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Marshall University Music Department Presents Rossiniana 2!, Faculty Recital, Violauta Duo, Júlio Ribeiro Alves, guitar, Wendell Dobbs, flute
Júlio Ribeiro Alves and Wendell Dobbs
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Marshall University Music Department Presents the Pharos Quartet
Jennifer Bill, Emily Cox, Amy McGlothlin, and Zach Schwartz
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Marshall University Music Department Presents a String Honors Recital
Şőlen Dikener, Elizabeth Reed Smith, Johan Botes, and Megan Bailey
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Come Dolce All'alma Mia, Cavatina from "Tancredi"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Di Piacer Mi Balza il Cor from "The Thieving Magpie"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Ecco Ridente il Cielo from "The Barber of Seville"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Overture to Edoardo e Cristina (arrangement by Ferdinando Carulli)
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Sento Un'interna Voce from "Elizabeth, The Queen of England"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Una Voce Poco Fa from "The Barber of Seville"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Vieni Fra Queste Braccia from "The Thieving Magpie"
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Gioachino Rossini’s (1792-1868) meteoric rise in the early 19th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, and indeed, arrangements such as these found their way into salons and concert halls.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Cantabile Adagio Espressivo, Polacca Allegretto from Serenade, Op. 16 by Antonio Nava
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Milanese guitarist, singer, and composer Antonio Nava (1775-1826) is best remembered for his guitar method (Nuevo metodo per chitarra, 1812). His contribution to the guitar repertoire consists of circa 70 works, mostly written for flute and guitar (theme and variations, divertimenti, and potpourris). He also composed for solo guitar, as well as duets for violin and guitar, and a trio for flute, violin, and guitar. His two-movement Serenata, opus 16 begins with an expressive Cantabile adagio introduction in minor followed by a Polacca rondo whose recurring theme in major is cheerful and lively. The second movement is a set of virtuosic variations.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Theme and Variations from Serenade, Op. 16 by Antonio Nava
Wendell B. Dobbs Dr. and Júlio Ribeiro Alves
Milanese guitarist, singer, and composer Antonio Nava (1775-1826) is best remembered for his guitar method (Nuevo metodo per chitarra, 1812). His contribution to the guitar repertoire consists of circa 70 works, mostly written for flute and guitar (theme and variations, divertimenti, and potpourris). He also composed for solo guitar, as well as duets for violin and guitar, and a trio for flute, violin, and guitar. His two-movement Serenata, opus 16 begins with an expressive Cantabile adagio introduction in minor followed by a Polacca rondo whose recurring theme in major is cheerful and lively. The second movement is a set of virtuosic variations.
Flutist Wendell Dobbs and guitarist Júlio Ribeiro Alves have recorded these selections on instruments from the era. The flûte perfectionnée was an invention of Jean-Louis Tulou and his foreman Jacques Nonon. The instrument for these recordings was created in Paris in the 1850s. The guitar by Aubrey and Maire was created in the 1840s in Mirecourt in the Vosges foothills in northeastern France, a town known for its manufacture of musical instruments, particularly stringed instruments.
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Marshall University Music Department Presents a Faculty Recital, MU Faculty Brass Quintet, Martin Saunders, trumpet, Brian Walden, trumpet, Stephen Lawson, horn, Michael Stroeher, trombone, Matthew Murchison, tuba
Martin W. Saunders, Brian Walden, Stephen Lawson, Michael Stroeher, and Matther Murchison
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