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Classical Music Service Program Report
CLASSICAL MUSIC SERVICE PROGRAM REPORT April 1 through June 30, 2004 April 6 Music@Menlo series is broadcast each Tuesday night in April. The four programs showcase performances from last summer's inaugural season of the Music@Menlo chamber music festival. April 9 Bach: St. John Passion … Monteverdi Choir; English Baroque Solists/John Eliot Gardiner, conductor, and soloists Anthony Rolfe Johnson, Stephen Varcoe, Cornelius Hauptmann, Nancy Argenta and Ruth Holton (Archiv 419324, from the MPR library). April 24 Metropolitan Opera final season performance. May 5 Dale Warland Singers Farewell Series: 30th Anniversary Concert. Recorded April 2003. Each Wednesday evening in May, we present special programs by the Dale Warland Singers in honor of the 30 years of music they've brought to the community. May12 Dale Warland Singers Farewell Series: 2003 Cathedral Classics May 19 Dale Warland Singers Farewell Series: 2004 Cathedral Classics May 26 Dale Warland Singers Farewell Series: A River Journey May 28 Final Broadcast of the Minnesota Orchestra season May 30 Dale Warland Singers: live broadcast of their final concert (repeated on June 20) May 30 Minnesota Opera: Verdi’s Rigoletto (Recorded and produced by MPR) June 2 VocalEssence: broadcast of 35th anniversary concert, and of the world premiere of Tina Davidson’s Hymn of the Universe June 3 and 4 Live broadcast of the final concerto round of the International Piano-e-Competition from Orchestra Hall, Minneapolis June 4 The series of three Schubert Club Performances begins, replacing the Friday evening Minnesota Orchestra broadcasts during June. June 6 Minnesota Opera: Donizetti’s Lucrezia Borgia (Recorded and produced by MPR) June 13 Minnesota Opera: Stephen Sondheim’s Passion (Recorded and produced by MPR) June 27 Minnesota Opera: Mozart’s The Magic Flute (Recorded and produced by MPR) CLASSICAL MUSIC SERVICE PROGRAM REPORT January 1 through March 31, 2004 January 12 The St Paul’s Cathedral Choir, London, concert at the Cathedral of St Paul, MN, recorded by Minnesota Public Radio in October 2003. -
PENDERECKI Utrenja
572031 bk Penderecki 4/2/09 16:15 Page 8 Stanisław Skrowaczewski, and in 1958 Witold Rowicki was again appointed artistic director and principal conductor, a post he held until 1977, when he was succeeded by Kazimierz Kord, serving until the end of the centenary celebrations in 2001. In 2002 Antoni Wit became general and artistic director of the Warsaw PENDERECKI Philharmonic – The National Orchestra and Choir of Poland. The orchestra has toured widely abroad, in addition to its busy schedule at home in symphony concerts, chamber concerts, educational work and other activities. It now has a complement of 110 players. Utrenja Antoni Wit Hossa • Rehlis • Kusiewicz • Nowacki • Bezzubenkov Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Henryk Czyz and composition with Krzysztof Penderecki Warsaw Boys’ Choir at the Academy of Music in Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also graduated in law at the Jagellonian University in Kraków. Immediately after completing his studies he was Warsaw Philharmonic Choir and Orchestra engaged as an assistant at the Warsaw Philharmonic Orchestra by Witold Rowicki and was later appointed conductor of the Poznan Philharmonic, Antoni Wit collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio and Television Orchestra and Chorus in Kraków, from 1977 to 1983. From 1983 to 2000 he was the director of the National Polish Radio Symphony Orchestra in Katowice, and from 1987 to 1992 he was the chief conductor and then first guest conductor of Orquesta Filarmónica de Gran Canaria. -
CHAN 9653 FRONT.Qxd 24/10/07 12:20 Pm Page 1
