79Th Baldwin-Wallace College Bach Festival
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Toronto Chamber Choir Consort 33 Yorkminstrels Show Choir 33 Executive Director from the Maestro 14 Elizabeth Shannon, Toronto Toronto Mass Choir 34
Choirs Ontario’s Newsletter January 2015 |Volume 43, Issue 2 Dynamicwww.choirsontario.org Dynamic is published four times a year by Choirs Ontario. Repro- duction or translation of any work herein without the express permis- Contents sion of Choirs Ontario is unlawful. Choirs Ontario Editor, design & layout Linda T. Cooke Editor’s Letter 3 [email protected] President’s Message 3 Canadian Military Wives 7 OYC 2015 Auditions 4 Editorial Dynamic welcomes your letters, President’s Leadership Award, 2015 5 commentary, photos, audio clips, RAM Koor Concert Tour 6 video files, and article submissions. Concert Listing 35 send to: [email protected] Festivals and Events 36 Subscriptions Job Openings / Singers Wanted 36 Subscriptions are available through membership in Choirs Ontario. Features SingOntario 9 Advertising Canadian Military Wives Choir 7 Info. on advertising contracts, rates SingOntario! Festival 9 & specifications: 416.923.1144 or Unisong Choral Festival 11 [email protected] Choirs in the Trenches 12 Choirs Ontario. Music Director Leads Three Choirs 13 1422 Bayview Ave. Toronto M4G 3A7 416.923.1144 or 1.866.935.1144 f: 416.929.0415 From The “Maestro” Unisong Choral Festival 11 [email protected] Programming Challenging Music 14 Charitable registration: 11906 7536 RR0001 Upbeat Board of Directors Amabile Youth Singers 16 President Bach Music Festival Chamber Choir 17 Rachel R.-Hoff, St. Catharines Canadian Men’s Chorus 18 Past President Cantabile Chamber Singers 19 Dean J.-Bevans, Thunder Bay Choirs In the Trenches -
Winter-2013.Pdf
Alumni Gazette WEStern’S ALUMNI MAGAZINE SINCE 1939 WINTER 2013 Power player TTC Chair Karen Stintz Alumni Gazette CONTENTS See public health from SAGT YIN on track 12 Karen Stintz, BA’92, Dipl’93, Chair of TTC a new vantage point STA Y THIRSTY 14 FOR ADVENTURE John Marcus Payne, LLB’73, has almost done it all OSCAR WINNER FIRST 16 MUSIC HALL OF FAMER Composer Barbara Willis Sweet, BMus’75 STOPPING YOUR OWN 18 GLOBAL WARMING Cardiologist & author Bradley J. Dibble, MD’90 W RITING code for 20 WEBSITES is fun? Web designer Amanda Aitken, BA’05, Cert’05 WHO IS WATCHING 26 THE POLICE? Director of Ontario’s SIU Ian Scott, LLB’81 NO JOKE: FAILURE CAN 30 LEAD TO SUCCESS Comedian and writer Deepak Sethi, BSc’02 The new Master of Public Health. 26 Get ready to lead. DEPARTMENTS @ alumnigazette.ca LETTERS CONSUMER GUIDE 05 Impressed by student spirit 28 Top 5 wines to drink now at Homecoming MAKING THE FRENCH CONNECTION BEST KEPT SECRET P URSUING JOINT PHD LIFE-ALTERING CAMPUS NEWS 32 Famous signatures in Western EXPERIENCE for KristEN SNELL, BSC’09, 07 Clinical trials of AIDS vaccine Archives MSC’11 making progress THE ROAD TO HOLLYWOOD NEW RELEASES Q & A WITH COMEDY WRITER DEEPAK SETHI, 36 Save the Humans by Rob CAMPUS QUOTES BSC’02 09 Western hosts guest speakers Stewart, BSc’01 A CAREER OF PERSISTANCE MEMORIES GAZETTEER AN EXpaNDED story ON DR. Masashi • 12 months full-time APPLY NOW • Deadline March 1 22 Winter Carnival on UC Hill 41 Alumni notes & Kawasaki, BA’53, MD’57 • intensive case-based learning schulich.uwo.ca/publichealth announcements SAVE THE HUMANS – EXCERPT • interdisciplinary faculty BY ROB STEWART, BSC’01 • 12-week practicum On the cover: Karen Stintz, BA’92, Dipl’93 (Political Science, King’s) is chair of the Toronto • international field trip Transit Commission (TTC). -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
Experiencing Music in the North German Enlightenment
SENSITIVITY, INSPIRATION, AND RATIONAL AESTHETICS: EXPERIENCING MUSIC IN THE NORTH GERMAN ENLIGHTENMENT Kimary E. Fick, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY University of North Texas December 2015 APPROVED: Hendrik Schulze, Major Professor Peter Mondelli, Committee Member Christoph Weber, Committee Member Paul Leenhouts, Related Field Committee Member and Director of Early Music Studies Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of College of Music Costas Tsatsoulis, Dean of Toulouse Graduate School Fick, Kimary E. Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment. Doctor of Philosophy (Musicology), December 2015, 295 pp., 2 tables, 3 figures, 19 musical examples, references, 166 titles. This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. -
Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Musiker in Brandenburg
