Yhtenäistetty Benjamin Britten
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Dumschat Resume
Dr. Claudia E. Dumschat 122 West 80th Street (B-R) New York, NY 10024-6359 home: (212) 595-3718 cell: (917) 825-7504 [email protected] PROFESSIONAL EXPERIENCE Organist/Choirmaster: The Church of the Transfiguration (1999-present) Conductor of the fully professional Choir of Men and Boys, the oldest such choir in the country, which presents full Mass settings and anthems weekly. Artistic Director and Conductor of The Arnold Schwartz Memorial Concert Series for over ten years. Director of The Transfiguration Camerata, a semi- professional chorus of adults, sings concerts and summer services. (See www.littlechurch.org) Lucy Moses School’s Kaufman Summer Musical Theater Workshop (2016): taught singing to children grades 3, 4, and 5. Co-Artistic Director and Conductor, neXus Arts (1999 to 2010): The mission of neXus Arts is to combine music with other art forms such as dance, poetry, and the visual arts, in order to create a synthesis which transcends the sum of its parts. Music is chosen which expresses something profound about the spiritual condition of humanity, but not to support any particular political or religious agenda. The intention is to provide a new way of experiencing works of the past and present, as well as to commission and perform new works, including music dramas and operas. Children’s Aid Society (2006-2008): directed chorus of Second Graders at P.S. 50 in Manhattan Artistic Director and Conductor, The Friends of Music at Holy Spirit, Houston, 1995–’98: Founded this semi-professional chorus to perform concerts of classical music and music drama at the church for the community at large. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
5099943343256.Pdf
Benjamin Britten 1913 –1976 Winter Words Op.52 (Hardy ) 1 At Day-close in November 1.33 2 Midnight on the Great Western (or The Journeying Boy) 4.35 3 Wagtail and Baby (A Satire) 1.59 4 The Little Old Table 1.21 5 The Choirmaster’s Burial (or The Tenor Man’s Story) 3.59 6 Proud Songsters (Thrushes, Finches and Nightingales) 1.00 7 At the Railway Station, Upway (or The Convict and Boy with the Violin) 2.51 8 Before Life and After 3.15 Michelangelo Sonnets Op.22 9 Sonnet XVI: Si come nella penna e nell’inchiostro 1.49 10 Sonnet XXXI: A che piu debb’io mai l’intensa voglia 1.21 11 Sonnet XXX: Veggio co’ bei vostri occhi un dolce lume 3.18 12 Sonnet LV: Tu sa’ ch’io so, signior mie, che tu sai 1.40 13 Sonnet XXXVIII: Rendete a gli occhi miei, o fonte o fiume 1.58 14 Sonnet XXXII: S’un casto amor, s’una pieta superna 1.22 15 Sonnet XXIV: Spirto ben nato, in cui so specchia e vede 4.26 Six Hölderlin Fragments Op.61 16 Menschenbeifall 1.26 17 Die Heimat 2.02 18 Sokrates und Alcibiades 1.55 19 Die Jugend 1.51 20 Hälfte des Lebens 2.23 21 Die Linien des Lebens 2.56 2 Who are these Children? Op.84 (Soutar ) (Four English Songs) 22 No.3 Nightmare 2.52 23 No.6 Slaughter 1.43 24 No.9 Who are these Children? 2.12 25 No. -
Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae
Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae: Reflections on a Song of Dowland for viola and piano- reflections or variations? Master thesis For obtaining the academic degree Master of Arts of course Solo Performance Viola in Anton Bruckner Privatuniversität Linz Supervised by: Univ.Doz, Dr. M.A. Hans Georg Nicklaus and Mag. Predrag Katanic Linz, April 2019 CONTENT Foreword………………………………………………………………………………..2 CHAPTER 1………………………………...………………………………….……....6 1.1 Benjamin Britten - life, creativity, and the role of the viola in his life……..…..…..6 1.2 Alderburgh Festival……………………………......................................................14 CHAPTER 2…………………………………………………………………………...19 John Dowland and his Lachrymae……………………………….…………………….19 CHAPTER 3. The Lachrymae of Benjamin Britten.……..