CHAN 9653 FRONT.qxd 24/10/07 12:20 pm Page 1 Chan 9653 CHANDOS THE GRAINGER EDITION VOLUME NINE Works for Chorus and Orchestra 3 SUSAN GRITTON soprano PAMELA HELEN STEPHEN mezzo MARK TUCKER tenor STEPHEN VARCOE baritone TIM HUGH cello JOYFUL COMPANY OF SINGERS CITY OF LONDON SINFONIA RICHARD HICKOX GGRAINGER CHAN 9653 BOOK.qxd 24/10/07 12:24 pm Page 2 Percy Grainger (1882–1961) 1 Mock Morris [RMTB No. 1] 3:21 premiere recording in this version Trad. 2 The Power of Love [DFMS No. 4]*|| 4:23 (edited by Barry Peter Ould) premiere recording in this version 3 Died For Love [BFMS No. 10] 1:29 (edited by Dana Paul Perna) The Percy Grainger Society Grainger The Percy Trad. 4 Love Verses from The Song of Solomon†‡|| 6:45 5 Shepherd’s Hey! [BFMS No. 3] 2:07 premiere recording in this version 6 Early One Morning [BFMS Unnum.] 2:02 (edited by Barry Peter Ould) Percy Grainger Trad. 7 The Three Ravens [BFMS No. 41]§|| 4:04 premiere recording 8 Scherzo [YTW Unnum.] 1:40 (edited by Barry Peter Ould) 3 CHAN 9653 BOOK.qxd 24/10/07 12:24 pm Page 4 9 Youthful Rapture [RMTB Unnum.]¶ 5:11 Trad. 16 Dollar and a Half a Day [SCS No. 2]‡§|| 3:21 premiere recording 17 10 Random Round (Set version) [RMTB No. 8]*†‡ 6:01 Molly on the Shore [BFMS No. 1] 4:08 (edited by Barry Peter Ould) TT 62:34 premiere recording in this version Susan Gritton soprano* 11 The Merry King [BFMS No. -
Lamentation of Christ
Francisco de Goya y Lucientes Lamentation of Christ Painted about 1767/68. Oil on cartoon on canvas. Measurements: 35 x 23 cm (13 ³/ x 9 inches) Description We are facing a picture representing a Lamentation of Christ whose authorship is unanimously assigned to Goya in the catalogues by Gudiol 1970 n8 /1980 n5; Gassier & Wilson1970 n8/1984 n12; De Angelis 1974 /76 n19; Camón Aznar 1980 pág. 42; Xavier de Salas 1984 n9; J.L. Morales 1990 n6 / 1997 n3; Arturo Ansón "Goya y Zaragoza" 1995 pág. 61; catalogue online Fundación Goya y Aragón, año 2012. All these authors coincide in dating this work between 1768 and 1770, just before his journey to Italy, and in considering it one of the devotional paintings young Goya carried out at Fuendetodos. This would coincide with his origin of having belonged, according to Gudiol, to a family of Fuendetodos. The IOMR has made a comparative study of the painting in which we point out its stylistic analogies with other works by Goya: The immediacy and reality with which the painter treats the scene so that one may feel it close to life and real, where the artist reveals the human pathos of death with no conventional mannerisms, excluding figures of the celestial world, such as angels, which might confuse his pure sense of reality so that what first surprises one in the picture and what, in fact, makes it closer to Goya and therefore reminds one of the engraving, Desastre Nº 26 No se puede mirar and Nº 14 of the same series, Duro es el paso in which Goya treats death with a completely contemporary closeness. -
Colijn De Coter, the Lamentation (Pietà), Ca
Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Colijn de Coter, The Lamentation (Pietà), ca. 1510-15 Oil on three joined oak panels left: 44 x 14 5/8 in., center: 41 1/2 x 29 1/8 in., right: 43 7/8 x 14 5/8 in. Gift of Charles R. Crane, 13.1.1 Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Artist Biography Few surviving archival documents provide us with details of the life and career of the painter Colijn de Coter (Netherlandish, ca. 1455—ca. 1538/1539). His name is mentioned in the contracts for two artworks (both of which are now lost or unidentified) and is inscribed on only three surviving paintings, although more have been attributed to him (like the Chazen’s painting). His birthdate can be extrapolated from the information presented in a later document dated 1479 in which he is described as a married painter and the tenant of a house in Brussels. He appears registered as a free master with the painters’ Guild of St. Luke in Antwerp as “Colyn van Brusele” (Colin of Brussels), who was commissioned to paint the vault of a chapel near Mechelen. The account books of the Brussels Confraternity of St. Eligius record that the artist was paid for a painting between 1509 and 1511. He likely died in or shortly before 1538-39. Known at the time as the “Low Countries,” the areas of present-day Belgium (including Brussels), Luxembourg, and the Netherlands were under the rule of the duchy of Burgundy from the end of the fourteenth to the end of the fifteenth centuries, along with Northern France. -
