Beijing has worked with the KSU Symphony Orchestra on performing her music and understanding the differences in how to interpret Chinese music. Momentum was commissioned by the Peabody Conservatory of Music in 1997, during Chen Yi’s tenure there. The work, she says, was inspired “by the power of ancient totems, the tension of the breathing lava (before it breaks up and begins to flow), and the gesture of the exaggerated dancing lines in Chinese calligraphy.” It is one of her many compositions that brings together Western instrumental colors with Chinese pentatonic tonalities.

Bearing the title "Collateral Damage," the Concerto for Clarinet and Orchestra was composed for clarinetist and former colleague Håkan Rosengren. It was completed over a six week period during the months of February and March of 2000 and was premiered by Peter Wright (Principal Clarinetist) and the Jacksonville Symphony Orchestra (Fabio Machetti, Conductor) on March 3 & 4, 2005 at the Times-Union Performing Arts Hall in Jacksonville, Florida. The work was also performed by Frank Cohen and the Cleveland Orchestra in July, 2005 at Blossom Music Pavillion. The 20 minute work is somewhat eclectic and post modern in style and follows the traditional three movement form. The faster outer movements are a musical blend of both contemporary classical and Eastern European folk idioms. By contrast, the slower middle movement incorporates musical elements that characterize some of the popular music of the late 20th century. Inspired largely by the tragic events which surrounded the break-up of the former Yugoslavia during the 1990's, the work is dedicated to the civilian victims of all modern wars. The opening movement is titled "A Bosnian Rhapsody" and is the longest and structurally the most complex of the three movements. It is built on two contrasting themes, one faster and the other much slower, each set in tonalities that are a semi-tone apart. These original themes incorporate harmonic and melodic idioms commonly found in the music of the balkans and they give the opening movement its distinctive ethnic flavor. Following a powerful climax each of these themes is briefly reprised. This gives way to a more introspective and subdued but expressive cadenza which ends the first movement.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.

Op. 36, commonly referred to as the Enigma Variations, is a set of a theme and its fourteen variations written for orchestra by Edward Elgar in 1898–1899. It is Elgar's best-known large-scale composition, for both the music itself and the enigmas behind it. Elgar dedicated the piece to "my friends pictured within", each variation being an affectionate portrayal of one of his circle of close acquaintances. After its 1899 London premiere, the piece achieved popularity and was given international performances. The people portrayed in the variations include his wife Alice, Augustus J. Jaeger and Elgar himself. It has been arranged for various instruments. The enigma is not the identity of the persons portrayed, as those are known, but rather a hidden theme that is, in Elgar's words, "not played". This hidden theme has been the subject of much speculation, and various musicians have proposed theories for what melody it could be, although Elgar did not say that it was a melody. The enigma could be something else, such as a symbol or a literary theme. Elgar accepted none of the solutions that were put forward in his lifetime, and, pleased with his little joke, took the secret with him to the grave.