……………………………25 3.1 Lachrymae and Nocturnal……………………………………………………….....25 3.2 Structure of Lachrymae…………………………………………………………....28 Conclusion……………………………………………………………………………..39 Bibliography……………………………………….......................................................43 Affidavit………………………………………………………………………………..45 Appendix ……………………………………………………………………………....46 1 FOREWORD The oeuvre of the great English composer Benjamin Britten belongs to one of the most sig- nificant pages of the history of 20th-century music. In Europe, performers and the general public alike continue to exhibit a steady interest in the composer decades after his death. Even now, the heritage of the master has great repertoire potential given that the number of his written works is on par with composers such as S. Prokofiev, F. Poulenc, D. Shostako- vich, etc. The significance of this figure for researchers including D. Mitchell, C. Palmer, F. Rupprecht, A. Whittall, F. Reed, L. Walker, N. Abels and others, who continue to turn to various areas of his work, is not exhausted. Britten nature as a composer was determined by two main constants: poetry and music. In- deed, his art is inextricably linked with the word. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
BENJAMIN BRITTEN a Ceremony of Carols IRELAND | BRIDGE | HOLST
BENJAMIN BRITTEN A Ceremony of Carols IRELAND | BRIDGE | HOLST Choir of Clare College, Cambridge Graham Ross FRANZ LISZT A Ceremony of Carols BENJAMIN BRITTEN (1913-1976) ANONYMOUS, arr. BENJAMIN BRITTEN 1 | Venite exultemus Domino 4’11 12 | The Holly and the Ivy 3’36 for mixed choir and organ (1961) traditional folksong, arranged for mixed choir a cappella (1957) 2 | Te Deum in C 7’40 for mixed choir and organ (1934) BENJAMIN BRITTEN 3 | Jubilate Deo in C 2’30 13 | Sweet was the song the Virgin sung 2’45 for mixed choir and organ (1961) from Christ’s Nativity for soprano and mixed choir a cappella (1931) 4 | Deus in adjutorium meum intende 4’37 from This Way to the Tomb for mixed choir a cappella (1944-45) A Ceremony of Carols op. 28 (1942, rev. 1943) version for mixed choir and harp arranged by JULIUS HARRISON (1885-1963) 5 | A Hymn to the Virgin 3’23 for solo SATB and mixed choir a cappella (1930, rev. 1934) 14 | 1. Procession 1’18 6 | A Hymn of St Columba 2’01 15 | 2. Wolcum Yole! 1’21 for mixed choir and organ (1962) 16 | 3. There is no rose 2’27 7 | Hymn to St Peter op. 56a 5’57 17 | 4a. That yongë child 1’50 for mixed choir and organ (1955) 18 | 4b. Balulalow 1’18 19 | 5. As dew in Aprille 0’56 JOHN IRELAND (1879-1962) 20 | 6. This little babe 1’24 8 | The Holy Boy 2’50 version for mixed choir a cappella (1941) 21 | 7. -
Download Booklet
ACKNOWLEDGMENTS The artists are grateful for the sponsorship consideration of the following individuals and organiza- tions: Karen Vickers in memory of John E. Vickers and Velma Schuman Oglesby, Michael Wolf in memory SONGS OF JUDITH WEIR, BENJAMIN BRITTEN & HAMISH MACCUNN of Clarice Theisen, Mark and Donna Hance, Nan and Raleigh Klein, Steve and Mary Wolf, Tim and Amanda Orth, Martha and Emil Cook, Brett Cook, Megan Clodi in memory of Eric McMillan, Steve Stapleton, CALEDONIAN SCENES Nathan Munson, Sherri Phelps and Ronaldus Van Uden, Jennifer Fair, Lucy Walker, Tony Solitro, Zachary Justin Vickers, tenor Geoffrey Duce & Gretchen Church, piano Wadsworth, Robert and Margaret Lane, Ian Hamilton in memory of John Hamilton, Anthony and Maria Moore, Carren Moham, Melissa Johnson, Joy Doran in memory of Steve Doran, Jonathan Schaar in memory of organist John Weissrock, Jerold Siena and Stasia Forsythe Siena in memory of William J. Forsythe, James Major in memory of Bettie Major, Roy Magnuson, Michele Robillard Raupp, Eric Saylor, Christopher Scheer, Brooks Kuykendall, Thornton Miller, Andrew Luke, Emily Vigneri, Hilary Donaldson, Imani Mosley, Annie Ingersoll and Eric Totte, and Jeanne Wilson and Gary Stoodley; research funds from the School of Music and the Wonsook Kim College of Fine Arts at Illinois State University; a grant from the Office of Research and Sponsored Programs at Illinois State University; an Illinois Arts Council Grant; research funds from Illinois Wesleyan University; and a PSC-CUNY Grant from City University of New York. The MacCunn songs and the cycle on this disc may be found in Hamish MacCunn: Complete Songs for Solo Voice and Piano, Parts 1 and 2 (A-R Editions, 2016), edited by Jennifer Oates. -