Natee Utarit Demetrio Paparoni
Natee Utarit Demetrio Paparoni NATEE UTARIT Optimism is Ridiculous Contents Cover and Back Cover First published in Italy in 2017 by Photo Credits Special thanks for their support 6 The Perils of Optimism. Passage to the Song of Truth Skira editore S.p.A. © 2017. DeAgostini Picture Library/ and collaboration to and Absolute Equality, 2014 Palazzo Casati Stampa Scala, Firenze: pp. 14 (top), 76, 102 The Art of Natee Utarit (details) via Torino 61 © 2017. Digital image, The Museum Demetrio Paparoni 20123 Milano of Modern Art, New York/Scala, Art Director Italy Firenze: pp. 14 (bottom), 18, Makati Avenue corner Marcello Francone www.skira.net 124 (bottom) De La Rosa Street, Greenbelt Park, Makati City, 147 © 2017. Foto Austrian Archives/ 1224 Philippines Optimism is Ridiculous Design © All rights reserved by Richard Koh Scala, Firenze: p. 90 Luigi Fiore Fine Art, Singapore © 2017. Foto Joerg P. Anders. © 2017 Skira editore for this edition Editorial Coordination Foto Scala, Firenze/bpk, Bildagentur 241 Writings by the Artist © 2017 Demetrio Paparoni for his Vincenza Russo fuer Kunst, Kultur und Geschichte, text Berlin: p. 134 Editing © 2017 Natee Utarit for his works © 2017. Foto Klaus Goeken. 249 Appendix Valeria Perenze and texts Foto Scala, Firenze/bpk, Bildagentur © Joseph Beuys, Juan Muñoz, Layout fuer Kunst, Kultur und Geschichte, by SIAE 2017 Antonio Carminati Berlin: p. 82 Jl. Medan Merdeka Timur No. 14 © Man Ray Trust, by SIAE 2017 Jakarta Pusat 10110 - Indonesia © 2017. Foto Scala, Firenze: pp. 8, Translation © Succession Marcel Duchamp 29 (top left), 34, 48, 116 Natalia Iacobelli by SIAE 2016 © 2017. Foto Scala, Firenze/bpk, © Succession Picasso, by SIAE 2017 Iconographical Research Bildagentur fuer Kunst, Kultur © The Andy Warhol Foundation for Paola Lamanna und Geschichte, Berlin: pp. -
AUTUMNTIDE of the MIDDLE AGES
AUTUMNTIDE of the MIDDLE AGES A study of forms of life and thought of the fourteenth and fifteenth centuries in France and the Low Countries Johan Huizinga AUTUMNTIDE of the MIDDLE AGES A study of forms of life and thought of the fourteenth and fifteenth centuries in France and the Low Countries translated by diane Webb edited by Graeme small and anton van der lem LEIDEN UNIVERSITY PRESS table of contents Translator’s note vii Autumntide of the Middle Ages by Johan Huizinga 1 Huizinga's prefaces to the first five Dutch editions 3 Epilogue: From Herfsttij to Autumntide by Graeme Small 538 Bibliography 580 The first Dutch edition of Herfsttij der Middeleeuwen was published in 1919 by H. D. Tjeenk Willink, Haarlem This translation is based on the 5th edition of Herfsttij published in 1941 Translated sources consulted 595 Cover illustration: Jan van Eyck, Portrait of a Man (Self-Portrait?). London, National Gallery, inv. no. nG222 Illustration credits 596 Leiden University Press: Anniek Meinders and Romy Uijen Design: Suzan Beijer Lithography: bfc Graphics About the translator and editors 603 Print: Die Keure, Belgium isbn 978 90 8728 313 1 nUr 680, 684 Edited by Graeme Small and Anton van der Lem © Diane Webb / Leiden University Press, 2020 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the editors and the publisher. -
King Lear and the Winter’S Tale 135 Sanford Budick