Musiker aus Brandenburg Kurzbiografien der in der Sonder- sammlung „Musik aus Brandenburg“ der Musikbibliothek der Stadt- und Landesbibliothek Potsdam vertretenen Musiker Stand: September 2014 1 Musiker in Brandenburg ... gab und gibt es sicher einige. Aber bekannte und berühmte doch eher nicht! So lautet wohl die landläufige Meinung zum Thema Brandenburger Musiker. Trifft man auf ein interessierteres Publikum, so fallen Namen wie Quantz, der „Alte Fritz“ oder C. P. E. Bach, aber kaum ein Name aus der Gegenwart oder der jüngeren Geschichte. Beschäftigt man sich ein wenig mit dieser Materie und das ist heute dank Internet kein Problem, so stößt man recht schnell auf den einen oder anderen bekannten Namen und stellt fest, dass sie / er in Brandenburg geboren, gelebt oder gearbeitet hat oder es noch immer tut. So war die Schaffung der Sondersammlung „Musik aus Brandenburg“ willkommener Anlass, sich mit den Biografien der in dieser Sammlung vertretenen Musiker zu beschäftigen, um sie letztlich auch unseren Lesern zur Verfügung stellen zu können. Dabei stellten sich vor allem zwei Fragen: was macht den Brandenburger Musiker zum Brandenburger Musiker und wer ist ein Musiker? Während sich die zweite Frage recht schnell dahingehend beantworten ließ, dass zu diesem Personenkreis all jene gehören, die sich aktiv mit Musik beschäftigen, egal ob sie als Komponist, Interpret, Musikwissenschaftler oder Musikbuchautor tätig sind, war die Eingrenzung des „Brandenburger Musikers“ weitaus schwieriger. Letztendlich zählen jene Musiker zu diesem Kreis, die in Brandenburg geboren sind oder mehrere Jahre hier gelebt oder gearbeitet haben. In Ausnahmefällen aber auch diejenigen, bei denen z. B. die Uraufführung ihres Werkes innerhalb des Brandenburgischen stattfand. -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
77Th Baldwin-Wallace College Bach Festival
Baldwin-Wallace College Bach Festival Celebrating 77 years of exceptional music The Oldest Collegiate Bach Festival in the Nation Annotated Program April 17–19, 2009 OUR SPONSORS The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil neighborhoods and are vital to our children’s success. To learn more, visit www.cacgrants.org. On the cover: The Kulas Musical Arts Building in the 1940s. SEVENTY -SEVENTH ANNU A L BACH FESTIVAL THE OLDEST CO LLEGIATE BACH FESTIVAL IN THE NATI O N Annotated Program APRIL 17–19, 2009 #BMEXJO8BMMBDF$PMMFHF Baldwin-Wallace College, founded in 1845, was among the first colleges to admit students without regard to race or gender. That spirit of inclusiveness and innovation has flourished and evolved into a personalize approach to education: one that stresses individual growth as students learn to learn, respond to new ideas, adapt to new situations and prepare for the certainty of change. An independent, coeducational college affiliated with the United Methodist Church, B-W enrolls 3,000 undergraduate students as well as 600 part- time evening/weekend and 800 graduate students. The average undergraduate class size is 19. %JTUJODUJWFMZ#8 Baldwin-Wallace is one of the few liberal arts colleges in the nation l The College regularly appears 2VJDLUP*OOPWBUF with an internationally respected among “America’s Best Colleges” l Conservatory of Music. It also (in the category of Regional B-W was one of the first colleges is recognized as one of the early Universities) and “Best Values” in in the country to endow a chair leaders of adult education, having the annual survey of U.S. -
Season of Events
2014.2015 SEASON OF EVENTS Path to Paradise: Miserere Mei Saturday, November 8, 2014 7:30 p.m. Trinity College Chapel The Coronation of King George II Sunday, November 9, 2014 7:30 p.m. Trinity College Chapel The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors Saturday, November 8, 2014 Path to Paradise: Miserere Mei SCHOLA CANTORUM & THE CHOIR OF THE THEATRE OF EARLY MUSIC Daniel Taylor, conductor PROGRAM Jesus Christ the Apple Tree Elizabeth Poston (1905-1987) If Ye Love Me Thomas Tallis (1505-1585) Ubi Caritas Maurice Duruflé (1902-1986) Jesus’ blood never failed me yet Gavin Bryars (b.1943) Danced by Coleman Lemieux & Company Original choreography by James Kudelka Ave Verum William Byrd (1540-1623) Remember Not O Lord Henry Purcell (1659-1695) Hymn to the Virgin Benjamin Britten (1913-1976) Miserere Mei Deus Gregorio Allegri (1582-1652) Soloists: Agnes Zsigovics, Rebecca Genge, Rebecca Claborn, David Roth Danced by Dancetheatre David Earle Original choreography by David Earle This evening’s concert has been made possible through a generous gift from Jean Edwards. This concert is presented with the support of the Canada Council for the Arts and with the significant assistance of the Ontario Arts Council. an Ontario government agency un organisme du gouvernement de l’Ontario Translations Ubi Caritas - Maurice Durufle Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Congregavit nos in unum Christi amor. Christ’s love has gathered us into one. Exultemus, et in ipso iucundemur. Let us rejoice and be pleased in Him. -
