DePauw School of Music Events Week of Oct. 24--30

DePauw School of Music Event

Week of Oct. 24--30

DePauw Faculty Woodwind Ensemble

Anne Reynolds, flute; Randy Salman, clarinet; Leonid Sirotkin, oboe;

Kara Stolle, bassoon; Rob Danforth horn

Tuesday, Oct. 25

7:30 p.m.

Green Center, Thompson Recital Hall

For this Faculty Select Series performance, the DePauw Faculty Woodwind Ensemble opens an exciting program of three works of different styles, origin and instrumentation, with a masterpiece of mixed ensemble chamber repertoire: Beethoven's Piano Quintet Op. 16, featuring faculty pianist May Phang. Alan Hovhaness's Suite for English Horn and Bassoon--a great example of a young composer in a search of his stylen--nexperiments with Indian raga and neo-baroque sonorities, and the concert closes with the lively and complex five-movement woodwind quintet by Hungarian composer Frigyes Hidas.

Student Recital Hour

Wednesday, Oct. 26

10:20 p.m.

Green Center, Thompson Recital Hall

DePauw's weekly recital hour featuring presentations and performances by talented School of Music students--and occasional guests.

Jazz at the Duck

Steve Snyder, director

Thursday, Oct. 27

8:30 p.m.

Inn at DePauw, The Fluttering Duck

Arts Fest, 2016: DePauw University Orchestra

Orcenith Smith, music director

Sunday, Oct. 30

3 p.m.

Green Center, Kresge Auditorium

The focus of the DePauw University Orchestra's concert for ArtsFest 2016: "Art and Utopia" will be on creating another world of sound through performance of Gustav Mahler's Symphony No. 1. In the Mahler family, Gustav was the second of 14 children. Many of his siblings did not survive. His father often browbeat his mother, and his Jewish heritage counted against him at many turns in his life. Ultimately finding a highly respected career as an opera conductor, he turned to writing symphonies during his summers in the Alps. It was here, in these symphonic soundscapes, that he found escape. As Mahler stated, "composing a symphony means, to me, building a new world with every available technical means." For him, as well, this world of nature and the sounds of his heritage were juxtaposed in a symphonic world of good vs. evil. His first vision of symphonic utopia finds its voice in his Symphony No. 1.