Entertaining the Idea shakespeare, philosophy, and performance Edited by Lowell Gallagher, James Kearney, and Julia Reinhard Lupton ENTERTAINING THE IDEA: SHAKESPEARE, PHILOSOPHY, AND PERFORMANCE THE UCLA CLARK MEMORIAL LIBRARY SERIES ENTERTAINING THE IDEA SHAKESPEARE, PHILOSOPHY, AND PERFORMANCE Edited by Lowell Gallagher, James Kearney, and Julia Reinhard Lupton Published by the University of Toronto Press in association with the UCLA Center for Seventeenth- and Eighteenth-Century Studies and the William Andrews Clark Memorial Library © The Regents of the University of California 2021 utorontopress.com Printed in the U.S.A. ISBN 978-1-4875-0743-5 (cloth) ISBN 978-1-4875-3624-4 (EPUB) ISBN 978-1-4875-3623-7 (PDF) ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Library and Archives Canada Cataloguing in Publication Title: Entertaining the idea: Shakespeare, philosophy, and performance / edited by Lowell Gallagher, James Kearney, and Julia Reinhard Lupton. Names: Gallagher, Lowell, 1953– editor. | Kearney, James (James Joseph), editor. | Lupton, Julia Reinhard, 1963– editor. Series: UCLA Clark Memorial Library series ; 29. Description: Series statement: UCLA/Clark Memorial Library series ; no. 29 | Includes bibliographical references and index. Identifiers: Canadiana (print) 20200255657 | Canadiana (ebook) 2020025572X | ISBN 9781487507435 (hardcover) | ISBN 9781487536244 (EPUB) | ISBN 9781487536237 (PDF) Subjects: LCSH: Shakespeare, William, 1564–1616 – Criticism and interpretation. | LCSH: Shakespeare, William, 1564–1616 -
Remembering the Veteran Disability, Trauma, and the American Civil War, 1861-1915
REMEMBERING THE VETERAN DISABILITY, TRAUMA, AND THE AMERICAN CIVIL WAR, 1861-1915 Erin R. Corrales-Diaz A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art. Chapel Hill 2016 Approved by: Ross Barrett Bernard L. Herman John P. Bowles John Kasson Eleanor Jones Harvey © 2016 Erin R. Corrales-Diaz ALL RIGHTS RESERVED ii ABSTRACT Erin R. Corrales-Diaz: Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915 (Under the direction of Ross Barrett) My dissertation, “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915,” explores the complex ways that American artists interpreted war-induced disability after the Civil War. Examining pictorial representations of disabled veterans by George Inness, Thomas Nast, William Bell, and other artists, I argue that the veteran’s broken body became a vehicle for exploring the overwhelming sense of loss that Northerners and Southerners experienced in the war's aftermath. Oscillating between aestheticized ideals and the reality of affliction, visual representations of disabled veterans uncover postwar Americans’ deep and otherwise unspoken anxieties about masculinity, identity, and nationhood. This project represents the first major effort to historicize the visual culture of war-related disability and presents a significant deviation from previous Civil War scholarship and its focus on death. In examining these understudied representations of disability and tracing out the ways that they rework and reinforce nineteenth-century constructions of the body, this project models an approach to the analysis of period imaginings of corporeal difference that might in turn shed new light on contemporary artistic responses to physical and psychological injuries resulting from warfare. -
Index I: Collections
Index I: Collections AACHEN, STÀDTISCHES SUERMONDT ANTWERP, KONINKLIJK MUSEUM MUSEUM VOOR SCHONE KUNSTEN Anonymous, oil sketch after Rubens: Rubens, paintings: The Crucifixion (Coup de Lance), No. Christ Expiring on the Cross, No.30; fig.96; 123-126 7, copy; 149 The Crucifixion (Coup de Lance), No.37; fig.110; 139-146 The Lamentation (triptych), Nos.64-68 AALST, M.V.VAN GHYSEGHEM The Lamentation, No.64; ftg.192; 222-225 Anonymous, painting after Rubens: The Virgin and Child, No.65; fig.195; 225-226 Christ Carrying the Cross, No.18, copy 2; 77 St John the Evangelist, No.66;flg .l9 6 ; 226-227 Christ Holding the Globe, No.67; fig.198; 227-228 The Virgin and Child, No.68; fig.199; 228 AARSCHOT, CHURCH OF OUR LADY Rubens's studio, painting after Rubens: J.B.Ketgen, painting after Rubens: The Descent from the Cross, No.43, copy 1; 162 Christ ana the Virgin (from The Lamentation with Anonymous, painting after Rubens: St Francis), No.70, copy 1; 229 The Lamentation, No.62, copy 1 ;fig,190; 218 ALMELO, J.H. GROBBEN ANTWERP, KREFIRMA