Festive Cantatas Tafelmusik Baroque Orchestra a Monteverdi Christmas Vespers
J.S. BACH: THE CIRCLE OF CREATION FESTIVE CANTATAS TAFELMUSIK BAROQUE ORCHESTRA A MONTEVERDI CHRISTMAS VESPERS Alison Mackay creator, writer, programmer Elisa Citterio director Kevin Bundy narrator David Fallis music director “In these hands, Bach’s music feels more alive than ever.” The Globe and Mail AT VANCOUVER PLAYHOUSE JAN25 This concert is generously supported by the Nemetz Foundation THE KING’S SINGERS ROYAL BLOOD: MUSIC FOR HENRY VIII AT THE CHAN CENTRE “The superlative vocal sextet.” The Times (London) DEC23 AT THE CHAN CENTRE FEB09 This concert is generously supported by Janette McMillan & Douglas Graves, Birgit Westergaard & Norman Gladstone Tickets from $36 | earl ymusic.bc.ca | 604.822.2697 This concert is generously supported by the Drance Family and Sharon E. Kahn 18.EarlyMusicAd 2018-10-23 11:33 AM Page 1 ODLUMBROWN.COM Odlum Brown Limited is Proud to Support Early Music Vancouver’s Festive Cantatas – A Monteverdi Christmas Vespers For over 95 years, Odlum Brown Limited has been one of BC’s most respected investment firms by helping investors achieve their financial goals for generations. Odlum Brown is a full-service investment firm providing disciplined investment advice and objective research with a singular focus on clients. For all your investment needs including financial, retirement and estate planning,* call 604-669-1600 or toll free at 1-888-886-3586, or visit odlumbrown.com for more information. *Offered through our wholly owned subsidiary, Odlum Brown Financial Services Limited. Wishing everyone a wonderful holiday season, and a joyous new year! Odlum Brown Limited Odlum Brown Community @Odlum_Brown OdlumBrown Member-Canadian Investor Protection Fund 2 | EMV Masterworks Series 2018/19 Festive Cantatas: A Monteverdi Christmas Vespers [email protected] the artists a monteverdi christmas vespers David Fallis Claudio Monteverdi music director (1567-1643) sopranos — I — Arwen Myers Versicle: Deus in adiutorium Danielle Sampson Response: Domine ad adiuvandum me festina (Alessandro Grandi) altos Vicki St. -
Orchestra (Candlelight Christmas Concert)
VOICEBOX: Opera in Concert (PRINCE IGOR), Ottawa Bach Choir (B-MINOR MASS), and 13 Strings Chamber Orchestra (Candlelight Christmas Concert). ORCHESTRA Most recently, Geoffrey was seen in TURANDOT with Edmonton Opera, ELIJAH with Pax Christi Chorale, APOLLO E DAFNE with Toronto Masque Theatre, and MESSIAH with Newfoundland Symphony. Upcoming engagements include Orest in ELEKTRA Flute I Stephen Tam (Edmonton Opera) and Beethoven’s MISSA SOLEMNES (Grand Philharmonic), and Flute II Tristan Durie Weill’s SEVEN DEADLY SINS (TSO). Bass Clarinet Juan Gabriel Olivares Geoffrey is a graduate of the University of Toronto where he completed a Master’s in Alto Saxophone I Kevin Shen Music (Opera). He is the winner of awards and prizes from competitions including the Alto Saxophone II James Conquer Canadian Conservatory Vocal Competition, Ottawa Choral Society Competition, Czech and Slovak International Voice Competition, Metropolitan Opera National Council Bassoon I Bianca Chambul nd Bassoon II Bee Ungar Auditions, and received 2 place and the “Best Performance of a Canadian Work” Award in the Orchestre Symphonique de Montréal Competition. He is a five-time grant recipient Trumpet I Mike Barth of the Jacqueline Desmarais Foundation, and winner of the Vancouver Opera Guild Career Trumpet II Carlene Brown Development Grant. Trombone I Brayden Friesen Trombone II Greg Burns Canadian countertenor Scott Belluz has gained recognition for his Percussion I Jonny Smith ‘warm, rich voice and impeccable coloratura,’ (La Marseillaise). Scott Percussion II Yang Chen brings his committed artistry to repertoire ranging from 17th century to newly composed works. Violin I Yung-Yu Lin Scott has received great acclaim for his performances in the world Violin II Aysel Taghi-Zada premieres of numerous Canadian operatic works, singing the title role Viola Maxime Despax in Omar Daniel’s The Shadow with Tapestry New Opera and L’Oiseau Violoncello Julia Kim in Gilles Tremblay’s Opeŕ a Feé rie with Montreal’s Chants Libres.