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- All Subjects: Dance Performance
- Creators: Schupp, Karen
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
The ASU School of Dance presents School of Dance LIVE!, September 7-9, with works by dance faculty, performed at Galvin Playhouse.
The ASU School of Dance presents New Danceworks II, January 26-29, with works by dance faculty, graduate students, and visiting artists, performed at the Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents Sharing Unimaginable Worlds: Spring Concert 2006, April 27-30, with works by dance faculty, alumni, graduate, undergraduate, and visiting artists, performed at Galvin Playhouse.
The ASU School of Dance presents Emerging Artists II, February 16-19, with works by dance faculty and undergrad students, performed at Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents New Dance Works 1, October 11 - 14, with works by dance MFA candidates Christina Harrison, Nicole Manus, and Emily Wright, performed at the Dance Studio Theatre.
The ASU School of Dance presents Elina's LINEage, September 19-21, with works by Elina Mooney and Cliff Keuter, performed at Galvin Playhouse.