Anonymous, painting after Rubens: Anonymous, painting after Rubens: The Crucifixion (Coup de Lance), No.37, copy 28; Christ Expiring on the Cross, No.31, copy 11; 128 ' 141 ANTWERP, ROCKOXHUIS AMSTERDAM, J.J. GELUK Rubens, oil sketch: Anonymous, painting after Rubens: Christ on the Cross Addressing His Mother, St John The Lamentation, No.64, copy 14; 222 and St Mary Magaalen, No.34; fig.104; 133-136 AMSTERDAM, CHR. P. VAN EEGHEN ANTWERP, ST PAUL S CHURCH Rubens, drawing: Crouching Man Seen from the Back, No.20i; Rubens, painting: fig.73; 104-105 The Flagellation, N o.ll; fig.24; 59 Antoon van Ysendyck, painting after Rubens: AMSTERDAM, RIJKSMUSEUM The Flagellation, No. -
Georg Friedrich Händel ~ Saul
G EOR G F RIEDRICH H ÄNDEL ~ S AUL uthentic Classical Concerts zu veröffentlichen, heisst für uns, herausragende Aufführungen und Konzerte für die Die vorliegende Konzertaufnahme ist Teil eines Zyklus von Oratorien und Messen, die Jürgen Budday im Rahmen der ANachwelt festzuhalten und zu vermitteln. Denn Künstler, Publikum, Werk und Raum treten in einen intimen Dialog, Klosterkonzerte Maulbronn über mehrere Jahre hinweg aufführt. Die Reihe verbindet Musik in historischer Auffüh- der in Form und Ausdruck - in seiner Atmosphäre - einmalig und unwiederbringlich ist. Diese Symbiose, die Spannung rungspraxis mit dem akustisch und atmosphärisch optimal geeigneten Raum der einzigartigen Klosterkirche des Welt- der Aufführung dem Hörer in all ihren Facetten möglichst intensiv erlebbar zu machen, indem wir die Konzerte direkt kulturerbes. Dieser Idealort verlangt geradezu nach der Durchsichtigkeit des Musizierens und der interpretatorischen in Stereo-Digital aufzeichnen, sehen wir als Ziel, als Philosophie unseres Hauses. Das Ergebnis sind einzigartige Inter- Freilegung der rhetorischen Gestik der Komposition, wie sie durch die historische Aufführungspraxis in besonderer pretationen von musikalischen und literarischen Werken, schlichtweg - audiophile Momentaufnahmen von bleibendem Weise gewährleistet ist. So wird ausschließlich mit rekonstruierten historischen Instrumenten musiziert, die in den zu Wert. Blühende Kultur, dem Publikum vor Ort und nicht zuletzt auch Ihnen zur Freude, sind somit jene Werte, welche Lebzeiten der Komponisten üblichen Tonhöhen gestimmt sind (in dieser Aufführung a‘ = 415 Hz). wir in unseren Editionen und Reihen dokumentieren. „An Oratorio or Sacred Drama“ ist die Bezeichnung im Originaltextbuch (1738). Es wurde erstmals am 16. Januar 1739 Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding perfor- unter Händels Leitung im königlichen Theater am Hay-Market in London aufgeführt. -
B Ach Cantatas Gardiner 2
2 Bach Cantatas Gardiner Johann Sebastian Bach 1685-1750 Cantatas Vol 2: Paris/Zürich CD 1 73:11 For the Second Sunday after Trinity 16:17 Ach Gott, vom Himmel sieh darein BWV 2 1 (3:53) 1. Coro (Choral) Ach Gott, vom Himmel sieh darein 2 (1:06) 2. Recitativo: Tenor Sie lehren eitel falsche List 3 (3:24) 3. Aria: Alt Tilg, o Gott, die Lehren 4 (1:46) 4. Recitativo: Bass Die Armen sind verstört 5 (5:05) 5. Aria: Tenor Durchs Feuer wird das Silber rein 6 (1:01) 6. Choral Das wollst du, Gott, bewahren rein 18:22 Meine Seel erhebt den Herren BWV 10 (For the Visitation of the Blessed Virgin Mary) 7 (3:24) 1. Coro (Choral) Meine Seel erhebt den Herren 8 (5:40) 2. Aria: Sopran Herr, der du stark und mächtig bist 9 (1:10) 3. Recitativo: Tenor Des Höchsten Güt und Treu 10 (2:18) 4. Aria: Bass Gewaltige stößt Gott vom Stuhl 11 (2:24) 5. Duetto con Choral: Alt, Tenor Er denket der Barmherzigkeit 12 (2:23) 6. Recitativo: Tenor Was Gott den Vätern alter Zeiten 13 (1:00) 7. Choral Lob und Preis sei Gott dem Vater und dem Sohn Heinrich Schütz 1585-1672 4:19 Die Himmel erzählen die Ehre Gottes SWV 386 14 (4:19) Die Himmel erzählen die Ehre Gottes 2 33:55 Die Himmel erzählen die Ehre Gottes BWV 76 I. Teil 15 (3:49) 1. Coro Die Himmel erzählen die Ehre Gottes 16 (1:37) 2. Recitativo: Tenor So lässt sich Gott nicht unbezeuget! 17 (5:47) 3.