Classical Listing
23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 405 CLASSICAL LISTING This listing includes works from a variety of publishers, including: Boosey & Hawkes Bote & Bock Eschig Fennica Gehrmann G. Schirmer Ricordi Salabert Schott Sikorski 23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 406 406 ORATORIO, MASSES & LARGE CHORAL WORKS Vocal scores unless otherwise noted. ______49004658 Christmas with J.S. Bach Mixed choir (SATB and SSATB); keyboard instruments; APPLEFORD other inst. Schott ED4133..........................................$13.95 ______48016496 New English Mass Vocal Score ______50500030 Jesus, Priceless Treasure (Jesu, meine Freude) (Hufs- Joseph Weinberger M570050567..............................$17.95 tader) SSATB Eng – Schirmer ED2913 .......................$4.95 ______50324530 Magnificat Lat/Eng – Schirmer ED2034 .....................$5.95 ARGENTO, DOMINICK ______50405570 Magnificat (Barré) Lat – Salabert SR12219 ................$7.95 ______48002907 Everyone Sang SSAATTBB a cappella ______49010404 Magnificat, BWV 243 in D Major (ed. Schering) Boosey & Hawkes M051323302..................................$9.95 Study Score Eulenburg ETP964.................................$12.95 ______48002876 I Hate and I Love SATB and percussion ______49010397 Mass in B minor, BWV 232 “High Mass” Boosey & Hawkes M051318506................................$13.95 (ed. Volbach) Study Score Eulenburg ETP959...........$26.95 ______48002851 Peter Quince at the Clavier SATB ______50323910 Mass in B minor Lat – Schirmer ED272 ...................$14.95 Boosey -
Revue Française De Civilisation Britannique, XXII-3 | 2017 « a Musician for an Occasion »: Britten, Compositeur Engagé 2
Revue Française de Civilisation Britannique French Journal of British Studies XXII-3 | 2017 Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media) « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Édition électronique URL : http://journals.openedition.org/rfcb/1443 DOI : 10.4000/rfcb.1443 ISSN : 2429-4373 Éditeur CRECIB - Centre de recherche et d'études en civilisation britannique Référence électronique Gilles Couderc, « « A musician for an occasion »: Britten, compositeur engagé », Revue Française de Civilisation Britannique [En ligne], XXII-3 | 2017, mis en ligne le 05 juillet 2017, consulté le 02 mai 2019. URL : http://journals.openedition.org/rfcb/1443 ; DOI : 10.4000/rfcb.1443 Ce document a été généré automatiquement le 2 mai 2019. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. « A musician for an occasion »: Britten, compositeur engagé 1 « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Introduction I believe that the artist must be consciously a human being. He is part of society and he should not lock himself up in an ivory tower. I think he has a duty to play towards his fellow creatures. It is not only a duty; I think it’s a pleasure too. I want to have my music used. I would rather—this seems perhaps a silly thing to say—but I would rather have my music used than to write masterpieces which were not used .1 1 Ainsi s’exprime Benjamin Britten (1913-1976) en avril 1968 dans un article sous-titré « The Moral Responsibility of the Artists toward his Fellow Man. -
Billy Budd Composer Biography: Benjamin Britten
Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W.